Devotchka watch her garbles by Bára Gísladóttir

Bára Gísladóttir

Devotchka watch her garbles

for bass flute, bass clarinet in Bb, harp, percussion, double bass and electronics

commissioned by KLANG Festival 2017 written for Ensemble Adapter and myself

instrumentation bass flute bass clarinet in Bb harp *the harp is slightly amplified and connected to a Grain Delay effect in Max for Live *equipment: tuning fork and wooden pencil percussion thunder drum 1 *size: small thunder drum 2 *size: medium/large thunder sheet *all fingers of the hand used on the thunder sheets should be prepared with metallic thimbles double bass *the double bass is slightly amplified and connected to a Convolution Reverb Pro effect in Max for live other equipment laptop with Ableton Live and Max for Live audio interface with at least 2 in/out 4 jack/xlr-cables (from hp. and db. to audio interface, from audio interface to mixer cable for laptop to audio interface mixer at least 4 speakers surrounding ensemble and audience

transposed score duration 12’40’’

explanations general All tremolo in the piece is unmeasured, but is divided into different speed categories where a four-lined tremolo is the fastest possible, three-lined is relatively fast, and two-lined relatively slow. Dashed barlines without time signature mark a certain rupture from the otherwise ongoing events of the piece. These all include rapid communication between the instrument in a sort of zic zac-ing manner.

bass flute growl all growl should include the sound of voice

at times bend notes are performed while growling

harmonic timbral trills

multiphonic trills

*In bar 82, this multiphonic trill should be implemented with the sound of voice as well. This is to increase the intensity of the trillâ&#x20AC;&#x2122;s character. The pitch of voice is not important.

All multiphonic trills are gotten from the following site: http://www.bassflute.co.uk/06-multiphonics/multiphonic-trills.html, created by Carla Rees. w.t. â&#x20AC;&#x201C; whistle tones In the score, the fundamental position of the whistle tones is given in the form of a diamond head. Travel freely between the possible overtones. Ex:

singing whilst playing square head = sing circle head = play

bass clarinet in Bb growl all growl should include the sound of voice

at times bend notes are performed while growling at times a wavy glissando is performed while growling

multiphonic trills

All multiphonic trills are gotten from the following site: https://heatherroche.net/2015/05/19/quiet-multiphonic-trills-for-bass-clarinet/, created by Heather Roche. harmonic overblow

singing whilst playing square head = sing circle head = play

harp The harp is slightly amplified and connected to a Grain Delay-effect in Max for Live. The effect is very delicate and reflects pre-chosen frequencies of the ongoing events in the harp through the speakers in a delayed manner. *All the following techniques can be found at http://www.harpnotation.com, created by Gunnhildur Einarsdóttir. random pedals The pedals used are marked with bold letters. The technique should be kept throughout the following arrow. The speed should be generally rapid, but feel free to speed up and slow down within reasonable limits. scrape

The scrape is to be performed as fast as possible while spanning as much of the string’s length as possible. An arrow indicates whether the scrape is to be performed upwards or downwards. rub

Rub string back and forth as fast as possible, spanning very little of the string’s length. The rubbing is at times implemented with a finger, and at times with a wooden pencil. Whether it is, is indicated in score.

Rub strings vertically back and forth with whole hand as shown on second five in this video: http://sites.siba.fi/web/harpnotation/manual/sliding-sounds/rubbing-strings. This is always done with both hands simultaneously, apart from in bars 165-8, where the effect is performed with the right hand only. pedal buzz

At times, the abbreviation “p.b.” is used for “pedal buzz” in the score. wire string hit

At times, the abbreviation “w.s. hit” is used for “wire string hit” in the score. pedal knock

At times, the abbreviations “ped. knock” or “p.k.” are used for “pedal knock” in the score. tuning fork The tuning fork is used to perform a glissando, and is only used in bar 137. Here, the notes in brackets should not be plucked, but glid to. *The percussionist will whip the strings of your harp with the string of a thunder drum at times. Watch your fingers and let the sounds caused vibrate. Here is an example of how this is indicated in the score:

percussion thunder drums shake – shake drum/s. Notation: tremolo

pull string of t.d. as fast as possible, spanning as much length of the string as possible

use palm to dampen top of t.d. Notation: normal note-heads (to indicate rhythms of the damping) or tremolo. This image is followed by a dashed line, as an indication of how long the damping should last.

use forehead to dampen top of t.d. Notation: tremolo. This image is followed by a dashed line, as an indication of how long the damping should last thunder sheet

These images indicate whether one or five fingers should be used to perform a given technique. Each image is valid until another one appears. snap – push front of index finger towards back of thumb, and use the resistance to gain force to snapping the t.s. Notation: x-heads. tap – use fingertip/s to tap t.s. Notation: x-heads. scratch – put a lot of weight on the fingertips and scratch the t.s. Notation: arrows. tickle – tickle t.s. with fingertips. Notation: tremolo stroke – use thimble-edges and fingertips to stroke the t.s. Notation: arrows (indicating which direction to stroke), and at times tremolo (repeatedly stroke up and down rapidly). whip Use t.d.-string to whip either t.s. or harp. When whipping the t.s., the position of the notes’ tail-top indicates which t.d.-string should be used. When whipping the harp, a notehead is placed close to the harp-staff followed by an arrow pointing to the harp-staff. Also here, the position of the notes’ tail-top indicates which t.d.-string is to be used. Ex.:

whipping t.s.:

*1st whip is done with the string of t.d. 1, 2nd is done with string of t.d. 2. whipping harp:

double bass The double bass is slightly amplified and connected to a Convolution Reverb Pro-effect in Max for live. The effect involves a reflection of frequencies from the bass that relate to the frequencies of the effect’s sample through the speakers. The effect’s key-places of the piece are marked in the score as an ossia staff under the double bass staff. The effect is to be turned off in bar 170, by slowly fading it out on the mixer throughout the bar. A sound technician’s help will be needed to perform this action. s.p. – sul ponticello m.s.p. – molto sul ponticello s.t. – sul tasto m.s.t. – molto sul tasto a.f.a.p. – as fast as possible mid-f.b. – mid-fingerboard o.p. – over pressure +g. – open string harmonic (all harmonics are notated as written position, not the sounding outcome). artificial harmonic This cell appears at times throughout the piece. Travel freely between the given pitches, as fast as possible. Each bar is to be played on one bow, so change bowing on new bars. The cell is followed by an arrow that indicates how long the cell should last. An arrowed note-head indicates vertical bow-movement. Further information to be found in the score.

commissioned by KLANG Festival 2017 written for Ensemble Adapter and myself

Transposed score

Devotchka watch her garbles Bára Gísladóttir 2017

q = 60 growl

° 9 Bass Flute & 4

∑

7 4

∑

∑ 42 ∑ 45

∑

7 æ 4 bwæ

∑

3 æær 4 ææ ææ ‰ Œ Œ ææ≈ ≈ ææ 2 ææ bœ 4 œ bœ bœ œ 4 b˙

ææ ˙™

6 4

pp growl Bass Clarinet in Bb

9 ¢& 4

∑

7 4

∑

∑ 42 ∑ 45

∑

7 4

∑

ææ w

r ææ 44 ææ œ œ

ææ ˙™

2 æ 4 æ

6 4

pp rub strings vertically back and forth with whole hand, both hands

scrape ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Kr 9 7 2 5 7 4 2 6 ? ™ ™ ™ ™ ™ w ˙ ˙ w ˙ ˙ w ˙ œ ˙ ˙ ˙ w ˙ ® w Harp { 4 4 4 4 4 4˙ 4 ‹ 4w ˙™ ˙ w ˙™ ˙ w ˙™ œ ˙ ˙™ ˙ w ˙™ w ˙ >œ mp

pull string let vib.

pull string let vib. shake

shake Kr æ æ 2 5 - 4 ∑ 4 ˙æ™ ˙æ >

q = 60 Thunder Drum 1

° 9 ¢/ 4

æ ˙æ™ o

∑

æ ˙æ™

7 4

æ wæ

æ ˙æ™

7 4

æ wæ

æ ˙æ™

®- 4 > 4

2 6 4 ∑ 4

∑

11 3 3

B. Fl.

° 6 ææ & 4<b>w ™

4 ææ ææ 4 bœ œ

ææ bw ™

ææ œ‰

5 æ 4 ‰ bœæ ‰

ææ ˙™

ææ ææ ææ ææ œœœœ

ææ ˙

3 æææ 4 bœæœæœæ‰

ææ ˙

2 4 o

7 4

∑

6 4

4 4

∑

# ˙o ˙o ææ 6 ææ 5 æ 3 æ 2 7 6 4 Ó ∑ ∑ B. Cl. ¢& 4 w 4 ˙æ™ 4 ˙æ™ 4 4 4∑ L˙ 4 ™ w™ o mp pp ˙ o ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4w 5 3 2 7 6 4 ? 6 w™ w™ ˙ ˙™ Hp. { 4 4 ˙™ 4 ˙™ 4˙ 4w 4 w™ 4 ‹ 4 w™ w™ w ˙™ ˙ ˙™ ˙ w ˙™ w™ 5

4 ææ ææ ææ ææ ææ ææ 4œ œ œ ˙™

pull string let vib.

T. D. 1

shake ææ 6 ° ¢ / 4 w™

æ wæ ™

4 wææ 4

I s.p.

Db.

µ˙≤ ™

æ ˙æ

3 4

æ ˙æ™

2 ®≈ 7 4 >- ‰ Œ 4

∑

6 4

∑

4 4

∑

6 4

∑

4 4

mf (let vib.)

4 4 œµ‚ #‚˜‚ ‚ µ‚ ‚

Ó™

∑

æ ˙æ™

III m.s.p. a.f.a.p. change bowing on new bars

°? 6 ¢ 4

5 4

3 4 mp

2 4

7 4

convolution reverb pro

7 4

6 4

19 5

ææ ææ 7 æ æ ææ æ 6 ææ ‰ ‰ ææ ææ ææ ææ 7 æ 4 ∑ ∑ ∑ ∑ B. Fl. 4 bœæœæœ ˙æ™ 4 4 ™ ™ 4 wæ ™ ˙ b œ œ œ œ ˙ ˙ > > > > > > pp mp pp mp pp <#> wo wo wo wo ˙o ™ ˙o ™ # wo ™ wo ™ wo wo ˙o ™ ˙o ™ 4 7 6 7 4 ∑ ∑ ∑ B. Cl. ¢& 4 Lw 4 Lw Lw™ 4 Lw ˙™ 4 ˙™ 4 ∑ w w ˙™ w™ w ˙™ pp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ scrape 7 6 7 4w ?4 w ˙™ ˙™ w w ˙ Œ ®≈ ‰ Hp. { 4w 4 w™ 4w 4 ‹ 4 w w ˙™ w™ w ˙™ w w w ˙ >œ ° 4 &4

T. D. 1

ææ bw

shake ææ 4 ° w ¢/ 4

7 4

æ wæ

æ ˙æ™

6 4

æ wæ ™

7 4

æ wæ

æ ˙æ™

4 4

∑

3 4

∑

pp III m.s.p. follow the clarinet's trill change bowing on new bars

Db.

