Hanon Blues
NatalieMoreno1
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Feb 09, 2016
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About This Presentation
Hanon Blues
Slide Content
~ Blues Hanon
Authentic, progressive exercises and etudes
for the contemporary piano student
by Leo Alfassy.
Theory + Development + Application
Authentic, progressive exercises and etudes
for the contemporary piano student
by Leo Alfassy.
Theory + Development + Application
Contents
Introduction
Elements of Blues Style
Melody
Hermony and Form
Bass Lin
lac Notes and Seales
Meter and Tempos
Syacopation
Parle Thirds nd
Sas (Right Hand)
lve Notes
Grace Notes
Tremolo
Parallel Sixth (Lee Hand)
Lefeand Extension Tents
Compound Meter
0
u
12
12
15
E
19
2
EN
37
a
Introduction
Elements of Blues Style
Melody
Hermony and Form
Bass Lin
lac Notes and Seales
Meter and Tempos
Syacopation
Parle Thirds nd
Sas (Right Hand)
lve Notes
Grace Notes
Tremolo
Parallel Sixth (Lee Hand)
Lefeand Extension Tents
Compound Meter
0
u
12
12
15
E
19
2
EN
37
a
Be
Introduction
‘The blues,» primal formal structure in American popular musi, s pethaps the most
significant contribution of black 0 he musical Bertage ofthis county. Tt ad pro
found impact on the development of jazz and permested a good deal of concert mass
swell:
Although a produer of black culture, he blues san amalgamation of Afro-American
and European traditions. It makes use of elements of harmony and form from European.
musical common practice, being essentaly a stophic song set to thee line stanzas. But
the African influence is significant in many ways: 1) the melodie line consists of mostly
descending phrases, 2) she caes contain “blue!” notes (ar seveaths thirds, and HE)
5) the voice has a special open quality, employing glisandos, mesma, and falsetos:
4) there à polie Iterplay between the voice and the accompaniment.
‘The emergence ofthe blues and the closely related boogi.wooge as identifiable ent
ties is very diet to determine, manly because they were Ke alive by oral tradition.
‘Around 1900, when musicologs was ins infancy, very few eihnamusicolopst realized
‘har the musical heritage of the nonwestern world mented scene rescare We mist
rely on the memory ofthe very few musicians stl ving and other chroniclers, whose
"Vague ecollections offer ile accurate information aboot the First steps OF thi indi
‘hows American ar fo.
“The principal sources ofthe blues were Negro pics and work songs, many the
holler ng the lev: camps slong te southern sere and the elds. Fd holes
‘were nacvmpaied song In rc thy, characterized by thei waling sound, ery
Amar othe sons of the farmers nos Ati. They were “complain” aga
ele working condos, he power landlord ove problems, ete Gradually the
Freshy me hole evolved ine song with stronger mete acens and more press
formal serre. Bus the Dues crane the mest personal expression of he
depreed, dise melanchl, and roots back people of he South
From the tum ofthe century to the 1920s when he agricola South war rad
industrialized and when nern back worte found job in th nd sams OF the
norte and midwest ee, he ral vocal bacs ws asformed into an at
‘mental urban composion wih a mor dance ke character Many nern pans
payed the ble for ende hours in da jue ois ent house parte, and Deel
Fous (cheap dunking etblshmencs wih bar stacked slong the wal for sting
parpots ands dir oor for dancing. In this envionment wa rested the urlhouse
Blaye ws a quie nie pant ang, reste by self gh musicos and
dap othe rough audience an othe echnical conditions of the dpt
Inthe cary 1920, after the closing ofthe rd iii New Orleans many’
tack musicas moved now lang ie Miss ppt River and erated ne jar tete,
especial in Kana Co, Memp Se Loui and Chicago, ma Chicago tha a new
Gene of lan with muse! schooling developed cher harmon and syle
Scala introducing th bls into more pura cb eme and the recording
dio
“The Blac compose W.C. Handy played an inporan ol inthe development of
the ues He wan theft orchestrator who called melodie from the peters he
hear round him, hen harmonzc and published them inthe cat 1910s Ara eo,
mes generation of young jez musicians became fail with the bles chon quem
improved on hem, nd vested new melodies
In 1920, the fist blues record by a lack vocals appeared followed by thowsands
cof ace” records intended exclusively for black customers By the mid-1920s, the blues
‘reached a mixed audience, becoming a popular dance form which was no longs assoc
‘Sted with depression and lamentation ftruimental blues appeared in a varity of tem-
Introduction
‘The blues,» primal formal structure in American popular musi, s pethaps the most
significant contribution of black 0 he musical Bertage ofthis county. Tt ad pro
found impact on the development of jazz and permested a good deal of concert mass
swell:
Although a produer of black culture, he blues san amalgamation of Afro-American
and European traditions. It makes use of elements of harmony and form from European.
