T i m o t h y M C C O R M A C K D i s f i x b a s s c l a r i n e t, p i c c o l o t r u m p e t, t r o m b o n e

Transcription

1 T i m o t h y M C C O R M A C K D i s i x b a s s c l a r i n e t i c c o l o t r u m e t t r o m b o n e

2 Disix [008] or bass clarinet iccolo trumet and trombone Commissioned by the ELISION Ensemble and dedicated to Richard Haynes Tristram Williams Benjamin Marks and Daryl Buckley Perormance Notes This work is notated on our rhythmically indeendent [or at times quasiindeendent] staves er instrument: one o which can be thought o as a traditional sta [which rescribes the itches rhythms and dynamics o the sound roduced through the instruments themselves] while the other two seciy and isolate techniques that alter the aural result roduced by the irst sta The score is in C In the arts the bas clarinet is notated a major ninth above the sounding itch The iccolo trumet is notated a minor seventh below the sounding itch Vibrato should never be emloyed Duration is aroximately 10 0 Bass Clarinet Due to the varying degrees o ressure ut uon the reed by both the jaw and teeth the erormer may choose to use a iberglass or lastic reed in lace o a wooden one The bass clarinet material is notated on our autonomous staves: 1] Flutter techniques; ] Voice; ] Fingered itches; 4] Embouchure osition uon the reedmouthiece 1] Flutter Techniques There are two distinct tyes o lutter techniques seciied in the score: traditional lutter tongue roduced through a rolling r eect with the ront o the tongue The resultant eect on the sound should be very bright resent and harsh Notated on the to line growl roduced in the throat The resultant eect on the sound should be dark hidden and subtle Notated on the bottom line Since these lutter techniques are autonomous rom other arameters they will requently contradict hrasing rom the bass clarinet sta In such cases the lutter tongue hrasing should take recedence over that o the clarinet sta [meaning the rhythm seciied on the lutter tongue sta should rehrase the instrument s gestures though not exclude any o its material] Conversely the hrasing o the growl eect can be oreited in avor o the hrasing ertaining to the clarinet stave [since the tongue is ree to execute the seciied attacks] Furthermore the lutter technique sta may not rehrase the material o the bass clarinet sta i the notes on the clarinet sta are accomanied by seciic attack markings [such as accents exaggerated accents staccato or tenuto markings] In such cases the tongue should execute the attacks at the rhythmic imulses seciied by the bass clarinet sta while maintaining the lutter technique The hysical awkwardness and resulting aural distortion o the material imlicit in this is situation is quite deliberate and intended In the score a thick black line is resented as a visual aid or the duration and the exact rhythmic execution or each lutter eect The lutter eect should terminate at the rhythmically seciied imulse regardless o the notated duration o that imulse ] Voice The integral voice art is notated on a threelined sta with each o the three lines rom to to bottom indicating the erormer s absolute vocal ceiling a coortable middle and the absolute lowest range ossible with indeterminate vocal areas in the saces between The unredictability inherent in this arrangement is quite deliberate not only will vocal eects dier between erormers and erormances but will also be varied within one erormance The erormer should not be concerned with reining deinitive highest and lowest ossible notes which can be reliably accessed throughout the iece Instead these tessituras should be constantly circumscribed by the other musical material haening simultaneously [such as range in the instrument tye o lutter tongue etc] When singing the mouth should never leave the mouthiece o the instrument even when there is no music or the bass clarinet itsel The voice should always sound through the bass clarinet The voice art is in an almost constant state o glissando The movement o the voice through its various registers is indicated by a thick black line which also aids in conveying duration o a note A wavy line indicates that the erormer should create an undulating vocal tone with the use o the diahragm [the itch o the voice should not undulate but rather the quality o the sound itsel] [ex: measure 4] A series o grace notes issuing rom the voice art requires the erormer to execute ast shar iterations rom within the throat while executing the notated gesture o the voice art [ex: measures 14] The voice should terminate at the rhythmically seciied imulse regardless o the notated duration o that imulse The voice art is largely without dynamic markings Dynamic levels should moreorless agree with those ertaining to the bass clarinet sta The voice art is notated with the indeterminate lined sta throughout with the excetion o measure where traditional bass cle is used and where seciic itches are indicated It is o the utmost imortance that the erormer treats the voice art as an autonomous domain The voice art should relect the vocal range o the erormer and one should not attemt to match that o the instrument However due to register and contour an audible intervallic relationshi between the voice and bass clarinet may be roitious in some instances

