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Clarinet

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   CAPTION: Clarinet

          Clarinet

        Classification
     * Wind
     * Woodwind
     * Single-reed

        Playing range
     Related instruments
     * Saxophone

          Musicians
     * List of clarinetists

   Two soprano clarinets: a B♭ clarinet (left) and an A clarinet (right,
   with no mouthpiece). These use the Oehler system of keywork.
   Enlarge
   Two soprano clarinets: a B♭ clarinet (left) and an A clarinet (right,
   with no mouthpiece). These use the Oehler system of keywork.

   The clarinet is a musical instrument in the woodwind family. The name
   derives from adding the suffix -et meaning little to the Italian word
   clarino meaning a particular trumpet, as the first clarinets had a
   strident tone similar to that of a trumpet. The instrument has an
   approximately cylindrical bore, and uses a single reed. (See
   Characteristics of the instrument.)

   Clarinets actually comprise a family of instruments of differing sizes
   and pitches. It is the largest such instrument family, with more than
   two dozen types. Of these many are rare or obsolete, and music written
   for them is usually played on one of the more common size instruments.
   The unmodified word clarinet usually refers to the B♭ soprano, by far
   the most common clarinet. (See " Clarinet family").

   Since approximately 1850, clarinets have been nominally tuned according
   to 12-tone equal-temperament. Older clarinets were nominally tuned to
   meantone, and a skilled performer can use his or her embouchure to
   considerably alter the tuning of individual notes.

   A person who plays the clarinet is called a clarinetist, sometimes
   spelled "clarinettist".

Characteristics of the instrument

Tone

   The clarinet has a distinctive timbre, resulting from the shape of the
   cylindrical bore, whose characteristics vary between its three main
   registers: the chalumeau (low), clarion or clarino (middle), and
   altissimo (high). It has a very wide compass, which is showcased in
   chamber, orchestral, and wind band writing. The tone quality varies
   greatly with the musician, the music, the style of clarinet, the reed,
   and humidity. The German ( Oehler system) clarinet generally has a
   darker tone quality than the French ( Boehm system). In contrast, the
   French clarinet typically has a lighter, brighter tone quality. The
   differences in instruments and geographical isolation of players in
   different nations led to the development, from the last part of the
   18th century on, of several different schools of clarinet playing. The
   most prominent of these schools were the German/Viennese traditions and
   the French school, centered around the clarinetists of the
   Conservatoire de Paris. Increasingly, through the proliferation of
   recording technology and the internet, examples of many different
   styles of clarinet playing are available to developing clarinetists
   today. This has led to decreased homogeneity of styles of clarinet
   playing. The modern clarinetist has an eclectic palette of "acceptable"
   tone qualities to choose from, especially when working with an
   open-minded teacher.

   The A clarinet sound is a little darker, richer, and less brilliant
   than that of the more common B♭ clarinet, though the difference is
   relatively small. The tone of the E♭ clarinet is quite a bit brighter
   than any other member of the widely-used clarinet family and is known
   for its distinctive ability to cut through even loud orchestral
   textures; this effect was utilized by such 20th century composers as
   Mahler, Copland, Shostakovich, and Stravinsky.

   The bass clarinet has a characteristically deep, mellow sound.

Range

   The bottom of the clarinet’s written range is defined by the keywork on
   each particular instrument; there are standard keywork schemes with
   some variability. The actual lowest concert pitch depends on the
   transposition of the instrument in question; in the case of the B♭, the
   concert pitch is a whole tone lower than the written pitch. Nearly all
   soprano and piccolo clarinets have keywork enabling them to play the E
   below middle C as their lowest written note.
   Written range of soprano clarinets.
   Enlarge
   Written range of soprano clarinets.

   Most alto and bass clarinets have an extra key to allow a low E♭.
   Modern professional-quality bass clarinets generally have additional
   keywork to low C. Among the less commonly encountered members of the
   clarinet family, contra-alto and contrabass clarinets may have keywork
   to low E♭, D, or C; the basset clarinet and basset horn generally go to
   low C.