musical common practice, being essentaly a stophic song set to thee line stanzas. But
the African influence is significant in many ways: 1) the melodie line consists of mostly
descending phrases, 2) she caes contain “blue!” notes (ar seveaths thirds, and HE)
5) the voice has a special open quality, employing glisandos, mesma, and falsetos:
4) there à polie Iterplay between the voice and the accompaniment.
‘The emergence ofthe blues and the closely related boogi.wooge as identifiable ent
ties is very diet to determine, manly because they were Ke alive by oral tradition.
‘Around 1900, when musicologs was ins infancy, very few eihnamusicolopst realized
‘har the musical heritage of the nonwestern world mented scene rescare We mist
rely on the memory ofthe very few musicians stl ving and other chroniclers, whose
"Vague ecollections offer ile accurate information aboot the First steps OF thi indi
‘hows American ar fo.
“The principal sources ofthe blues were Negro pics and work songs, many the
holler ng the lev: camps slong te southern sere and the elds. Fd holes
‘were nacvmpaied song In rc thy, characterized by thei waling sound, ery
Amar othe sons of the farmers nos Ati. They were “complain” aga
ele working condos, he power landlord ove problems, ete Gradually the
Freshy me hole evolved ine song with stronger mete acens and more press
formal serre. Bus the Dues crane the mest personal expression of he
depreed, dise melanchl, and roots back people of he South
From the tum ofthe century to the 1920s when he agricola South war rad
industrialized and when nern back worte found job in th nd sams OF the
norte and midwest ee, he ral vocal bacs ws asformed into an at
‘mental urban composion wih a mor dance ke character Many nern pans
payed the ble for ende hours in da jue ois ent house parte, and Deel
Fous (cheap dunking etblshmencs wih bar stacked slong the wal for sting
parpots ands dir oor for dancing. In this envionment wa rested the urlhouse
Blaye ws a quie nie pant ang, reste by self gh musicos and
dap othe rough audience an othe echnical conditions of the dpt
Inthe cary 1920, after the closing ofthe rd iii New Orleans many’
tack musicas moved now lang ie Miss ppt River and erated ne jar tete,
especial in Kana Co, Memp Se Loui and Chicago, ma Chicago tha a new
Gene of lan with muse! schooling developed cher harmon and syle
Scala introducing th bls into more pura cb eme and the recording
dio
“The Blac compose W.C. Handy played an inporan ol inthe development of
the ues He wan theft orchestrator who called melodie from the peters he
hear round him, hen harmonzc and published them inthe cat 1910s Ara eo,
mes generation of young jez musicians became fail with the bles chon quem
improved on hem, nd vested new melodies
In 1920, the fist blues record by a lack vocals appeared followed by thowsands
cof ace” records intended exclusively for black customers By the mid-1920s, the blues
‘reached a mixed audience, becoming a popular dance form which was no longs assoc
‘Sted with depression and lamentation ftruimental blues appeared in a varity of tem-
x and characters, and 2 + mi
ng ou a icon of eh dar “con
“The second half of the 1940s sau the development of a more sophiseated syle,
ally after he introduction of electrically amplified instruments inthe jazz band.
he bebop, a progressive jazz style of this period, was strongly influenced by the bes
tradition,
‘The 1950s witnesed the emergence of “hythm and blues.” which ithe progenitor
‘of ck roll Even today the talent of ja: musician e judged by his abilty to
tempo spontaneously within this fundamental jazz form, which account (or
About one hi of al popular music
The next section explains he characteristic features of he blues in relation to the
base elements of must. This followed by thirythree practical exercises, cach dealing
‘with aspect echnical problem for te lef or mgt hand, In order to acquire an
absolte independence of hands, it I necessary to practice each hand separate. This
Should be done in a slow tempo and without the uae ofthe right pedal Instead the
ident can ep» steady tempo by “apping he bet with his ig foot.