3 ] Fingered PitchesBass Clarinet Sta This sta indicates the itches to be ingered on the bass clarinet The resulting itches will not always be the notated itches deending on the situational culmination between various strata Regardless the notated itches should always be ingered An x on a note s stem indicates an exaggerated tongue attack A circled x on a note s stem indicates sla tongue Jaw Pressure Jaw ressure is indicated through small circles that are attached to a note [usually on the bass clarinet sta] A hollow circle indicates a normal amount o jaw ressure; a solid circle indicates a very heavy amount o jaw ressure; a halilledin circle indicates a slight increase in jaw ressure Smorzato is exressed through a tremolo between two o these ositions When between normal and heavy jaw ressure smorzato should be rather extreme causing wide undulations in itch and deending on concurrent strata a large amount o distortion o timbre Teeth Pressure The amount o ressure to be ut uon the reed rom the teeth is indicated through usidedown triangles issuing rom a note [usually rom the bass clarinet sta] These teeth tones will alter the itch timbre and register o the ingered itch quite drastically The duration or which the erormer is emloying teeth tones is indicated by a dotted horizontal line I no dotted line is rovided the teeth tone only ertains to the itch it is connected to Similarly an arrow rom one degree o ressure to another indicates a gradual transition When emloying teeth tones and moving rom one reedmouthiece osition to another it is exected that the erormer will drag their teeth along the reed making no adjustments to the degree o ressure Teethtone smorzato is indicated as a tremolo between the two degrees o teeth ressure DoubleNeighbor Trill this is a trill incororating two trill itches aside rom the main itch Trill evenly among the given itches creating no hierarchy between them Furthermore no erceivable attern among the itches should be created [Ex: measures 7778] This iece emloys a our and one hal tessitura rom [sounding] Blat to F 6 It is entirely ossible [and exected] that itches above this will be roduced by virtue o teeth tones and through the sonic ramiications o the ourth sta 4] Embouchure osition uon the reedmouthiece This twolined sta indicates our ositions one s mouth is to be laced uon the reed and mouthiece Although this is usually illustrated by a thick black line isolated instances are dislayed through small circles: 1] The to line indicates the normal osition and imlies that the notated itch on the third sta should be the sounding itch [unless o course i teeth tones are being emloyed] In isolated instances this osition is illustrated through a hollow circle: ] The bottom line indicates that as much o the mouthiece as ossible should be in the mouth [that is beore the iece that holds the reed in lace] The resultant itch material should be highly unredictable and should bear no aural relation to the ingered itch[es] In isolated instances this is indicate through a solid circle: ] The sace between these two lines indicates resective ositions uon the mouthiece The aural result should combine elements o the two other ositions: while there should be a clearly audible distortion o timbre and a rich sectrum o itches the notated itch should still be audible almost as a undamental In isolated instances this is indicated through a halilledin circle: 4] The sace above the to line indicates that the mouth should be laced at the very ti o the reed and mouthiece The resultant tone should be rather ale and weak and should leave the notated itch and normal timbre reasonably intact In isolated instances this is illustrated through a hollow circle [as above]: Piccolo Trumet The Harmon mute is the only mute used in this iece The iccolo trumet material is notated on our autonomous staves: 1] Flutter techniqueslet hand [in conjunction with the Harmon mute]; ] Voice; ] Fingered itches; 4] Embouchure 1] Flutter TechniquesLet Hand This threelined sta indicates both lutter techniques [the to two lines] and the let hand s ositions in conjunction with the Harmon mute [the bottom line] A] Flutter Techniques: There are two distinct tyes o lutter techniques seciied in the score: traditional lutter tongue roduced through a rolling r eect with the ront o the tongue The resultant eect on the sound should be very bright resent and harsh Notated on the to line growl roduced in the throat The resultant eect on the sound should be dark hidden and subtle Notated on the middle line