   Defining the top end of a clarinet’s range is difficult, since many
   advanced players can produce notes well above the highest notes
   commonly found in method books. The “high G” two octaves plus a perfect
   fifth above middle C is routinely encountered in advanced material and
   in the standard literature through the nineteenth century. The C above
   that is attainable by most advanced players and is shown on many
   fingering charts. Many professional players are able to extend the
   range even higher. Less advanced players may have great difficulty
   making these notes sound "in tune" without very good technique, even if
   they can produce a pitch with the proper fingering.

   The range of a clarinet can be divided into three distinctive
   registers. The lowest notes, up to the written B♭ above middle C, is
   known as the 'chalumeau register' (named after the instrument that was
   the clarinet's immediate ancestor), of which the top four notes or so
   are known as the 'throat tones'. Producing a blended tone with the
   surrounding registers takes much skill and practice.

   The middle register is termed the 'clarion' register and spans just
   over an octave (from written B above middle C, to the C two octaves
   above middle C). The top or 'altissimo' register consists of the notes
   from the written C♯ two octaves above middle C and up.

Construction and acoustics

   The Construction of a Clarinet
   Enlarge
   The Construction of a Clarinet

   Professional clarinets are usually made from African hardwood, often
   grenadilla, rarely (because of diminishing supplies) Honduran rosewood
   and sometimes even cocobolo. Historically other woods, notably boxwood,
   were used. One major manufacturer makes professional clarinets from a
   composite mixture of plastic resin and wood chips — such instruments
   are less affected by humidity, but are heavier than the equivalent wood
   instrument. Student instruments are sometimes made of composite or
   plastic resin, commonly "resonite", an ABS resin. Metal soprano
   clarinets were popular in the early twentieth century, until plastic
   instruments supplanted them; metal construction is still used for some
   contra-alto and contrabass clarinets. Mouthpieces are generally made of
   ebonite, although some inexpensive mouthpieces may be made of plastic.
   The instrument uses a single reed made from the cane of arundo donax, a
   type of grass. Reeds may also be manufactured from synthetic materials.
   The ligature fastens the reed to the mouthpiece. When air is blown
   through the opening between the reed and the mouthpiece facing, the
   reed vibrates and produces the instrument's sound.

   While a few clarinetists make their own reeds, most buy manufactured
   reeds, though many players make adjustments to these reeds to improve
   playability. Clarinet reeds come in varying "strengths" generally
   described from "soft" to "hard." It is important to note that there is
   no standardized system of designating reed strength. Beginning
   clarinetists are often encouraged to use softer reeds. Jazz
   clarinetists often remain on softer reeds, as they are more suitable
   for bending pitch. Most classical musicians work towards harder reed
   strengths as their embouchures strengthen. The benefit of a harder reed
   is a sturdy, round tone. However it should be noted that the strength
   of the reed is only one factor in the player's set-up; the
   characteristics of the mouthpiece are also critical, and indeed the
   reed strength should be matched to the mouthpiece. The major
   manufacturers of clarinet reeds include Gonzales, Rico, Vandoren, and
   many others.

   The body of a modern soprano clarinet is equipped with numerous tone
   holes of which seven (six front, one back) are covered by the
   fingertips and the rest are opened or closed using a complicated set of
   keys. These tone holes allow every note of the chromatic scale to be
   produced. (On bass and larger clarinets, some alto clarinets, and a few
   soprano clarinets, some or all of the finger holes are replaced by
   key-covered holes.) The most common system of keys was named the Boehm
   System by its designer Hyacinthe Klosé in honour of the flute designer
   Theobald Boehm, but is not the same as the Boehm System used on flutes.
   The other main system of keys is called the Oehler system and is used
   mostly in Germany and Austria (see History). Related is the Albert
   system used by some jazz, klezmer, and eastern European folk musicians.
   The Albert and Oehler systems are both based on the earlier Mueller
   system.

   The hollow bore inside the instrument has a basically cylindrical
   shape, being roughly the same diameter for most of the length of the
   tube. There is a subtle hourglass shape, with its thinnest part at the
   junction between the upper and lower joint. This hourglass figure is
   not visible to the naked eye, but helps in the resonance of the sound.
   The diameter of the bore affects characteristics such as the stability
   of the pitch of a given note, or, conversely, the ability with which a
   note can be 'bent' in the manner required in jazz and other styles of
   music. The bell is at the bottom of the instrument and flares out to
   improve the tone of the lowest notes.