ng ou a icon of eh dar “con
“The second half of the 1940s sau the development of a more sophiseated syle,
ally after he introduction of electrically amplified instruments inthe jazz band.
he bebop, a progressive jazz style of this period, was strongly influenced by the bes
tradition,
‘The 1950s witnesed the emergence of “hythm and blues.” which ithe progenitor
‘of ck roll Even today the talent of ja: musician e judged by his abilty to
tempo spontaneously within this fundamental jazz form, which account (or
About one hi of al popular music
The next section explains he characteristic features of he blues in relation to the
base elements of must. This followed by thirythree practical exercises, cach dealing
‘with aspect echnical problem for te lef or mgt hand, In order to acquire an
absolte independence of hands, it I necessary to practice each hand separate. This
Should be done in a slow tempo and without the uae ofthe right pedal Instead the
ident can ep» steady tempo by “apping he bet with his ig foot.
|
ope Elements of Blues Style
Melody |
‘The blues began as à lamentory chant with regular phrase sractaze and fee rhythm.
Gradualy, developed into simple repetitious *welve-bar melody, consisting of Gece
or brooding descending phrases witha driving rhythmie accompaniment, Each musial
> Phrase corresponds to one line of he three blues stan with an Instrumental
Emedude
the
dns
: ==
mis 3 =
de 7 > ar
bar Pee got a ge AA
Often one or more inal eighth notes precede the phrases in the form ofan upbeat
en
10 follow the changing harmony, the musica phases can be altered chromat
ically (a) or transposed to another pitch above or below (0).
PERRET >=
piece or even in che same way as another kind of popular melody, I Fami only the
ramcwork for creative improvisations and ceaseless embellishments: he perform
being more or les he spontancous composer.
,
ope Elements of Blues Style
Melody |
‘The blues began as à lamentory chant with regular phrase sractaze and fee rhythm.
Gradualy, developed into simple repetitious *welve-bar melody, consisting of Gece
or brooding descending phrases witha driving rhythmie accompaniment, Each musial
> Phrase corresponds to one line of he three blues stan with an Instrumental
Emedude
the
dns
: ==
mis 3 =
de 7 > ar
bar Pee got a ge AA
Often one or more inal eighth notes precede the phrases in the form ofan upbeat
en
10 follow the changing harmony, the musica phases can be altered chromat
ically (a) or transposed to another pitch above or below (0).
PERRET >=
piece or even in che same way as another kind of popular melody, I Fami only the
ramcwork for creative improvisations and ceaseless embellishments: he perform
being more or les he spontancous composer.
,
The harmonie and formal srueures ofthe blues and the boogie ate the same, Beery
composition cons ofa succesion of twelve sections called "choruses, cach
Section containing an identical harmonic pater. This patera is based onthe tds
Harmony and Form |
Seren a, |
a |
bar: 2 4 es 70 T =
= : eS Er
es
gen 0 ui |
ess |
st tetas à Es e
het are many exceptions 10 this base harmonie patera, The great performers of
blues and boogé use sophisticated chords, tone clusters and strikingly original pro-
gresions within ths fundamental framework, Here 5 a modern version ofthe ves
Cor boogie) form.
16 17 NT V7 imÿum7 Mg 7 V7
16 tam mn
PS E
=
10
composition cons ofa succesion of twelve sections called "choruses, cach
Section containing an identical harmonic pater. This patera is based onthe tds
Harmony and Form |
Seren a, |
a |
bar: 2 4 es 70 T =
= : eS Er
es
gen 0 ui |
ess |
st tetas à Es e
het are many exceptions 10 this base harmonie patera, The great performers of
blues and boogé use sophisticated chords, tone clusters and strikingly original pro-
gresions within ths fundamental framework, Here 5 a modern version ofthe ves
Cor boogie) form.
16 17 NT V7 imÿum7 Mg 7 V7
16 tam mn
PS E
=
10
Bass Line
‘The development ofa good efe hand technique is essential in blues playing because of
the twofold importance of te base ine a a harmonie suppor, and asa replacement for
{the shydhm section of band. A simple bass Figure can consist of the repetition of open
Fi or chords
S54
‘The bas line can also consis ofthe socalled “walking bass” (notes “walking” up
¿own a scale or in broken chords), probably derived from the common bas patterns
jaar bass
= ==
Fr} id ll > = —
a Here are some other tpi as figures.