°? 4 ¢ 4 œµ‚#‚˜‚ ‚ µ‚ ‚ pp

m.s.p.

7 4

6 4

7 4

4 4 µ~ p

OI ∑

Ó µO

Œ µ‚ œ‚ œ‚ œ‚ œ

3 4

growl

2 B. Fl.

° 3 &4

5 4

∑

3 4

∑

∑ 45

∑

3 4 b˙ææ™

∑

4 4

B. Cl.

3 ¢& 4

5 4

∑

3 4

∑

∑ 45

∑

3 4

∑

ææ w # wo

4 4

∑

3 4 b˙ææ™ ˙o ™ ˙o ™ 3 4 L˙™ ˙™

wo Lw

6 4

ææ w™ # wo ™

4 4 wo ™ Lw™

6 4

4 4

w w™ o pp rub string scrape ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ with pencil ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 5 3 5 3 4 3 6 4 ? ™ ˙ ‰ ≈ ® w K Hp. { r 4 4 4 4 4 4 ˙™ 4 w™ 4 ‹ 4 ˙™ ˙™ ˙ ˙™ œ ˙™ ˙ ˙ œ> w ˙™ w™ pp mp pp pull string let vib.

shake

T. D. 1

ææ ˙ o

3 ° ¢/ 4 Œ

æ 5 ˙æ™ 4

ææ ˙

æ 3 ˙æ™ 4

let vib. shake

Kr - 45 >

shake

æ 3 ˙æ™ 4 o

∑

æ 4 wæ 4

æ 3 ˙æ™ 4

ææ ˙™ o

6 4 Ó™

4 4

pp I m.s.p.

Db.

™ 5 O™ #OO ™ ˙O 4

°? 3 ‚ œ ‚ œ ‚ œ ‚ œ#˙O ¢ 4

3O 4

™ 3 ˙™ #˙O ™ 4

#‚ œ ‚ œ ‚ œ ‚ œ ‚ ∑ 45

3 4

∑

4 4

∑

6 4 o

4 4

∑

= 36

growl B. Fl.

° 4 &4

ææ bw

ææ ˙™

5 4

∑

4 4

∑

3 4

∑

ææ b˙ ™

6 4 Ó™

∑

4 4

p harmonic overblow

<#> wo 4 B. Cl. ¢& 4 w

wo Lw

growl

‚

5 4

∑

5 4

∑

4 4

∑

3 4

≈ ≈

∑

ææ ˙™

6 4 Ó™ ‚ œœ

4 4

p scrape

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 4 5 ˙™ 5 ˙™ 4w 3˙ ? w ˙ œ ˙ Œ Hp. { 4 4 4 4 4 ‹ w ˙™ ˙ œ ˙™ ˙ w ˙ pull string let vib.

6 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 4 w™ 4 w™

≈ >œ

mp pull string let vib.

shake

T. D. 1

ææ 4 ° w ¢/ 4

æ 5 ˙æ™ 4

ææ ˙

ææj œ

æ 5 ˙æ™ 4

ææ ˙

æ 4 wæ 4

3 ®≈ 4 >-

ææ œ

ææ ˙

- ®≈ >

ææ ˙™

6 4 Ó™

4 4

pp pp mf

I m.s.p.

Db.

I m.s.p.

™ 5 #˙O ™ 4

#w~

°? 4 w ¢ 4

˙O

#œ ‚ œ ‚ 5 4

4 4

∑

3 4

∑

6 #~~ ™™

∑

4 4

~™

o mf

5 4

4 4

3 4

4 4

= ˙™

˙™ O™

B. Fl.

° 4 ææ & 4 bw

∑ 43

∑

5 4 O™ o

˙ ˙ w 4 O O 4~

˙™

w ~

3 4 O™

˙™ O™

w™

6 4 ~™ o

w™ ~™

growl

2 4Œ

ææ ææ bœ œ

≈

5 4

f pp harmonic overblow

# ˙o ™

4 B. Cl. ¢& 4

ææ w

∑ 43

˙o ™ L˙™

˙o ™

˙o ™ L˙™

5 4

˙™ o

˙™

˙o ˙o wo 4 ˙ 4 ˙ w

wo Lw

˙o ™

3 4

˙o ™ L˙™

# wo ™

6 4

˙™

wo ™ Lw™

2 4Œ

≈ ‚ ≈‚ œœ

‰ ‰

wo ™

5 4

pp p pp

pedal buzz let vib.

Hp.

