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Video tags
Subtitles
Russian
00:00:06
thank you00:00:17
[Music]00:00:32
[Music]00:00:47
foreign00:01:03
[Music]00:01:11
[Music]00:01:15
[Laughter]00:01:17
[Music]00:01:27
thank you00:01:29
[Music]00:01:51
foreign00:01:53
[Music]00:02:11
welcome back to my YouTube channel in00:02:13
this week's lesson we're going to tackle00:02:14
in a Sentimental Mood by Duke Ellington00:02:16
this is a beautifully somber and slow00:02:18
jazz ballad in a minor key that really00:02:21
allows the melody to breathe and will00:02:23
Begin by going through the basic changes00:02:25
this chord progression contains some00:02:27
real key elements of the jazz style00:02:29
things that you'll find in hundreds of00:02:31
other songs not just Jazz pop as well00:02:35
okay so let's jump straight in so we're00:02:37
in the key of D Minor now the first two00:02:39
bars could be nothing more than just two00:02:41
bars of D Minor if we were looking to00:02:43
play at the most simple possible way but00:02:45
we're going to add some movement to00:02:46
those two bars of D minor and this is00:02:48
something that to me is an essential00:02:49
part of the fabric of this song and it's00:02:51
stuff you can do in any song when you're00:02:53
on a static minor chord for any00:02:54
prolonged period of time so we're going00:02:56
to play something that's referred to as00:02:57
a line cliche this is how it sounds00:03:01
foreign00:03:09
so the way that align cliche works is00:03:11
simply that we find the the root note of00:03:13
our chord somewhere buried within the00:03:15
middle of the shape here it is on the00:03:17
seventh fret of the G string and then00:03:19
we're going to take that note and00:03:20
descend in semitones00:03:23
until we reach the sixth00:03:26
now we're going to try and retain the00:03:28
rest of the chord shape while we do that00:03:29
so that gives us these four chords D00:03:32
Minor D Minor Major Seventh D Minor00:03:36
seventh and D Minor six00:03:41
now that fourth chord can be a little00:03:42
tricky00:03:46
so what we're going to do is we're going00:03:48
to turn this into a three note voicing00:03:50
by simply removing the D string from the00:03:52
shape and then planting that little finger00:03:54
where the third finger currently is just00:03:56
to make it even more comfortable00:03:58
put your three note voicing for a D00:04:00
Minor sixth this is the same thing we've00:04:02
used a lot00:04:03
rooted off the low E string only now00:04:06
it's on the a string00:04:08
okay the other thing the D Minor Major00:04:10
Seventh can be a little tricky if you're00:04:12
not used to getting this concave kind of00:04:14
Bend in the second finger00:04:16
you could do it without doing that you00:04:19
could try and get all four fingers00:04:20
involved but that's not quite as elegant00:04:22
and it doesn't sound as smooth as you're00:04:24
going through the changes so I would00:04:25
recommend trying to learn to do this00:04:27
bending of the second finger it's00:04:29
something you'll get a lot of use out of00:04:30
especially in jazz you know think of00:04:31
your minor seventh chords rooted on the00:04:33
D string00:04:34
they require that technique as well and00:04:38
again you could play them this way but00:04:40
commonly if you're playing chords like00:04:41
this you also want the little finger00:04:43
spare so you can add the 11.00:04:48
that kind of thing so yeah I recommend00:04:52
learning to do that technique for sure00:04:54
okay then we're going to go to G minor00:04:55
where again we could just play two bars00:04:57
of G minor but we're going to apply the00:04:59
line cliche idea again so take your G00:05:02
minor bar chord here rooted on the low E00:05:04
string00:05:05
find the root somewhere in the middle00:05:07
here it is fifth fret of the D string00:05:10
that's going to descend00:05:12
and semi times till we reach the sixth00:05:14
and we're going to try not to disturb00:05:16
the chord unless we really have to00:05:23
so yeah we really have to here00:05:27
so we're ending up on that G minor six00:05:29
voicing again just like our three note00:05:31
voicing only now we're barring the B00:05:34
string as well00:05:36
so now you've got G minor to G minor00:05:40
Major Seventh to G minor seven00:05:43
minus six now we only do one beat there00:05:46
before going back to A7 that's the five00:05:49
of D minor and that's where it takes us00:05:51