==
=>
‘The development ofa good efe hand technique is essential in blues playing because of
the twofold importance of te base ine a a harmonie suppor, and asa replacement for
{the shydhm section of band. A simple bass Figure can consist of the repetition of open
Fi or chords
S54
‘The bas line can also consis ofthe socalled “walking bass” (notes “walking” up
¿own a scale or in broken chords), probably derived from the common bas patterns
jaar bass
= ==
Fr} id ll > = —
a Here are some other tpi as figures.
==
=>
r
Blue Notes and Scales
*iemelodic ine often contains features ypiclof the blues, namely heso-clled blue”
notes These ae notes particulary the tl, ft, and seventh depress of he scale
‘hove Intonaion le beruern the major and minor che (For practical purposes
these degres are dated by 4 semitone) In blue singing, these notes could be easly
"ben o ded” bythe singer or played on the aca, dh mom important nsrumen
for bles actompeniment. In order fo inte the Ve notes, which were imposable to
play on a keyboard Inserent, the ls pianiı had vo develop à ll technique of
Ebelishment consisting of grace notes and des
Although mos blues melodies are based on she major scale, some use other cales
such atonal or semitonal pentatonic seis, or "blues sles” containing te be potes
‘Tonal portaron ses copo of only five notes and include no semitones.
== ====
Aa
‘The lestígverion ofthe above example is quite often used in blues, especaly in a
descending Ine i
Sco penca sede include semitone.
ES
2
‘The blues sale ad blue notes to che major scale bur omits che second, ich, and
major seventh depres,
Sometimes blues pianist ute a minor wid in the sight hand and a ajo ad
ie hand sata e i
Meter and Tempo
eat li lanas mi à Gn he nd
A ee ten
He nr
The ble ad bog en much comme the form sone
e ae ne me
a ee Say ere dia
meet
en nn
A
Blue Notes and Scales
*iemelodic ine often contains features ypiclof the blues, namely heso-clled blue”
notes These ae notes particulary the tl, ft, and seventh depress of he scale
‘hove Intonaion le beruern the major and minor che (For practical purposes
these degres are dated by 4 semitone) In blue singing, these notes could be easly
"ben o ded” bythe singer or played on the aca, dh mom important nsrumen
for bles actompeniment. In order fo inte the Ve notes, which were imposable to
play on a keyboard Inserent, the ls pianiı had vo develop à ll technique of
Ebelishment consisting of grace notes and des
Although mos blues melodies are based on she major scale, some use other cales
such atonal or semitonal pentatonic seis, or "blues sles” containing te be potes
‘Tonal portaron ses copo of only five notes and include no semitones.
== ====
Aa
‘The lestígverion ofthe above example is quite often used in blues, especaly in a
descending Ine i
Sco penca sede include semitone.
ES
2
‘The blues sale ad blue notes to che major scale bur omits che second, ich, and
major seventh depres,
Sometimes blues pianist ute a minor wid in the sight hand and a ajo ad
ie hand sata e i
Meter and Tempo
eat li lanas mi à Gn he nd
A ee ten
He nr
The ble ad bog en much comme the form sone
e ae ne me
a ee Say ere dia
meet
en nn
A
Exercises
hand À
2
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wets the
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Syncopation
‘The next exercise introduce very important device in jazz, spncoption Syncope
sions, general spl, any debera placement de tur accent from à
Strong toa wesk beat In western musi, every bar contains strong and weak bass In $
sete, he fist and ehe bests are strong in À meter only the int. Example a) shows
‘the natura accent ind and { meter. Example (b) Mlstaes the displacement of hese
¿41
di
¿1
apis
Jg 1 |
rae
u
Jaze especially utes syncopaions on shorter time values (eighth and sixteenth note),
which creates à complete imbalance inthe lsener’sfeling of hyıhmic security an
FLY 1 Y ted dL 1927399 Dr
In laica mui, th proper way o perform a syncapaion so accentuate ches
ay The naman son thee acens by prolonging ih aa ofthe sre pot and
sin ramos a lng asthe syncopated nor For innen
DJ DJ en]
eo
dreams TT
‘The next exercise introduce very important device in jazz, spncoption Syncope
sions, general spl, any debera placement de tur accent from à
Strong toa wesk beat In western musi, every bar contains strong and weak bass In $
sete, he fist and ehe bests are strong in À meter only the int. Example a) shows
‘the natura accent ind and { meter. Example (b) Mlstaes the displacement of hese
¿41
di
¿1
apis
Jg 1 |
rae
u
Jaze especially utes syncopaions on shorter time values (eighth and sixteenth note),
which creates à complete imbalance inthe lsener’sfeling of hyıhmic security an
FLY 1 Y ted dL 1927399 Dr
In laica mui, th proper way o perform a syncapaion so accentuate ches
ay The naman son thee acens by prolonging ih aa ofthe sre pot and
sin ramos a lng asthe syncopated nor For innen
DJ DJ en]
eo
dreams TT
Parallel Third and Sixt (Right Hand)
Exercises 6 through 9 del with his; exercises 11 through 13 del wich sixth in
re gr hand, Parallel hrds and ss are difficult ro perform evenly; the two com
ponent keys mas be struck precisely together 1 recommend the major and minor
[Bales as preparitory introduction o these exercise,
Exercises 6 through 9 del with his; exercises 11 through 13 del wich sixth in
re gr hand, Parallel hrds and ss are difficult ro perform evenly; the two com
ponent keys mas be struck precisely together 1 recommend the major and minor
[Bales as preparitory introduction o these exercise,
E E
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sty on the th
course, done purpose
10.