3 ? 4~~~~~~~~~~~~~~~~~~~~ ? w r 4 {‹ 4 w œ ö

∑

buzz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pedal let vib. 5 4w 3 6 2 ˙ ≈‰ 4 ˙™ 4 4 ˙™ 4 w™ 4 ˙™ ˙ w ˙™ w™ œ pp ö

scrape

®≈ ‰

5 4

>œ mp

D§/D# ff

D§/D# ff pull string let vib.

pull string let vib. shake

T. D. 1

æ ° / 4 wæ 4

®-3 > 4

∑

5 4

4 4

∑

ææ w o

3 4

ææ ˙™

6 4

2® ≈ 4 >- ‰

∑

5 4

≈ ¿ ®Œ >

5 4

snap let vib

tickle

4 T. S. ¢ / 4

∑

ææ 3 ˙ ∑ 4 ™

æ 5 ¿ ® ≈ ‰ ˙æ 4>

ææ ˙

æ 4 wæ 4

3 4

∑

6 4

2 4‰

∑

mf I s.p.

° 4 &4

∑

∑ 43

∑

5 4

∑

4 4

3 4O

∑

4 4

3 4

5 4

4 4

¢ o mf

Œ 46 Œ w #w~

œ ‚ œ ‚ œ ‚ œ ‚ 42 mf

5 ∑ &4

w ~

B. Fl.

° 5 &4

6 4

∑

4 4

∑

6 4Ó

∑

~ o # wo B. Cl.

5 ¢& 4

6 4

∑

4 4

∑

6 4Ó

∑

w 4 4~

w ~

œ œ ‚ ‚

4 4

œo œo Lœ œ

4 4

∑

5 4

4 4

∑

5 4

∑

5 4

w ∑

∑

wo Lw

4 4

5 4

~ o

wo Lw

w ~

w w o pp scrape ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 6 4w 6 4w ? 5 ˙™ ˙ ‰ ≈ ® Hp. { 4 4 w™ 4 4 w™ 4 ˙™ ˙ w™ w w™ w œ> pp mp pull string let vib.

T. D. 1

°/ 5 4

6 4

∑

4 4

∑

shake æ 6 wæ ™ 4

∑

æ 4 ˙æ™ 4

shake æ 4 wæ 4

‰ - ®≈ >

ææ w

snap let vib tickle tickle

5 T. S. ¢ / 4

ææ ˙™

6 4 Ó™

∑

æ 4 wæ 4

æ 6 wæ ™ 4

4 ¿ ®≈ ‰ Œ Ó 4

pp I m.s.p. Db.

4 4

5 4

m.s.p.-s.t.

6 4

∑

stroke 3 æ -™ 1 1 - - 1 1 - - wæ

stroke

~w™™

w™

6 4

∑

O™ OO™™ O˙™™

° 5 O™ ¢& 4

æ 4 wæ 4

4 4

∑

4 µ- ‰ Œ Ó >

∑

5 4

∑

˙™

B. Fl.

° 5 &4 O™

˙™ O™

˙ ˙ 3 ˙˙ ™™ ##˙˙ ™™ O 4 O

ppp

4 4

3 4

∑

2 4

∑

4 4

∑

˙™

3 4 O™ o

O™

˙™

˙ ˙

5 4 O™

O O™

4 O 4

# ˙o ™

5 B. Cl. ¢& 4

˙o ™ L˙™

˙o ˙o ˙o ™ ˙o ™ 3 L˙™ ˙ 4 ˙ ˙™

˙™ o

wo Lw

4 4

growl

3 4

∑

°/ 5 4

pull string let vib.

3 4

∑

4 4

3 4

∑

5 4 Ó™

ææ ˙

T. D. 1

2 4

4 4

∑

pp whip let vib.

≈ ® 3 4 Œ Œ ‰ >-

∑

4 4

∑

2 4

∑

4 4

3 4

∑

5 4

∑

4 4

2 4

∑

4 ¿≈‰ Œ Ó 4>

3 4

∑

5 4

∑

4 4

mf scratch with force

snap tickle T. S.

5 ææ ¢ / 4 ˙™

æ ˙æ

3 ææ 4 ˙

æ ‰ ≈ ® ¿ 44 wæ >

I m.s.p.

Db.

∑

O™

3 &4

_™

b O ™ OO ™™ °? 5 ¢ 4

3 ææ 4 ˙™

4 4

b O ™ OO ™™

3 4

b O ™ OO ™™

2 4

4 4

3 4

b O ™ OO ™™

O OO

5 4

4 4

o pp

˙™

w.t. B. Fl.

° 4 &4

∑

3 4

∑

O™ o

5 ˙ ™™ 4˙

4~ 4 O™

˙˙™™

˙˙

6 w ™™ 4w

w w™™

wo ™

wo ™ Lw ™

4 ~ 4

5 4 O™

~ ppp p

# ˙o

˙o L˙

wo Lw

5 4

∑

5 4

∑

4 4

∑

5 4

∑

4 4

∑

5 4

∑

4 3 4 5 6 4 4 ææ 4 ææ 4 Ó™ 4 4 ææ ¢& 4 ææ w ˙™ ˙™ w ˙ w™ w o pp ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 3 ˙™ 4w 5 ˙™ 6 w™ 4 ? w ˙ ™ ˙ Hp. { 4 4 4 4 4 4 ‹ w ˙™ ˙™ w ˙™ ˙ w™

B. Cl.

pp pull string let vib.

Aª æ 3 - ® ≈ œæ 4>

shake T. D. 1

æ ° / 4 wæ 4 pp

ææ ˙

ææ ˙™

4 4

∑

5 4

6 4

∑

p tickle

4 T. S. ¢ / 4

∑

3 4

∑

4 4

ææ w

5 4

æ ˙æ™

æ ˙æ

6 4

æ wæ ™

pp I m.s.p.