4 [Piccolo Trumet Flutter Techniques continued] Since these lutter techniques are autonomous rom other arameters they will requently contradict hrasing rom the iccolo trumet sta In such cases the lutter tongue hrasing should take recedence over that o the trumet sta [meaning the rhythm seciied on the lutter tongue sta should rehrase the instrument s gestures though not exclude any o its material] Conversely the hrasing o the growl eect can be oreited in avor o the hrasing ertaining to the trumet stave [since the tongue is ree to execute the seciied attacks] Furthermore the lutter technique sta may not rehrase the material o the trumet sta i the notes on this sta are accomanied by seciic attack markings [such as accents exaggerated accents staccato or tenuto markings] In such cases the tongue should execute the attacks at the rhythmic imulses seciied by the iccolo trumet sta while maintaining the lutter technique The hysical awkwardness and resulting aural distortion o the material imlicit in this is situation is quite deliberate and intended In the score a thick black line is resented as a visual aid or the duration and the exact rhythmic execution or each lutter eect The lutter eect should terminate at the rhythmically seciied imulse regardless o the notated duration o that imulse B] Let Hand Positions [in conjunction with the Harmon mute]: ] Voice The ollowing symbols are used to indicate the osition o the let hand uon the Harmon mute: let hand is comletely covering the oening let hand is not covering the oening at all let hand is slightly covering the oening Tremolos between two o the let hand indications are to be executed as raidly as ossible When a rest aears in the let hand material the last hand osition indicated beore the rest is to be maintained This is esecially imortant ater tremolos between two ositions Usually it the osition to be maintained is oen An arrow between two ositions indicates a gradual transition rom one to the other in the duration seciied The absence o an arrow indicates no transition and changes in ositions should be sudden and instantaneous at their rhythmically seciied imulses Insertions removals and other instructions concerning the Harmon mute are indicated in boxed text thusly: MUTE ON MUTE OFF INSERT STEM REMOVE STEM The iece begins with the Harmon mute on with the stem inserted The integral voice art is notated on a threelined sta with each o the three lines rom to to bottom indicating the erormer s absolute vocal ceiling a coortable middle and the absolute lowest range ossible with indeterminate vocal areas in the saces between The unredictability inherent in this arrangement is quite deliberate not only will vocal eects dier between erormers and erormances but will also be varied within one erormance The erormer should not be concerned with reining deinitive highest and lowest ossible notes which can be reliably accessed throughout the iece Instead these tessituras should be constantly circumscribed by the other musical material haening simultaneously [such as range in the instrument tye o lutter tongue etc] When singing the mouth should never leave the mouthiece o the instrument even when there is no music or the iccolo trumet itsel The voice should always sound through the trumet The voice art is in an almost constant state o glissando The movement o the voice through its various registers is indicated by a thick black line which also aids in conveying duration o a note A wavy line indicates that the erormer should create an undulating vocal tone with the use o the diahragm [the itch o the voice should not undulate but rather the quality o the sound itsel ] [ex: measure 4] A series o grace notes issuing rom the voice art requires the erormer to execute ast shar iterations rom within the throat while executing the notated gesture o the voice art [ex: measures 18] The voice should terminate at the rhythmically seciied imulse regardless o the notated duration o that imulse The voice art is largely without dynamic markings Dynamic levels should moreorless agree with those ertaining to the iccolo trumet sta It is o the utmost imortance that the erormer treats the voice art as an autonomous domain The voice art should relect the vocal range o the erormer and one should not attemt to match that o the instrument However due to register and contour an audible intervallic relationshi between the voice and bass clarinet may be roitious in some instances ] Fingered PitchesPiccolo Trumet Sta This sta indicates the itches to be ingered on the iccolo trumet The resulting itches will not always be the notated itches deending on the situational culmination between various strata Regardless the notated itches should always be ingered An x on a note s stem indicates an exlosive attack which can be roduced using one o two ways: 1] The tongue temorarily blocks airlow to the instrument and subsequently releases it resulting in a very loud sudden itch ] The emloyment o a very losive ursed embouchure whereby the lis temorarily block airlow to the instrument and subsequently releases it resulting in a very loud sudden itch A note head with a slash through it indicates slit tones [ex: measure ]