=
Beet
=p
we
ne neat exercise introduce bse notes. As explained previously, the blue notes
fh, and seventh degrees o te scale, which ate ated.
fica one Band plays a mjor Clad while the other one plays minor chor. This of
course, done purpose
10.
=
Beet
=p
we
ne neat exercise introduce bse notes. As explained previously, the blue notes
fh, and seventh degrees o te scale, which ate ated.
fica one Band plays a mjor Clad while the other one plays minor chor. This of
bis of
Tarr
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Tarr
=a = hen:
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26
ESS
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Grace Notes
In lacs msc, the ime value ofa grace note (ore printed in smal rye) must be
subteeted rom tha ofthe preceding o following noes he interpretation fes
the vas of the grace note extremely hort im cher words the gre note and the
‘Scent nore te pled snow lacy on be. Teac san ave
1 chen though he ang ofthe same finger ro & black vo wate key onthe
Keyboard.
Paca rings so de with the sae iger com on to ao nie
hey, or fom a whe aback hy, two fingers are Beccary to perform the pace note
a e ás ae
=
To create an even rete sion of gia playing, che iur pan often res
simultanea wo notes saat asemtone apart). Aheaglamerston ol fr
Semitoneriatheatne ind cae “tone user. ads mer excitement to theme).
eo ee zen
a
In lacs msc, the ime value ofa grace note (ore printed in smal rye) must be
subteeted rom tha ofthe preceding o following noes he interpretation fes
the vas of the grace note extremely hort im cher words the gre note and the
‘Scent nore te pled snow lacy on be. Teac san ave
1 chen though he ang ofthe same finger ro & black vo wate key onthe
Keyboard.
Paca rings so de with the sae iger com on to ao nie
hey, or fom a whe aback hy, two fingers are Beccary to perform the pace note
a e ás ae
=
To create an even rete sion of gia playing, che iur pan often res
simultanea wo notes saat asemtone apart). Aheaglamerston ol fr
Semitoneriatheatne ind cae “tone user. ads mer excitement to theme).
eo ee zen
a
14.
LT «ld Ar dy 44
| lh hl i Dh
ll [ Ñ tt ll) str Re I i IN
| 1! u | ET
A it Wa By id
im eo E à dl Di
TRISIRTE
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4 A E u ER
À it \ D + di a It
AU DT | i aot
up 48 43 À) a
|
LT «ld Ar dy 44
| lh hl i Dh
ll [ Ñ tt ll) str Re I i IN
| 1! u | ET
A it Wa By id
im eo E à dl Di
TRISIRTE
{ | | i
4 A E u ER
À it \ D + di a It
AU DT | i aot
up 48 43 À) a
|
As mentioned before, a jazz musicia softens syncopated and doted a
apt ene, th dnt green are shld be ay in
{his way, he 749 rhythm the ight hand wil fal together wich the o gula Ihe
Jete hand.
16.
ge gr
ar LEAL Lt pep Ee 2
SSS SSS SS SSS
roter
apt ene, th dnt green are shld be ay in
{his way, he 749 rhythm the ight hand wil fal together wich the o gula Ihe
Jete hand.