˙O ™™ ° 4 &4

∑

3 4

∑

4 4

∑

5 4

6 4 Ó™

∑

Db. ppp convolution reverb pro

4 4

3 4

4 4

5 4

¢ o pp

O™

4 4

5 4

growl with voice ˙˙™™ 5 ˙˙ ™™ 4

4 B. Fl.

° &

4 4

∑

3 ˙ ™™ 4 ˙

∑

˙˙™™

4 w 4 w

w w

wo Lw

˙˙

3 4

4 4

∑

ææ w

3 4

pp p

# wo

4 4

∑ B. Cl.

wo Lw

¢&

˙o ™

3 4

˙o ™ L˙™

4 4

˙™

w o

# ˙o ™

5 4

˙o ™ L˙™

˙o

˙™

˙o L˙

˙o ™

3 4

˙o ™ L˙™

˙o

4 4

˙™

˙o L˙

3 4

pp scrape

Hp.

4 4

? ® ≈ {‹ œ > mp

3 4

∑

4 4

∑

5 4

∑

3 4

∑

4 4

∑

3 4

∑ A ª ≈

shake

Œ °/

4 4

∑ snap let > vib. ≈ ¿ ® 4 T. S. ¢ / 4

T. D. 1

∑

3 4

∑

4 w 4 æ æ pp

∑

3 4

∑

4 4

5 4 æ˙ ™ æ 5 4

∑

3 4 æ˙ ™ æ

˙ ææ

3 4

∑

4 Ów 4 æ æ

4 4

∑

≈ 3 4

3 4

∑

Db.

O™

° ‚J ¢&

‚

4 4

b˙™

˙O ™™

3 4

b˙™

4 4

˙O ™™

˙O

b˙™

5 4

˙O ™™

3 4

4 4

3 4

= w 85

B. Fl.

° 3 &4

ææ ææ œ Œ œ

˙™

ææ ˙

ææ 4 ææ œ 4œ

ææ ææ ææ æ 2 ææ æ 4˙ œ

2 4

∑

7 4 ~

∑

o # wo

growl

æ æ ææ 2 4 ææ ææ ææ æ æ æ æ ‰ Œ œ œ œ

4 æ 4 æ w

ææ ˙™ pp

2 4

∑

O™

?3 {‹ 4

4 4

2 4

∑

≈

2 4

∑

˙o ™

˙o ™ L˙™

4 4

˙™

w o

∑

2 4 ~

wo Lw

7 4

∑

p.b. scrape let vib. Hp.

pp 7

3 ¢& 4

4~ 4

O™ ~

B. Cl.

˙™

wo Lw

2 4

w pp

7 4

∑

4 4

∑

2 4

7 4

∑

4 4

∑

2 4

7 4

∑

4 4

∑

2 4

>œ œö

D§/D# ff pull string let vib.

ææ 3 ° ™ ˙ T. D. 1 / 4 ™ ææ 3 T. S. ¢ / 4 ∑

4 4

æ 2 ˙æ 4æ æ 2 4

æ w ææ

4 4

∑

whip let vib.

- ®≈ ≈ >

2 4

mf scratch with force

∑

¿≈ >

2 4 >-™

∑

III m.s.p. a.f.a.p. change bowing on new bars

ff m.s.p.-s.t.

Db.

° 3 ¢& 4

4 4

∑

2 4

∑

4Œ ‰

≈ µ>-

7 4 œµ‚#‚˜‚ ‚ µ‚ ‚

4 4

2 4

= ˙™ ˙™

˙™ ˙™ ˙ ˙

w.t. B. Fl.

w.t.

° 2 5 & 4 ∑ 4 O™

r ‚

7 4~

O™

ppp

3 4 4 O™ O™ 4 ~ o pp

5 4 4 O™ O™ O O 4 ~

7 4~

O™

3 4

~ ppp

o (growl) harmonic overblow

‚ ‚ B. Cl.

2 ∑ 5 4 ¢& 4

∑

∑ 47

∑

3 4

∑

4 4

5 4

∑

4 7 4 ‚ ≈ ‰ Œ ‚ ‚≈ ‰ ‰ ≈ ‚ 4 Ó œœ œœ œœ p

ææ ææ ‚ ≈ ‰ Œ ‚ ≈ ‰ Œ #‚ ≈ ‰ 3 4 #‚ ‚ ‚ #œ œ œœ ææœ ææœ ppp

pedal buzz let vib. mf

?2 ∑ 5 Hp. { 4 ‹ 4

∑ r œ ö

7 4

∑

3 4

∑

4 4

∑

5 4

∑

4 4

∑

7 4

∑

3 4

D§/D# ff whip let vib. T. D. 1

°/ 2 ∑ 5 4 4

∑

7 4

∑

3 4

∑

4 4

∑

5 4

∑

4 4

∑

7 4

∑

3 4

T. S.

2 5 ¢/ 4 ∑ 4

∑

®¿ 7 > 4

∑

3 4

∑

4 4

∑

5 4

∑

4 4

∑

7 4

∑

3 4

∑

4 4

∑

7 4

∑

3 4

ff (let vib.)

2 ° ¢? 4

5 4

7 4 ppp

3 4

4 4

5 4 f convolution reverb pro

5 4

4 4 f

7 4

3 4

101

5 B. Fl.

° 3 & 4 O™

5 4 O™

2 4O

4 4

∑

6 4

∑

6 4

∑

5 4

∑

5 4

∑

3 4

∑

harmonic overblow growl

3 B. Cl. ¢& 4

5 4

∑

‚ 2 ≈ ‰ 4‚ œ œ

∑

4 4

3 4

® ææ ææ œ >

∑

mf rub string with finger Hp.