5 [Piccolo Trumet sta continued] DoubleNeighbor Trill this is a trill incororating two trill itches aside rom the main itch Trill evenly among the given itches creating no hierarchy between them Furthermore no erceivable attern among the itches should be created [Ex: measure 7] An arrow notehead indicates the highest or lowest itch ossible Use whatever ingering will acilitate this best This is similar to the utility o the ourth sta indicates extremely high uer artials and can be achieved through a very tight ursed rolledin embouchure indicates extremely low edal tones and can be achieved with the lower li extruding rom under the mouthiece; a very rolledout embouchure There are three distinct tyes o glissandi or the trumet: 1] Embouchure only notated as a regular glissando use only adjustments in the embouchure to execute the glissando Finger should only be used to acilitate the initial and arrival itches o the glissando [ex: measure 11] I the glissando arrives at an arrow notehead indicated extremely high uer artials use the ingering o the initial itch in the glissando [ex: measure ] ] Embouchure ingers notated as a regular glissando with a series o grace note iterations ABOVE the igure While the embouchure should behave as it would in the irst tye o glissando the grace note iterations require one to raidly deress the valves with the ingers one inger at a time creating no attern or hierarchy o deressed valves [ex: measure 7] ] Embouchure ingers tongue notated as a regular glissando with a two series o grace note iterations both ABOVE and BELOW the igure Whereas the irst two glissandi should be rather unbroken ascendant and descendant gestures this igure requires the tongue to execute raid staccato iterations in the shae o the glissando [ex: measure 9 or a unidirectional glissando; measure 0 or a multidirectional glissando indicated by staccato marks] 4] Embouchure This threelined sta indicates our tyes o embouchure to be used rom extremely ursed and rolled in to extruding and rolled out When nothing is indicated the erormer is to use a normal embouchure 1] Above the sta this indicates the use o an extremely ursed and rolled in embouchure and is emloyed to roduce extremely high artials This diers rom the arrow notehead o the third sta in that the desired ingering[s] to be used in combination with this are indicated in the third sta The resultant itch[es] should be rather unredictable In isolated instances this osition is indicated with a hollow circle: ] To line this indicates the use o a normal embouchure and should be understood as variant deending on the itch and range seciied in the third sta In isolated instances this osition is indicated with a hollow circle: ] Middle line this indicates a slight loosening o the embouchure and should roduce a itch lower than the notated itch but within the same range It is desirable that the resultant itch is nontemeredmicrotonal In isolated instances this osition is indicated with a halilled in circle: 4] Bottom line this indicates an extruding and rolled out embouchure and is emloyed to roduce extremely low [as low as ossible] edal tones Gradual transitions [or glissandi ] rom this osition to others is not exected [or desired] to sound clean and smooth The hysical and aural awkwardness in readjusting one s embouchure rom this osition to another while maintaining a sound through the instrument is quite deliberate and desired In isolated instances this is indicated with a solid circle: Trombone The Harmon mute is the only mute used in this iece The trombone material is notated on our autonomous staves: 1] Flutter techniqueslet hand [in conjunction with the Harmon mute]; ] Voice; ] Trombone Sta; 4] FTrigger 1] Flutter TechniquesLet Hand This threelined sta indicates both lutter techniques [the to two lines] and the let hand s ositions in conjunction with the Harmon mute [the bottom line] A] Flutter Techniques: There are two distinct tyes o lutter techniques seciied in the score: traditional lutter tongue roduced through a rolling r eect with the ront o the tongue The resultant eect on the sound should be very bright resent and harsh Notated on the to line growl roduced in the throat The resultant eect on the sound should be dark hidden and subtle Notated on the middle line