16.
ge gr
ar LEAL Lt pep Ee 2
SSS SSS SS SSS
roter
‘The tremolo is a device frequently used in blues. I oscurs in the form af quickly
sepeated notes, most thids and octaves,
Sometimes the tremolo consists of whol chords, performed with one or both hand (a).
Very often itis preceded by grace notes or durs (D).
sepeated notes, most thids and octaves,
Sometimes the tremolo consists of whol chords, performed with one or both hand (a).
Very often itis preceded by grace notes or durs (D).
oe tines
zu
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ee
vr
wer
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eier!
ot
tig
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ei
ul ll U |
Il q |
di af dí da
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Se
wi
+
=
=
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+
eier!
ot
tig
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ei
ul ll U |
Il q |
di af dí da
Parallel Sihs (Left Hand)
“The next exerise dale with scch in the left hand. As inthe previous exercises for
the right hand, one shoul pay special attention o th smooch tranivon from one Sth
toranother and eo the sounding of the two keys a precy the ame momen
e ole te s
Be Besen p====+2
sas To j
“topo
eee les
7 a = —
= = = ===>
= yet == ==
= = +
“The next exerise dale with scch in the left hand. As inthe previous exercises for
the right hand, one shoul pay special attention o th smooch tranivon from one Sth
toranother and eo the sounding of the two keys a precy the ame momen
e ole te s
Be Besen p====+2
sas To j
“topo
eee les
7 a = —
= = = ===>
= yet == ==
= = +
Mm I 1 ql
A tr ga A)
tt NN E A pi
TA À All
at UL 1 |
A IN
t Wi | N A
salt Ne TT A
O N ie i
Ih si hl | tH
ey ne A
ot E
LA aa
at Ki
See al SH E
A tr ga A)
tt NN E A pi
TA À All
at UL 1 |
A IN
t Wi | N A
salt Ne TT A
O N ie i
Ih si hl | tH
ey ne A
ot E
LA aa
at Ki
See al SH E
==>
SS SSS
mm
F4
— re
en
#
SS SSS
mm
F4
— re
en
#
Lefetand Extension—Tenths
yi titans reset he te of many hands The presen dy wil ap
{alin the gradual extension ofthe rasp ofthe le han, but should not be practiced
cad
yi titans reset he te of many hands The presen dy wil ap
{alin the gradual extension ofthe rasp ofthe le han, but should not be practiced
cad
==]
=
=>
=a
L
=
>
+
de
een)
ii
==;
eat
SS
dts er,
naa
=
=>
=a
L
=
>
+
de
een)
ii
==;
eat
SS
dts er,
naa
“eH A TA. E
ge te oe TT
: | = La ee
slater
RIRE
ii 23 ay di
ge te oe TT
: | = La ee
slater
RIRE
ii 23 ay di
‘Compound Meter
Many Wines ar wen i compound mer f or 1. The sbson of he eighth
| non Sn ed ro cunda este ee gh dio Tanne
exercise a very Repl introduction o hese eves Te contains to part, Aand B,
Ah ae dental with the exception tae the is paris written in common meter,
nd the second in compound meer. The udert I lied to compare the note values
‘ofthe fit section with those ofthe socond, which should sound te same,
vee
»,
= = =
Es _ = = 3 e
i
di
a
ben
Many Wines ar wen i compound mer f or 1. The sbson of he eighth
| non Sn ed ro cunda este ee gh dio Tanne
exercise a very Repl introduction o hese eves Te contains to part, Aand B,
Ah ae dental with the exception tae the is paris written in common meter,
nd the second in compound meer. The udert I lied to compare the note values
‘ofthe fit section with those ofthe socond, which should sound te same,
vee
»,
= = =
Es _ = = 3 e
i
di
a
ben
Sta ER y + dá)
isin
JE it Ba
N i i i À i q
| 1 LP lig ak}
| | ii i Ei
tom ot à
| ji | i [
y | ii E Il \
hi | A |
sl E & D No
isin
JE it Ba
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| 1 LP lig ak}
| | ii i Ei
tom ot à
| ji | i [
y | ii E Il \
hi | A |
sl E & D No
, (RATT Per
ee ===.
il fl
Ee
JE
EN
ee ===.
il fl
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EN
(ass solo)
los SSS SESS
SR
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ES
SR
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Hm
30. _ a £
E FF
| = == + >>
m
hi]
aeg:
LE
30. _ a £
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aeg:
LE
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| Wi alıs a
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a SS == é
pu — at tt lp
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SS —— =
cas ver == €
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