full bar of D minor00:05:55
e dominant seventh we're going to put a00:05:57
nine on00:06:02
our parent major key of f00:06:06
so remember that the key of D Minor00:06:08
exists within the key of F major so we00:06:11
can kind of resolve to either part of00:06:13
the key I like to think of the one the F00:06:15
major is sort of the light side of the00:06:17
key and then the dark side of the key00:06:18
the relative minor starting on the sixth00:06:21
so we started very firmly in the you00:06:24
know the dark side of the D minor key00:06:26
there and now we've just two five one00:06:29
to the major the relative major00:06:33
but then again we're going to go to the00:06:35
A7 because we want to get back to D00:06:37
Minor to start our second a section00:06:41
okay so here's the first a section three00:06:44
four00:06:48
foreign00:06:53
[Music]00:07:03
[Music]00:07:10
[Music]00:07:15
foreign00:07:18
now we could just recycle all of that00:07:21
and play it again for our secondary00:07:23
section but in the spirit of curiosity00:07:25
and the spirit of learning things let's00:07:28
look at another way of playing our line00:07:29
cliche on the D Minor so originally we00:07:31
found the root in the middle of the00:07:32
shape and distended that in semitones00:07:35
but what if we do it with the root in00:07:38
the base00:07:39
it can sound extra dramatic so that's00:07:42
going to sound like this00:07:45
foreign00:07:48
[Music]00:07:52
with D Minor again but then we've got to00:07:56
drop that D bass note down to d flat now00:07:59
above that we're going to build this00:08:00
shape the third fret of the D string and00:08:03
then bar the second fret for the G and00:08:04
the B strings now you've got d flat00:08:07
augmented chord00:08:08
but in this context this really again00:08:10
would be a D Minor Major Seventh the00:08:13
Major Seventh is in the bass00:08:14
[Music]00:08:18
taking this same process through again00:08:20
we're going to flatten that d flat down00:08:22
to C and then build what we can that00:08:25
resembles a D minor chord so this looks00:08:28
like an F chord right this is f over C00:08:30
this is just the middle chunk of an F00:08:32
major bar chord but again through the00:08:34
lens of D Minor this is D minor seven00:08:36
with a flat seven in the bass00:08:39
and then that bass note moves down one00:08:41
more time to B and we build this shape00:08:45
that again looks like a B minor seven00:08:46
flat five but really it's a D Minor six00:08:49
with a six in the bass00:08:52
in fact if you took that bass note away00:08:53
you can clearly see the D Minor triad00:08:56
sitting up on top there00:08:59
sounds really cool00:09:05
[Music]00:09:08
always nice to freshen things up a bit00:09:10
okay and then we're going to go to G00:09:11
minor again but this time we'll keep00:09:13
that the way we had it in the first a00:09:14
section line cliche running down the D00:09:17
string00:09:19
[Music]00:09:25
to D dominant seven where we've gone for00:09:27
the D900:09:31
251 to the f00:09:35
okay00:09:36
a flat seven00:09:40
that's the final chord of the second a00:09:42
section the reason that's there is the B00:09:45
section changes key to the key of D flat00:09:47
a flat is the five of d flat so we play00:09:51
a flat dominant seven to open the door00:09:54
to the key change in the B section00:09:58
so the B section is kind of interesting00:10:00
really what it boils down to is a 162500:10:04
in D flat played three times round00:10:06
now if we look at that in terms of just00:10:08
base notes that would be this d flat B00:10:11
flat E flat a flat00:10:18
for the first of our three Cycles around00:10:19
that progression we're going to play00:10:21
some really pretty diatonic chords so00:10:24
diatonic meaning all the notes in these00:10:26
chords are found somewhere within the d00:10:29
flat major scale okay so we're going to00:10:31
go d flat major seventh00:10:34
B flat minor seventh E flat minor nine00:10:38
to the a flat 13.00:10:41
notice how we've kept the same note on00:10:43
top of all of those chords this F note00:10:46
on the B string sixth fret00:10:48
[Music]00:10:54
[Laughter]00:10:56
okay now the second of these three00:10:59
Cycles is a little different we start00:11:00
bringing in some interesting notes from00:11:02
outside of the key00:11:03
also the melody gets really spicy at00:11:06
this point so as a rhythm player for00:11:07