   A clarinetist moves between registers through use of the register key,
   or speaker key. The fixed reed and fairly uniform diameter of the
   clarinet give the instrument the configuration of a cylindrical stopped
   pipe in which the register key, when pressed, causes the clarinet to
   produce the note a twelfth higher, corresponding to the third harmonic.
   The clarinet is therefore said to overblow at the twelfth. (By
   contrast, nearly all other woodwind instruments overblow at the octave,
   or do not overblow at all; the rackett is the next most common Western
   instrument that overblows at the twelfth like the clarinet.) A clarinet
   must therefore have holes and keys for nineteen notes (an octave and a
   half, from bottom E to B♭) in its lowest register to play a chromatic
   scale. This fact at once explains the clarinet's great range and its
   complex fingering system. The fifth and seventh harmonics are also
   available to skilled players, sounding a further sixth and fourth
   (actually a very flat diminished fifth) higher respectively.

   The highest notes on a clarinet can have a piercing quality and can be
   difficult to tune precisely. Different individual instruments can be
   expected to play differently in this respect. This becomes critical if
   a number of instruments are required to play a high part in unison.
   Fortunately for audiences, disciplined players can use a variety of
   fingerings to introduce slight variations into the pitch of these
   higher notes. It is also common for high melody parts to be split into
   close harmony to avoid this issue.

Components of a modern soprano clarinet

   A Boehm system soprano clarinet is shown in the photos illustrating
   this section. However, all modern clarinets have similar components.
   Clarinet Reed, Mouthpiece, and Ligature
   Enlarge
   Clarinet Reed, Mouthpiece, and Ligature

   The reed is attached to the mouthpiece by the ligature and the top
   half-inch or so of this assembly is held in the player’s mouth. (German
   clarinetists usually use windings of string instead of a ligature.) The
   formation of the mouth around the mouthpiece and reed is called the
   embouchure.

   The reed is on the underside of the mouthpiece pressing against the
   player's bottom lip, while the top teeth normally contact the top of
   the mouthpiece (some players roll the upper lip under the top teeth to
   form what is called a ‘double-lip’ embouchure). Adjustments in the
   strength and configuration of the embouchure change the tone and
   intonation (tuning). It is not uncommon for clarinetists to employ
   methods to soften the pressure on both the upper teeth and inner lower
   lip by respectively attaching pads to the top of the mouthpiece and
   putting (temporary) padding on the front lower teeth, commonly from
   folded paper.
   Clarinet Barrel from a Buffet R13 Clarinet
   Enlarge
   Clarinet Barrel from a Buffet R13 Clarinet

   Next is the short barrel; this part of the instrument may be extended
   in order to fine-tune the clarinet. As the pitch of the clarinet is
   fairly temperature sensitive some instruments have interchangeable
   barrels whose lengths vary very slightly. Additional compensation for
   pitch variation and tuning can be made by increasing the length of the
   instrument by pulling out the barrel, particularly common in group
   playing in which clarinets are tuned to other instruments (such as in
   an orchestra). Some performers employ a single, synthetic barrel with a
   thumbwheel that enables the barrel length to be altered on the fly. On
   basset horns and lower clarinets, the barrel is usually replaced by a
   curved metal neck.
   Buffet R13 Clarinet Upper Joint
   Enlarge
   Buffet R13 Clarinet Upper Joint

   The main body of most clarinets is divided into the upper joint whose
   holes and most keys are operated by the left hand, and the lower joint
   with holes and most keys operated by the right hand. (Some clarinets
   have a single joint. On some basset horns and larger clarinets the two
   joints are held together with a screw clamp and are usually not
   disassembled for storage.) The left thumb operates both a tone hole and
   the register key. Interestingly, on some models of clarinet, such as
   many Albert system clarinets, and increasingly some higher-end boehm
   systems clarinets, the register key is a 'wraparound' key, with the key
   on the back of the clarinet and the pad on the front. As well as the
   slightly exotic look this lends to the clarinet, advocates of the
   wraparound register key advocate improved sound, as well as the benefit
   that it is harder for condensation to accumulate in the tube beneath
   the pad.