5 2 4 6 5 ? 3 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 4 4 4 4 ˙™ ˙˙ {‹ 4 ˙™ ˙™ ˙ ˙ w w™ ˙™

3 ∑ &4

T. D. 1

°/ 3 4

5 4

∑

2 4

∑

4 4

∑

5 ææ 4 æ˙ ™™ æ

6 shake 4 wæ ™ æo

∑

æ ˙æ æ æ

(shake)

3 4

œ æ æJ

pp snap let vib. rub

3 T. S. ¢ / 4

æ 5 ˙æ™ 4

∑

ææ ˙

æ 2 ˙æ 4

æ 4 wæ 4

5 4

∑

æ 5 ˙æ™ 4

ææ ˙

¿ ® ≈ >

m.s.p. I II

°? 3 4

æ 6 wæ ™ 4

2 4

∑

#~~ 4 &4

∑

3 4

~ #~~~

~™ #~~~ ™™™

~™ 6 #~ ™ 4

5 4

∑

3 4

∑

¢? 43

5 4

2 4 o

˙™

108

B. Fl.

° 3 &4

4 4

∑

5 4

∑

4 4

∑

6 4

4~ 4

∑

5 4 O™

o 4w 4

subtone

3 B. Cl. ¢& 4

4 4

∑

5 4

∑

4 4

∑

6 4 Ó™

˙™ o

4 4

O O™

O o 4 4

ppp

5 4 ˙™

ppp let vib.

Hp.

{ T. D. 1

Db.

let vib.

3 & 4 ˙˙˙ ™™ p 3 4

4 4 4 4

5 4

∑

5 4

E D mf

æ ° 3 ˙æ™ ¢/ 4

æ 4 wæ 4

° 3 O™ ¢& 4

4O 4

4 4

∑

4 4

6 4w ww ™™ p 6≈ 4 ED

5 ™ 4O

OO ™™

ææ ˙

æ 4 wæ 4

æ 6 wæ ™ 4

O OO

4~ 4

6 ™ 4O

5 4

∑

4 4

æ 5 ˙æ™ 4 O OO

4 4

∑

5 4

4 4

æ 4 wæ 4 O™

OO ™™

æ 5 ˙æ™ 4 ~~

4~ 4

ææ ˙

5 4

4 4 o 4 4

∑

p pp

115

B. Fl.

° 4Ó &4 O

6 4 ~™

5 4 O™

ppp

˙™ 3 4 O™ o

˙™ O™

w 4 4~

w ~

3 4

4 4

∑

o pp

subtone B. Cl.

4 ¢& 4 w

6 4

∑

o T. D. 1

æ ° / 4 wæ 4

growl

5 4 ˙™

tap

4˙ 4

œ ææ

œ æ æ

œœ ææ ææ

œ æ æ

œ ææ

œœ ææ ææ

œ 43 ˙ ™ ææ ææ

4 4

ææ ˙™

4 4

3 4 >!™

4 4

o æ 5 ˙æ™ 4

æ 6 wæ ™ 4

3 4 ˙™ ppp

ææ ˙

æ 3 ˙æ™ 4

æ 4 ˙æ 4

3 4 >_™

4 4>

- 1 -- 1 >

3 ™ 4O

3 4

scratch with force 3

4 T. S. ¢ / 4

∑

6 4

∑

≈ ¿ ® 5 4 ¿ ¿ >¿ ‰ ‰ > >

mf (let vib.) Db.

° 4~ ¢& 4

6 ™ 4~

5 ™ 4O

OO ™™

4 4

∑

3 4

4 4

∑

pp convolution reverb pro

4 4

3 4 o pp

˙™ 3 4 O™ o

121

6 B. Fl.

° 4 &4

3 4

∑

6 4

∑

˙™ O™

œ ‚

w 7 4~

‚

w ~

˙™ ˙™ w™ 6 O™ O™ 4 ~™

w™ ~™

b wo ™

wo ™ Bw ™

w™

w™ ~™

4 4

wo ™ Bw ™

4 4

∑

4 4

~™

pp growl

4 B. Cl. ¢& 4 Ó

3 4

ææ ˙

∑

6 4

∑

3 4

∑

7 4 ææ w

∑

6 4

ææ ˙™

wo ™

w™ o

nw™

?4 ‰ 6 ≈Œ Ó 4 666 >

3 4

∑

6 4

∑

3 4

∑

3 4

6 4

≈

3 4

∑

7 4

6 4

4 4

D pp

f pull string let vib.

whip let vib.

shake

T. D. 1

6 4

∑

4 ≈‰ 4 D§/D#

{

7 4

666 ≈ ‰ >6

f pedal knock

Hp.

wire string hit let vib.

æ ° 4 wæ /4

3 4

ææ ˙™

-® >

æ wæ ™

6 4

3 4

mp scratch with force

7 4

pp tap let vib.

tap and hold

> > 4 3 1 1 1 T. S. ¢ / 4 4 !™

ææ ˙™

Aªæ æ w

ææ ˙™

6 4

ææ w™ ∑

4 4

∑

4 4

®¿

6 4 Y™

3 ®≈ 4 >¿ ‰ Œ

™ >_

~ ™™ ~~~ ™™

3 ™ 4 OO™

≈ ¿ 7 > 4

‰

6 4

∑

m.s.p. I II Db.