things like this I quite like to be kind00:11:09
of stealthy and stay out of the way of00:11:11
the melody especially when it's kind of00:11:12
crunchy sounding so we're going to go00:11:14
with some three note voicings and stay00:11:16
within sort of the more lower range of00:11:18
the instrument so d flat major seventh00:11:21
three note voicing00:11:23
B flat dominant seventh three note00:11:26
voicing E flat dominant three note00:11:28
voicing a flat dominant three note00:11:31
voicing so you've got d flat major seven00:11:34
B flat seven E flat seven a flat seven00:11:40
now quick Theory detour there you could00:11:43
say that the B flat seven is the five of00:11:45
two the E flat seven is the five of five00:11:49
the a flat seven is the five00:11:52
takes us round to our third cycle on00:11:54
this one six two five where we're gonna00:11:56
go back to the way we played it on the00:11:58
first of those three Cycles back to the00:12:00
diatonic way00:12:02
d flat major seven to B flat minor seven00:12:05
E flat minor nine a flat 13 but then a00:12:09
quick stop off at the a flat seven just00:12:11
to smooth out the change to this G minor00:12:14
eleven00:12:15
C700:12:19
so again we've got the 2 5 in F00:12:22
now this is a little bit of a decoy two00:12:25
five it doesn't resolve to F it goes to00:12:27
the A7 next because we actually want to00:12:29
get back to the D Minor to play a third00:12:31
and final a section00:12:33
so that's going to sound like this00:12:34
[Music]00:12:39
five00:12:40
of D minor00:12:43
resolving to D Minor at the beginning of00:12:45
the third and final a section00:12:49
so just so we can hear the beauty of so00:12:52
just to put some of this in context I'm00:12:53
going to play from the second from last00:12:56
bar of the second a section where we00:12:58
have that beautiful key change that00:13:00
takes us to the B section and then I'll00:13:02
play through all the way to the first00:13:04
couple of bars of the final a section00:13:07
okay here we go three four00:13:10
[Music]00:13:18
section00:13:22
[Music]00:13:28
foreign00:13:36
[Music]00:13:55
and do the same as the first one00:13:58
[Music]00:14:04
foreign00:14:06
[Music]00:14:18
now for an ending I like to do this a00:14:22
little cheeky shifter semitone up where00:14:25
instead of going to F major seven next00:14:26
and resolving that to 2 5 to the one00:14:29
we're going to go up a semitone to F00:14:31
sharp or g flat major seventh00:14:35
so that's going to sound pretty cool G00:14:37
minor seven C seven00:14:41
and then drop it back to where it00:14:44
belongs00:14:46
now I've gone for kind of an ambitious00:14:47
voicing on that penultimate chord on the00:14:50
sheet you'll see that we've gone for00:14:51
this00:14:52
[Music]00:14:58
does sound pretty cool so that's a g00:15:00
flat major seventh three note voicing00:15:02
but I'm barring the first fret from the00:15:04
a string down so I can add the third and00:15:08
I can also add the crucial spicy note00:15:10
there the sharp 11 or flat and fifth00:15:13
major seven on top00:15:16
and then00:15:18
when we go to the F major seven00:15:20
I'm including the open E string00:15:25
okay so those are the basic changes for00:15:27
In a Sentimental Mood now remember as00:15:29
always you can go to the links in the00:15:30
description to get these lesson00:15:32
materials I always type everything up00:15:33
very thoroughly including finger numbers00:15:35
so I recommend getting those sheets and00:15:37
printing them out so you've got them in00:15:39
front of you as we walk through these00:15:40
things within the lesson materials I'll00:15:42
include my backing track as well as PDF00:15:44
and guitar profiles in Tab and notation00:15:47
you can join my patreon for a small00:15:49
monthly cost where you get unlimited00:15:50
access to all of the Lesser materials00:15:52
for all of my videos as well as a ton of00:15:54
bonus stuff transcriptions and Q and A's00:15:57
and the like if patreon isn't your thing00:15:59
you can always purchase just this lesson00:16:01
specifically at the gumroad link your00:16:03
support really does mean so much to me00:16:05
and it allows me to keep doing these00:16:06
videos and making them better each time00:16:09
okay so on to the melody now most of00:16:11
this melody sits within a D minor00:16:13
pentatonic scale and it's very sparse00:16:15
and you can really afford to let the00:16:16