   The cluster of keys at the bottom of the upper joint (protruding
   slightly beyond the cork of the joint) are known as the trill keys and
   are operated by the right hand. These give the player alternative
   fingerings which make it easy to play ornaments and trills that would
   otherwise be awkward. The entire weight of the smaller clarinets is
   supported by the right thumb behind the lower joint on what is called
   the thumb-rest. Basset horns and larger clarinets are supported with a
   neck strap or a floor peg.
   Buffet R13 Clarinet Lower Joint
   Enlarge
   Buffet R13 Clarinet Lower Joint

   Finally, the flared end is known as the bell. Contrary to popular
   belief, the bell does not amplify the sound; rather, it improves the
   uniformity of the instrument's tone for the lowest notes in each
   register. For the other notes the sound is produced almost entirely at
   the tone holes and the bell is irrelevant. As a result, when playing to
   a microphone, the best tone can be recorded by placing the microphone
   not at the bell but a little way from the finger-holes of the
   instrument. This relates to the position of the instrument when playing
   to an audience: pointing down at the floor, except in the most vibrant
   parts of certain styles of music and when called for specifically by
   the composer in the music (for example, in the music of Gustav Mahler).
   On basset horns and larger clarinets, the bell usually is made of
   metal, and curves up and forward instead of pointing down.
   Buffet R13 Clarinet Bell
   Enlarge
   Buffet R13 Clarinet Bell

   The reason that the most popular soprano clarinets are in B♭, A, and E♭
   has to do partly with the history of the instrument, and partly with
   acoustics and aesthetics. Before about 1800, due to the lack of
   airtight pads (as explained below in History), practical woodwinds
   could have only a few keys to control accidentals (notes outside their
   diatonic home scales). Because clarinets overblow at the twelfth rather
   than the octave, they need keys to control more notes in each register
   than oboes, flutes, or bassoons do. Therefore clarinets with few keys
   cannot easily play an in-tune chromatic scale, limiting any such
   instrument to a few closely related key signatures. For example, an
   eighteenth century clarinet in C could readily be played in B♭, F, C, G
   and D (and their relative minors), but not (easily) keys outside this
   range. As key technology improved and more keys were added to
   woodwinds, the need for instruments in multiple musical keys was
   reduced. For octave-overblowing instruments a single instrument in C
   can readily be played in any key. For clarinets, the use of more than
   one instrument in different keys persisted, with instruments in B♭ and
   A used in addition to the C instrument in the lower soprano range.

   Because the acoustics of the clarinet mean that the deeper the
   instrument is in pitch, the more "mellow" (less bright) it sounds, the
   C clarinet - being the shortest and therefore brightest instrument of
   the three - eventually fell out of favour as the other two clarinets
   could play its range of keys between them and their sound was
   considered better. As more technical improvements were made, and the
   clarinet became equal tempered, the need for two clarinets itself
   reduced. However the difficulties for the player playing in remote keys
   remains and thus the A has remained a useful orchestral instrument.

   Similarly there have been E♭ and D instruments in the upper soprano
   range, B♭, A, and C instruments in the bass range, and so forth; but
   over time the E♭ and B♭ instruments have become predominant.

Usage and repertoire of the clarinet

   Clarinets have a very wide compass, which is showcased in chamber,
   orchestral, and wind band writing. Additionally, improvements made to
   the fingering systems of the clarinet over time have enabled the
   instrument to be very agile; there are few restrictions to what it is
   able to play.

Classical music

   A pair of Buffet R13 Boehm-System Soprano Clarinets in A and Bb.
   Enlarge
   A pair of Buffet R13 Boehm-System Soprano Clarinets in A and Bb.

   In classical music, clarinets are part of standard orchestral
   instrumentation, which frequently includes two clarinetists playing
   individual parts — each player usually equipped with a pair of standard
   clarinets in B♭ and A. Clarinet sections grew larger during the 19th
   century, employing a third clarinetist or a bass clarinet. In the 20th
   century, composers such as Igor Stravinsky, Richard Strauss and Olivier
   Messiaen enlarged the clarinet section on occasion to up to nine
   players, employing many different clarinets including the E♭ or D
   soprano clarinets, bassett horn, bass clarinet and/or contrabass
   clarinet.

   This practice of using a variety of clarinets to achieve colouristic
   variety was common in 20th century music and continues today. It is
   quite common for clarinet parts to alternate between B♭ and A
   instruments several times over the course of a movement. However, many
   clarinetists and conductors prefer to play parts originally written for
   obscure instruments such as the C or D clarinets on B♭ or E♭ clarinets,
   which are of better quality and more prevalent and accessible.