(let vib.)

° 4~ ¢& 4 ~

3 ™ O ™™ 4 OO™ OOO ™™

~ ~~~

‚‚‚‚‚‚

6 ™ 4 ~~™

O ™™ OOO ™™

‚ ‚‚‚

‚‚

OO™™ OOOO ™™™™ 6 ~~™™ 4

~ ~~~

7 4 ~~

~ ™™ ~~~ ™™

~~™™

4 4

pp ff

130 w ° 4 B. Fl. & 4 ~ o b wo 4 B. Cl. ¢& 4 nw o

˙™ ˙™ 3 4 O™ O™

w ~

˙™ ˙™ ˙™ 5 O™ O™ 4 O™ o o o o o o b w w ˙™ ˙™ b˙™ 7 5 4 Bw ˙™ 4 nw n˙ ™ ˙™ o

œ ‚

w 7 4 ~

‚

ppp

wo Bw

˙o ™ ˙o ™ œo 3 4 B˙ ™ n˙ ™ nœ

œo Bœ

˙™ ˙ ˙ w™ 6 O™ O O 4 ~™

w ~

w™ ~™

w 4 4 ~

w ~

∑

wo Bw

∑

ppp

˙o ™ ˙o ˙o b wo ™ wo ™ 6 B˙ ™ ˙ 4 Bw ™ n˙ w™

4 4 nw

ppp ppp

?4 Ó 4

wire string hit let vib.

pedal buzz let vib.

66 ≈ 6 >6

≈‰

‰

Hp.

3 4

∑

œ ö

7 4

∑

5 4

ped. knock let vib.

6 4

∑

œ œ ˙™ w

4 4

∑

∑ &

ped. knock let vib.

f pedal knock E§/E# ff

4 Œ ≈ 4

{

3 4

‰ D§/D# f

® F D pp

≈

7 4

D§/D# ff

5 ®≈ ‰ 4

F D pp

6 4

D§/D# f

4 4

F pp

pull string let vib. shake

ææ ˙ o

whip T. D. 1

°/ 4 Ó 4

‰ -®≈ 43 >

7 4 let vib.

∑

5 4

6 4

∑

4 4

Ó ∑

ææ w

T. D. 2

4 /4

∑

3 4

∑

3 4

∑

®≈ 4 ¢ / 4 Œ >¿ ‰

≈ ¿ ®‰ >

convolution reverb pro

°? ¢

7 4

∑

5 4

∑

6 4

∑

4 4

∑

7 4

∑

5 4

∑

6 4

∑

4 4

∑

tap let vib.

snap let vib.

T. S.

ppp

4 4

>¿

¿ >

3 4

7 4

5 4

6 4

4 4 o

growl 139

B. Fl.

° &

∑

6 4

∑

4 œææ 4

ææ ˙

7 ˙ææ 4

ææ ææ ææ ææ œœœœ

ææ œ

ææ ˙™

6 4

ææ w™

7 4 # wææ

ææ ˙™

6 4 ##w) ™™

ææ w

ææ ˙™

6 4

3 4

ææ œ

ææ 4 œ ‰ 4

pp growl B. Cl.

æ ¢& # wæ

6 4

ææ w™

4 4

ææ ˙

6 4

ææ w™

4 4

ææ w

ææ ææ # ˙ ~~~~~~~~ # w ~~~~~~~~~~~

3 4 ##˙) ™™

4 4

ææ ˙™

4 4

T. D. 1

° ¢/

ææ w

IV + o.p. s.p. Db.

° ¢&

∑

6 4 _™ pp

ææ w

7 4

7 4 _

! mp

3 4

mid-f.b.

s.t.

mid-f.b.

4_ 4

ææ w™

_™

6 4 _™

(let vib.) m.s.p.

3 4 !™

4 4 mf

146

w.t.

° 4 µww B. Fl. & 4 o 4 B. Cl. ¢& 4 <#> ) <#> w

5 µ˙˙ ™™ 4

w w w

˙˙ ™™ ˙™

˙˙

˙˙ ˙

4 4

∑

2 4O

∑

7 4~

3 4 O™

O™

4 4

ppp mp

5 4 ##˙) ™™

4 &4

4 4 ##w) )˙ # œ6 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 w ? 5 ˙™ ˙ ∑ 4 ‹ 4 ˙™ ˙ w ped. knock

∑

2 4 ˙)

j œ6

7 4

∑

3 4

∑

4 4

7 4

∑

3 4

∑

4 4

let vib.

j œœœœ

2 4

∑

p pp Hp. let vib.

4 4

{

5 4

≈

4 4

2 4 F§/F# f

T. D. 1

°/ 4 4

T. D. 2

4 /4

T. S.

4 ¢/ 4

ææ w

æ 5 ˙æ™ 4

4 4

>¿

≈

4 4

3 4

whip harp let vib.

whip let vib.

ææ ˙

7 4

D pp

2 4

∑

7 4

∑

3 4

∑

4 4

∑

2 4

∑

7 4

∑

3 4

∑

4 4

∑

2 4

∑

7 4

∑

3 4

∑

4 4

7~ 4

3 OO ™™ 4

(let vib.) OO ™™ 4 4

∑ ff

∑

5 4

∑

5 4

∑

4 4

∑

4 4

∑

¿ ≈ ≈ ¿ > > ff

II m.s.p.