notes hang hold them for a while and add00:16:19
some beautiful vibrato to them so the00:16:21
first thing we hear is a pickup phrase00:16:22
that starts on beat two of the bar00:16:25
and it's a run of eighth notes so we00:16:27
play one two three four one00:16:33
that run started on the F note and then00:16:35
ascended the D minor pentatonic scale00:16:39
for one octave before we move out of00:16:42
position move up to the eighth fret00:16:46
this note then gets held for one bar00:16:49
adds some nice slow vibrato to it the00:16:52
next phrase we're going to play adds one00:16:54
extra note into the pentatonic scale see00:16:56
if you can spot where it is00:17:00
[Music]00:17:03
so maybe you notice that this fifth fret00:17:05
of the B string isn't part of the00:17:07
pentatonic scale this is the ninth00:17:09
degree of your D scale it's a beautiful00:17:11
sound it's kind of imparting the sound00:17:13
of that D Minor ninth chord00:17:16
foreign00:17:19
[Music]00:17:21
I'm not going to go into excruciating00:17:23
detail about every phrase and every00:17:25
finger placement all of that is on the00:17:27
sheets I assure you but in the lesson00:17:30
I'm just going to kind of Breeze through00:17:31
these things and talk about some key00:17:32
moments okay so in the next phrase00:17:36
[Music]00:17:38
we're introducing the blue note that00:17:40
flattened fifth00:17:43
and then we Ascend what looks to be an F00:17:46
major seven arpeggio and thinking of it00:17:48
that way is a nice quick way to grab it00:17:50
but really it's like a D Minor ninth00:17:53
with the flat 3 as the first note flat00:17:56
three fifth flat seven nine00:18:01
and then we play this little kind of00:18:02
closing phrase00:18:04
[Music]00:18:08
I really like that it doesn't just go to00:18:10
the root of f like you would probably00:18:12
expect00:18:14
[Music]00:18:16
but it goes instead to this note which00:18:19
is the nine of your F major00:18:22
it leaves us hanging00:18:24
unresolved for us to go around again00:18:28
well this time we're going to put some00:18:30
variations in00:18:34
just to Blues it up a little bit00:18:36
[Music]00:18:40
feel free to mess with these variations00:18:42
and do your own thing with them00:18:46
[Music]00:18:52
[Music]00:18:57
this time we resolve the melody00:18:59
[Music]00:19:00
the second a section does tend to do00:19:03
that in most Jazz standards you know00:19:05
it's like uh taking care of any00:19:06
unfinished business so you've got a nice00:19:08
resolved Clean Slate to start your B00:19:11
section now in my performance at the00:19:12
start of this video I turned that b00:19:14
section into a bit of a chord Melody and00:19:16
that's how I'm going to teach it here00:19:18
but in the lesson materials you'll find00:19:20
I've also included just the very basic00:19:22
single note version of the melody in00:19:24
case the chord Melody is a little bit00:19:25
tough for you in either case it's a00:19:27
beautiful Melody00:19:29
um so I'm going to teach you the chord00:19:30
Melody version of it here so we're going00:19:32
to start with a D flat major seven00:19:36
this is one of your inversions on the00:19:37
top four strings00:19:41
now this is your B flat minor 11. this00:19:43
is that thing we spoke about earlier on00:19:44
about getting that second finger to bend00:19:46
inwards a little bit so we can easily00:19:48
get from the minor 11 to minor seven00:19:55
and then we're back to this shape again00:19:58
only this time it's really B flat minor00:20:01
nine instead of d flat major seventh00:20:06
and then we need E flat minor nine we're00:20:09
going to take basically the chord we00:20:10
played in the rhythm part for this but00:20:13
remove the root and just use these three00:20:15
notes the D G and B strings00:20:18
and then00:20:20
we're going to an A flat seven00:20:24
let's do a cool little voicing think of00:20:27
just your regular a flat seven kind of00:20:28
chord00:20:30
we're bringing the flat seven in on the00:20:32
B string as well as the D string so you00:20:34
get this shape four on the D five on the00:20:37
g seven on the B four on the top e so00:20:40
the first finger is barring those top00:20:42
four strings00:20:44
that gives us the ability to do this00:20:45
part of the melody and then we're going00:20:48
to bring this flat seven down to a 13.00:20:51
so we can get that part of the melody00:20:53
and then we play a d flat major seventh00:20:55