   The clarinet is widely used as a solo instrument. The relatively late
   evolution of the clarinet (when compared to other orchestral woodwinds)
   has left a considerable amount of solo repertoire from the Classical,
   Romantic and Modern periods but few works from the Baroque era. A
   number of clarinet concertos have been written to showcase the
   instrument, with the concerti by Mozart, Copland and Weber being
   particularly well known.

   Many works of chamber music have also been written for the clarinet.
   Particularly common combinations are:
     * Clarinet and piano (including clarinet sonatas)
     * Clarinet, piano and another instrument (for example, string
       instrument or voice)
     * Clarinet Quintet, generally made up of a clarinet plus a string
       quartet,
     * Wind Quintet, consists of flute, oboe, clarinet, bassoon, and horn.
     * Trio d'Anches, or Trio of Reeds consists of oboe, clarinet, and
       bassoon.
     * Wind Octet, consists of pairs of oboes, clarinets, bassoons, and
       horns.
     * Clarinet, violin, piano
     * Clarinet, viola, piano

Concert bands

   In wind bands, clarinets are a particularly central part of the
   instrumentation, occupying the same space (and often playing the same
   parts) in bands that the strings do in orchestras. Bands usually
   include several B♭ clarinets, divided into sections each consisting of
   2-3 clarinetists playing the same part. There is almost always an E♭
   clarinet part and a bass clarinet part, usually doubled. Alto,
   contra-alto, and contrabass clarinets are sometimes used as well, and
   very rarely a piccolo A♭ clarinet.

Jazz

   Dr Michael White (front right) plays clarinet at a jazz funeral in
   Treme, New Orleans, Louisiana.
   Enlarge
   Dr Michael White (front right) plays clarinet at a jazz funeral in
   Treme, New Orleans, Louisiana.

   The clarinet was a central instrument in early jazz starting in the
   1910s and remaining popular in the United States through the big band
   era into the 1940s. Larry Shields, Ted Lewis, Jimmie Noone and Sidney
   Bechet were influential in early jazz. The B♭ soprano was the most
   common instrument, but a few early jazz musicians such as Louis Nelson
   Deslile and Alcide Nunez preferred the C soprano, and many New Orleans
   jazz brass bands have used E♭ soprano.

   Swing clarinetists such as Benny Goodman, Artie Shaw, and Woody Herman
   led successful and popular big bands and smaller groups from the 1930s
   onward. With the decline of the big bands' popularity in the late
   1940s, the clarinet faded from its prominent position in jazz, though a
   few players ( Buddy DeFranco, Eric Dolphy, Jimmy Giuffre, Perry
   Robinson, and others) used clarinet in bebop and free jazz.

   During the 1950s and 60s, Britain underwent a surge in the popularity
   of traditional jazz. During this period, a British clarinetist named
   Acker Bilk became popular, founding his own ensemble in 1956. Bilk had
   a string of successful records including the most popular, Stranger on
   the Shore, a tune now synonymous with Acker Bilk himself.

   Back in the U.S., the instrument has seen something of a resurgence
   since the 1980s, with Eddie Daniels, Don Byron, and others playing the
   clarinet in more contemporary contexts. The instrument remains common
   in Dixieland music; Pete Fountain is one of the best known performers
   in this genre.

   Filmmaker Woody Allen is a notable clarinet enthusiast, regularly
   playing New Orleans-style jazz in New York.

Klezmer

   Clarinets also feature prominently in much Klezmer music, which
   requires a very distinctive style of playing. This folk genre makes
   much use of quarter-tones, making a different embouchure (mouth
   position) necessary. Some klezmer musicians prefer Albert system
   clarinets.

Groups of clarinets

   Groups of clarinets playing together have become increasingly popular
   among clarinet enthusiasts in recent years. Common forms are:
     * clarinet choir, which features a large number of clarinets playing
       together, usually involving a range of different members of the
       clarinet family (see Extended family of clarinets). The homogeneity
       of tone across the different members of the clarinet family
       produces an effect with some similarities to a human choir.
     * clarinet quartet, for which three B♭ sopranos and one B♭ bass is a
       particularly common combination.