6 [Trombone Flutter Techniques continued] Since these lutter techniques are autonomous rom other arameters they will requently contradict hrasing rom the trombone sta In such cases the lutter tongue hrasing should take recedence over that o the trombone sta [meaning the rhythm seciied on the lutter tongue sta should rehrase the instrument s gestures though not exclude any o its material] Conversely the hrasing o the growl eect can be oreited in avor o the hrasing ertaining to the trombone stave [since the tongue is ree to execute the seciied attacks] Furthermore the lutter technique sta may not rehrase the material o the trombone sta i the notes on this sta are accomanied by seciic attack markings [such as accents exaggerated accents staccato or tenuto markings] In such cases the tongue should execute the attacks at the rhythmic imulses seciied by the trombone sta while maintaining the lutter technique The hysical awkwardness and resulting aural distortion o the material imlicit in this is situation is quite deliberate and intended In the score a thick black line is resented as a visual aid or the duration and the exact rhythmic execution or each lutter eect The lutter eect should terminate at the rhythmically seciied imulse regardless o the notated duration o that imulse B] Let Hand Positions [in conjunction with the Harmon mute]: ] Voice The ollowing symbols are used to indicate the osition o the let hand uon the Harmon mute: let hand is comletely covering the oening let hand is not covering the oening at all let hand is slightly covering the oening Tremolos between two o the let hand indications are to be executed as raidly as ossible When a rest aears in the let hand material the last hand osition indicated beore the rest is to be maintained This is esecially imortant ater tremolos between two ositions Usually it the osition to be maintained is oen An arrow between two ositions indicates a gradual transition rom one to the other in the duration seciied The absence o an arrow indicates no transition and changes in ositions should be sudden and instantaneous at their rhythmically seciied imulses Insertions removals and other instructions concerning the Harmon mute are indicated in boxed text thusly: MUTE ON MUTE OFF INSERT STEM REMOVE STEM The iece begins with the Harmon mute o The stem is inserted throughout the iece The integral voice art is notated on a threelined sta with each o the three lines rom to to bottom indicating the erormer s absolute vocal ceiling a coortable middle and the absolute lowest range ossible with indeterminate vocal areas in the saces between The unredictability inherent in this arrangement is quite deliberate not only will vocal eects dier between erormers and erormances but will also be varied within one erormance The erormer should not be concerned with reining deinitive highest and lowest ossible notes which can be reliably accessed throughout the iece Instead these tessituras should be constantly circumscribed by the other musical material haening simultaneously [such as range in the instrument tye o lutter tongue etc] When singing the mouth should never leave the mouthiece o the instrument even when there is no music or the trombone itsel The voice should always sound through the trumet The voice art is in an almost constant state o glissando The movement o the voice through its various registers is indicated by a thick black line which also aids in conveying duration o a note A wavy line indicates that the erormer should create an undulating vocal tone with the use o the diahragm [the itch o the voice should not undulate but rather the quality o the sound itsel] [ex: measure 4] A series o grace notes issuing rom the voice art requires the erormer to execute ast shar iterations rom within the throat while executing the notated gesture o the voice art [ex: measures 18] The voice should terminate at the rhythmically seciied imulse regardless o the notated duration o that imulse The voice art is largely without dynamic markings Dynamic levels should moreorless agree with those ertaining to the trombone sta It is o the utmost imortance that the erormer treats the voice art as an autonomous domain The voice art should relect the vocal range o the erormer and one should not attemt to match that o the instrument However due to register and contour an audible intervallic relationshi between the voice and bass clarinet may be roitious in some instances ] Trombone Sta A note head with a slash through it indicates slit tones [ex: measures 10910] This work emloys two tyes o continuous or quasicontinuous slides between two notes: glissando and ortamendo Portamento requires one to simulate a glissando between two notes too distant in range to be connected through a true glissando This can be achieved through simultaneously adjusting one s embouchure and the slide Portamento should not sound as clean and ure as a natural glissando a chaotic and disarranged transition rom one register to another is desired In most cases ortamento assages will be obvious to the erormer as they generally san intervals larger than an octave In both glissandi and ortamenti arrival notes should never be articulated unless seciic articulation is given

7 [Trombone continued] 4] FTrigger This twolined sta indicates the movement o the trigger and details three distinct ositions: 1] To line disengaged [normal] In isolated instances this osition is indicated with a hollow circle: ] Between the lines Halengaged resulting in a distortion o timbre and alteration o itch material In isolated instances this osition is indicated with a halilledin circle: ] Bottom line Fully engaged resulting in a transosition o itch material In isolated instances this osition is indicated with a solid circle: Tremoli between two ositions should be as ast as ossible

8 score in C 1ia e = 0 Flutter Tongue 1ib Disix or ELISION Timothy MCCORMACK [00809] Bass Clarinet in Bb sub 1 0 sz % sz m % m 4 Mouthiece 0 1 Flutter tongue Let hand Piccolo Trumet in Bb HARMON MUTE ON 6 : m 1 Embouchure Flutter tongue Let hand 6 m % Trombone m 6 0 FTrigger 7: Coyright 008 Timothy McCormack All Rights Reserved

9 6 1ic 1id B Cl m 0 1 m 1 sub m % 1 Tt OFF ON OFF ON OFF ON tr [ ] 8 MUTE OFF 6 6 7: ON m OFF Tbn 1 1 m m 0

10 11 % iia e = B Cl Tt ON ON OFF ON m 1 1:10 1 m 1 1 m sub tr MUTE OFF sub OFF MUTE ON :8 Tbn % m 0

11 4 B Cl 17 1iib % % % 7: sub m % 11:8 e = 47 1iiia m 0 10:7 11:8 < 4 :; sub 0 OFF MUTE ON REMOVE STEM 7: Tt sub :8 11: < Tbn 4 sub m % 4 % % % 0 : ; 4 11:8 % 11:8