three note voicing just like we did in00:20:57
the rhythm part for this00:20:59
then we play the next part of the melody00:21:01
but we want to let those notes overlap00:21:03
and we specifically want to play them00:21:05
with fourth and first fingers because00:21:07
the next thing we're going to do is move00:21:08
them up a semitone and add the second00:21:11
finger to the D string sixth fret now we00:21:14
have our B flat seven with a flattened00:21:16
fifth that's one of those spicy Melody00:21:18
notes I was talking about earlier we00:21:21
then unflatten that five taking it up to00:21:23
a natural five00:21:25
try not to move your other fingers when00:21:27
you do that again this is one of those00:21:28
fiddly little motions00:21:33
but you can just sort of Tuck that00:21:35
finger in out of the way00:21:38
[Music]00:21:41
and then we're after an E flat seven00:21:43
we're going to play these three notes00:21:45
Here a on the D six on the G A on the B00:21:48
this is like the middle chunk of an E00:21:50
flat seven a shaped bar chord00:21:54
the melody continues to climb so that00:21:56
little finger moves up a semitone after00:21:58
the first strike of the chord00:22:00
and then again we get some of these00:22:03
spicy notes we were hinting at earlier00:22:04
we're thinking a flat seven we're going00:22:07
to grab the flat seven and the third the00:22:10
sharp five the flat nine00:22:14
and then we're gonna add that little00:22:15
finger to the seventh fret of the top E00:22:18
string without disturbing the rest of00:22:19
the chord that gives you an A flat seven00:22:21
with a sharp five and a flat nine and00:22:24
then an A flat seven with a sharp five00:22:26
and a sharp nine00:22:27
you can see why they just call these alt00:22:29
for short a flat seven alt you can just00:22:33
let your ears Choose Or determine what00:22:36
those alterations are then we're just00:22:38
going to Simply recycle the first two00:22:39
bars of the B section again so all00:22:41
together so far the B section sounds00:22:43
like this00:22:45
[Music]00:22:56
thank you00:23:00
[Music]00:23:08
and then we're just going to go to a G00:23:10
minor 11.00:23:12
but we keep hitting that top note the00:23:15
11. and then a quick C7 before returning00:23:18
to the usual thing for the00:23:21
a section00:23:23
[Music]00:23:30
now this time I move the melody up one00:23:33
octave so instead of playing00:23:35
[Music]00:23:37
we're gonna go00:23:42
same for the next bit00:23:44
[Music]00:23:48
thank you00:23:51
and then we're going to piggyback that00:23:53
beautiful thing we did in the rhythm00:23:54
part where we had our resolving chord A00:23:57
semitone too high and then dropped onto00:23:59
it00:24:00
we're going to visualize this well this00:24:02
is how I see it anyway I'm thinking that00:24:04
I eventually want to get to this chord00:24:06
f69 I want to end on that and I don't00:24:10
want to put the root in there I'm just00:24:11
going to use the top four strings00:24:14
that's from the D string down seven00:24:16
seven eight eight that's your third your00:24:19
sixth your ninth and your fifth now00:24:21
imagine you're going to move that up a00:24:22
fret so you can drop onto it00:24:25
only that's not quite good enough00:24:27
because if you think about what we had00:24:28
here in the rhythm part00:24:30
we had a flattened fifth sharp 11 in00:24:33
there00:24:34
so when we move this f69 up to F sharp00:24:37
or g flat six nine we're gonna find a00:24:39
way to introduce that sharp 11 or flat00:24:41
five00:24:43
so that's going to end up with this00:24:44
really easy shape bar in the top four00:24:46
strings at the eighth fret with the00:24:48
first finger and then adding the second00:24:49
finger to the ninth fret of the B string00:24:52
that gives you your G flat six nine with00:24:55
a sharp 11.00:24:56
and then drop it a semitone keeping the00:24:59
sharp 11 for that extra bit of flavor on00:25:01
the resolving f69 chord so that's an f6900:25:05
with a sharp 11.00:25:07
with the roots it would sound like this00:25:10
but we're not bothered about that we're00:25:12
playing it on the top four strings only00:25:15
Let The Rhythm player deal00:25:19
with all that low down stuff00:25:21
so I hope you've enjoyed learning this00:25:23
piece I think it's one of the most00:25:24
beautiful Jazz standards out there and00:25:26
there's so much scope for creativity00:25:27