   Clarinet choirs and quartets often play arrangements of both classical
   and popular music, in addition to a body of literature specially
   written for a combination of clarinets by composers such as Arnold
   Cooke, Alfred Uhl, Lucien Caillet and Václav Nelhýbel.

Extended family of clarinets

   Clarinets other than the standard B♭ and A clarinets are sometimes
   known as harmony clarinets. However, there is a family of many
   differently-pitched clarinet types, some of which are very rare. The
   following are the most important sizes:
     * Piccolo clarinet in A♭.
     * Soprano clarinets in E♭, D, C, B♭, A and G.
     * Basset clarinet in A.
     * Basset horn in F.
     * Alto clarinet in E♭.
     * Bass clarinet in B♭.
     * Contra-alto clarinet in EE♭.
     * Contrabass clarinet in BB♭.

   Experimental EEE♭ octocontra-alto and BBB♭ octocontrabass clarinets
   have also been built.

History

   4-key boxwood clarinet, ca. 1760.
   Enlarge
   4-key boxwood clarinet, ca. 1760.

   The clarinet developed from a Baroque instrument called the chalumeau.
   This instrument was similar to a recorder, but with a single reed
   mouthpiece similar to that of the modern clarinet and a cylindrical
   bore. Lacking a register key, it was played only in its fundamental
   register, so it had a limited range of about one and a half octaves. It
   had eight finger holes, like a recorder, plus two keys for extra notes.

   Around the end of the 17th century the chalumeau was modified by
   converting one of its keys into a register key and produced the first
   clarinet. This development is attributed to a German instrument maker
   named Johann Christoph Denner. This instrument played well in the
   middle register with a loud, strident tone, so it was given the name
   clarinetto meaning "little trumpet" (from clarino + -etto). Early
   clarinets did not play well in the lower register, so chalumeaux
   continued to be made to play the low notes and these notes became known
   as the chalumeau register. As clarinets improved, the chalumeau fell
   into disuse.

   The original Denner clarinets had two keys, but various makers added
   more to get extra notes. The classical clarinet of Mozart's day would
   probably have had eight finger holes and five keys.

   Clarinets were soon accepted into orchestras. Later models had a
   mellower tone than the originals. Mozart (d. 1791) liked the sound of
   the clarinet (he considered its tone the closest in quality to the
   human voice) and wrote much music for it, and by the time of Beethoven
   (c. 1800-1820), the clarinet was a standard fixture in the orchestra.

   The next major development in the history of clarinet was the invention
   of the modern pad. Early clarinets covered the tone holes with felt
   pads. Because these leaked air, the number of pads had to be kept to a
   minimum, so the clarinet was severely restricted in what notes could be
   played with a good tone. In 1812, Ivan Mueller, a Russian-born
   clarinetist and inventor, developed a new type of pad which was covered
   in leather or fish bladder. This was completely airtight, so the number
   of keys could be increased enormously. He designed a new type of
   clarinet with seven finger holes and thirteen keys. This allowed the
   clarinet to play in any key with near equal ease. Over the course of
   the 19th century, many enhancements were made to Mueller's clarinet,
   such as the Albert system and the Baermann system, all keeping the same
   basic design. The Mueller clarinet and its derivatives were popular
   throughout the world.

   The final development in the modern design of the clarinet used in most
   of the world today, was introduced by Hyacinthe Klosé in 1839. He
   devised a different arrangement of keys and finger holes which allow
   simpler fingering. It was inspired by the Boehm system developed by
   Theobald Boehm, a flute maker who had invented the system for flutes.
   Klosé was so impressed by Boehm's invention that he named his own
   system for clarinets the Boehm system, although it is different from
   the one used on flutes. This new system was slow to catch on because it
   meant the player had to relearn how to play the instrument. Gradually,
   however, it became the standard and today the Boehm system is used
   everywhere in the world except Germany and Austria. These countries
   still use a direct descendant of the Mueller clarinet known as the
   Oehler system clarinet. Also, some contemporary Dixieland and Klezmer
   players continue to use Albert system clarinets, as the simpler
   fingering system can allow for easier slurring of notes. At one time
   the reed was held on using string, but now the practice exists
   primarily in Germany and Austria, where the tone is preferred over that
   produced with the ligatures that are more popular in the rest of the
   world.

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