12 1 1iiib B Cl 0 7: sz Tt MUTE OFF : 1 sub m 11:8 : Tbn 0 0 HARMON MUTE ON

13 6 B Cl = 6 1iiic sub m Tt MUTE ON 1 1 MUTE OFF 1 m 1 sub 11:8 Tbn 9:7 4 11:8 < m m 0 % 1 11: MUTE OFF

14 B Cl 1 1iiid 6 6 = ib ia e = 44 1iiie % 6: Voice m :8 7 < Tt tr [ 0 ] Voice tr [ 1 ] : Tbn 6 > 6 Voice m 10:6 m

15 8 B Cl 7 9:8 = 6 sub m % 0 % % 4 sub sub m 11:8 6 0 : 1 1:16 sz 4 Tt 4 m m 1 7: 1:8 9:8 MUTE ON MUTE OFF 1 Tbn m m sub % 11:8 4 % 6 6 m % 4 0 6

16 9 44? ic 4 B Cl 0 sub 1 m 1 17:1 Tt MUTE OFF MUTE ON m MUTE OFF sub 4 1 7: : 0 sub 1 MUTE ON m MUTE ON 4 Tbn > m m 0 % 8 sub % sub m 41 m %

17 10 48 id e = 0 ie = B Cl 1 8: sub 0 6: % m 1 6 Tt MUTE ON :6 m m MUTE OFF 6 INSERT STEM m MUTE ON Tbn MUTE OFF 9:8 1 % % % 4: m1 m % % % % 6 6

18 11 i 6 e = 44 B Cl m 1 1 m % 4 Tt Tbn % < % sub 1 % 8 m m m 1

19 1 61 iia e = 47 B Cl m 1: : 1 1 Tt MUTE OFF Tbn 6:4 m m % m % sub m 0 % 4

20 B Cl 66 m iib 0 4 6: sub 1:8 m 1:14 = % sub m Tt 6 m 0 sub sub sub m 6 Tbn m % %

21 14 B Cl 71 % 1 m 4 m Tt m 0 m m Tbn m m sub % 6:4 m 1 m m < 1

22 1 B Cl 7 m 1 sub 4 7: tr [ 0 ] [ ] [ 0 ] 0 [ ] 0 tr [ ] [ ] = Tt sub Tbn 0 % m %

23 16 80 = iiia = < B Cl m 6 : ; sub 1 MUTE OFF Tt MUTE ON 6 6 sub m m m 0 Tbn MUTE ON 6 sub sub sub m m m

24 B Cl m sub 0 1 7: 0 Tt sub m sub m tr MUTE OFF Tbn 0 m m 6

25 18 91 ia e = 4 % B Cl :; 0 1: m 0 m Tt m Tbn % % m % 7: 9:7

26 19 9 % ib e = 40 B Cl 6 > 0 4 m Tt MUTE ON 0 m 1 1 m Tbn MUTE ON % % m % % m m 8 m

27 0 99 ic : B Cl 6 7: m sub 0 :; 4 Tt sub MUTE OFF MUTE ON Tbn 1 % % 4 % 4 1:8 11: :8 1 % m MUTE OFF % 1

28 1 10 = iia e = 4 B Cl 0 0 sub 1 4 9:7 0 % 1 m m % sub Tt MUTE OFF m MUTE ON Tbn % 1 6 < m 0

29 108 B Cl 6:4 m 0 4 m sub 6:4 m MUTE OFF Tt 4 1 m 1 m Tbn % 1 % % 1 Execute this tremolo with the slide The resultant eect should be quite renetic and exaggerated both aurally and visually and should seem to all aart with the ollowing gesture

30 11? iiia e = 40 = B Cl m 0 6 Tt tr [ ] 4 m 4 4 Tbn MUTE ON m 9:8 m m :

31 4 118 iiib = B Cl 4 m 4 0 m sub m 4 m 1 Tt 1 4 MUTE ON MUTE OFF MUTE ON 0 m Tbn 4 % m 8 4% m 4 4 % :8 10:7

32 = 1 = B Cl 8 8 m m Tt 4 MUTE OFF 4 MUTE ON Tbn 7: 4 0 7: sub 4 % 7: 0 1 % % m 1 8

33 6 16? iiic e = [] B Cl m 7: 7: m 4 4 6:4 1:8 1: Tt 0 4 m sub 1 4 : 7: : 4 [] 4 4 Tbn 8 0 % % 4 % % % : 0 6:4 : 7: 1 June 008 Chicago Revised Setember 009 ChicagoHuddersield