with this you know we're playing it very00:25:29
much true to the original but you can do00:25:31
your own thing with it change the00:25:33
phrasing put fills in here and there00:25:35
make it more bluesy or more Jazzy00:25:37
there's so many places you can go with00:25:39
this it's a beautiful Melody that stands00:25:41
up on its own really well okay now on to00:25:43
my recommended listening for the week00:25:45
um check out Duke Ellington of course00:25:47
take a deep dive into his stuff but I'm00:25:49
going to specifically recommend00:25:50
listening to an album of his called the00:25:52
Far East Suite the whole record is00:25:54
excellent but the song is fun to me is a00:25:57
real special piece of work I mean it's00:26:00
so it's so beautiful the way it's played00:26:03
the melody the changes and check out00:26:06
some live versions as well I mean Johnny00:26:08
Hodges is just playing the thing in such00:26:10
a00:26:11
heartachingly beautiful way is so good00:26:14
so that's Isfahan of the Far East sweet00:26:17
album Drew Carrington wrote this00:26:19
material along with Billy strayhorn00:26:20
those two work together so beautifully00:26:23
and wrote so many incredible pieces of00:26:25
music also check out live at Newport00:26:27
that's got to be one of the best live00:26:29
jazz records I've ever heard there's a00:26:31
particular track on there called00:26:32
diminuendo and Crescendo in blue and00:26:34
it's got this incredible intense and00:26:37
insanely long sax solo on it I think I00:26:40
read it was 27 choruses long or00:26:42
something like that but it's absolutely00:26:43
brilliant and you can hear the crowd00:26:45
going insane also Jeeps Blues off that00:26:47
same record is is a real standout00:26:50
now for a more guitar Centric take on00:26:52
some of the Duke Ellington pieces check00:26:54
out Joe passa's record portraits of Duke00:26:57
Ellington his versions of satin doll00:26:59
Don't Get Around Much Anymore and00:27:00
Caravan standouts on that record for me00:27:03
some amazing guitar work from00:27:04
complicated chord Melodies to beautiful00:27:06
comping and incredible single line00:27:08
soloing as well so as always thank you00:27:11
so much for joining me for this lesson I00:27:12
hope you've enjoyed it please do like00:27:14
comment down below ask any questions you00:27:16
might have and do subscribe that's one00:27:19
of the easy ways you can support this00:27:21
channel it makes a huge difference More00:27:23
Than People realize and it costs you00:27:24
nothing just please hit that subscribe00:27:27
button and hit the notification Bell if00:27:28
you're really feeling fruity all right00:27:31
I'll see you next week for another00:27:32
lesson take care guysDescription:
*NEW! Access all lesson materials by becoming a Patreon at the link below for just a small monthly fee!.. https://www.patreon.com/AlexFarranGuitar If Patreon isn’t your bag, you can purchase the materials for this lesson alone, directly at the link below; https://smogfalls.gumroad.com/l/pitgog Book in for a private Zoom lesson!.. just choose a slot at the link below; https://tidycal.com/alexfarranguitar/guitarlesson Duke Ellington was one of the finest composers in jazz history.. today we learn one of his simpler pieces with a blues based melody.. the beautiful "In a Sentimental Mood". We'll cover the chords and the melody, as well as a bit of chord melody for the Bridge section of the tune. Stick around for some recommended listening at the end too ;) Reference videos for some background fundamentals; Essential chord voicings from triads.. https://www.youtube.com/watch?v=fvvIc93f-EU My Jazz survival guide.. https://www.youtube.com/watch?v=YuGjk8Hqpnw Tri-tone Substituion.. https://www.youtube.com/watch?v=Djm-tN43Q2g I would highly recommend downloading the lesson materials provided at the link above.. all of the topics covered in this lesson are typed up nice and neat and provided in both guitar pro and PDF formats. Having these to hand whilst following along with the video will certainly make things much easier to absorb. Thanks for watching and please do leave a comment down below, and if you could hit the like button and subscribe to my channel, that would really be so appreciated. You can also buy me a coffee at this link; https://buymeacoffee.com/alexfarran And I post most days on insta: https://www.facebook.com/unsupportedbrowser
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