° 4 &4

5 4

∑

4 4

∑

2O 4 o

∑

Db.

OO ™™

ppp convolution reverb pro

¢? 44

5 4

4 4

= ˙™

˙™

œ™

œ œ

‚ ‚

‚

˙ L˙

œ œ Lœ bœ

œ œ

œ Lœ

154

B. Fl.

° 4 &4 ~

3 4 O™

∑

5 4 O™ O™

4 B. Cl. ¢& 4

∑

o ˙™

w Lw

∑

O™

2 4 O

œ™ ‚™

7 4

ppp

˙™ L˙™

3 4

˙™

5 4

b˙™

bw o

˙™ L˙™

b˙™

œ™

˙ L˙

o ˙

œ™ L‚ ™

2 4

bœ™

b˙ o

ppp

7 4

pedal buzz let vib.

4 &4

∑

3 4

∑

5 4

∑

2 4

∑

≈

4 4

{

3 4

5 4

D§/D#

E§/E# ff

2 4

f pull string let vib.

T. D. 1

° 4 /4

∑

3 4

∑

5 4

∑

-® >

∑

4 /4

∑

3 4

∑

5 4

∑

7 4

whip harp let vib.

Aª æ 2 ˙æ 4

> ≈ ¿

let vib.

7 4 whip

mf T. D. 2

≈

œ ö

ped. knock let vib.

Hp.

7 4

∑

2 4

∑

2 4

∑

7 4

tickle

ææ w

4 T. S. ¢ / 4 convolution °? 4 4 reverb pro ¢

ææ w

∑

æ 3 ˙æ™ 4

æ 5 ˙æ™ 4

3 4

5 4

ææ ˙

¿ >

ppp

7 4

¿ >

2 4

7 4 o

= w

˙™

w™

˙™

163

B. Fl.

° 7 &4 ~

O™ ~

O™

ppp

7 B. Cl. ¢& 4

˙™

w Lw

˙™ L˙™

˙™

6 4 ~™ o w™ 6 4 #w™

4 ~ 4 ~™ w™ Kw ™

ppp

?7 4

6 4

∑

Hp.

{

7 4

6 4

3 4 O™

4 b~ 2 4 4 bO bO b~ o ppp ppp w w ˙™ ˙™ w w ˙ ˙ 4 3 4 2 4 4 4 4 Kw K˙ ™ Kw K˙ #w #˙ ™ #w #˙ o ppp only r.h. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4 w 3 4 w 2 4 4 ˙™ 4 4 ˙ ˙ w ˙™ w ppp 4 3 4 2 4 4 4 4 ~

∑

4 4

∑

4 4

O™

w.s. hit p.b. p.k. let vib. let vib. let vib.

? ‹

666 ≈ >6 ö œ f

4 4

mf A§/A#

4 4

T. D. 2

T. S.

°/ 7 4

6 4

∑

7 ¢/ 4

6 4

∑

4 4

∑

shake æ 3 ˙æ™ 4 o tickle æ 3 ˙æ™ 4

æ 4 wæ 4

æ 2 ˙æ 4

∑

ppp snap let vib.

æ 4 wæ 4

æ 2 ˙æ 4

≈™ ¿ ‰ >

ppp

Db.

° 7 ~ ¢& 4 ppp

OO ™™

6 ~™ 4

~~ ™™

4 ~ 4

3 OO ™™ 4

4 4

OO ™™

4 ~ 4

2 O 4

‚

‚‚

4 4

B. Fl.

7 4

∑

˙™ ˙™ 3 4 O™ O™ o

170

° 4 &4

∑

5 ) ™™ 4˙

)˙

3 4

6 )™ 4w ™

∑

7 4 w)

∑

3 4 ˙) ™™

˙) ™™

5 4 ˙) ™™

wo ™

3 6 4 ˙ ™ K ˙˙ ™™ 4 w ™ K ww ™™ ˙™ w™ o ppp pp ppp ppp both hands again w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ˙™ ˙ 4 7w 3 ˙™ 5 ˙™ 3 ˙™ 6 w™ 7 ? Hp. { 4 4 4 4 4 4 4 w w ˙™ ˙™ ˙™ ˙ ˙™ w™ ‹

B. Cl.

4 ¢& 4

7 4~ o wo wo 7 4 w K ww w

˙o ™ ˙o ™

˙™ ˙™ O™ O™

w ~

˙)

4 4

∑

pp ˙o ™ ˙o ™ wo wo 4 ˙ ™ K ˙˙ ™™ 4 w K ww ˙™ w

4 4

∑

T. D. 1

T. D. 2

Db.

convolution reverb pro

æ ° / 4 wæ 4 o ææ 4 w ¢/ 4 o ° 4~ &4

æ 7 wæ 4

ææ ˙™

æ 3 ˙æ™ 4

æ 5 ˙æ™ 4

ææ ˙

let æ vib 6 wæ 4

æ 3 ˙æ™ 4

ææ ˙™ o

7 4∑

Ó pull string let vib.

ppp

æ 4 wæ 4 ppp

let vib.

ææ w

7 4

ææ ˙™

3 4

5 4

∑

3 4

∑

ppp

OO ™™ OO ™™

7~ 4

™ ™ 3 OO ™ OO ™ 4

™ ™ 5 OO ™ OO ™ OO OO 3 4 4

∑ I OO ™™ OO ™™

Œ ‰ ≈ -® 7 > 4

6 4 ∑ ~™ 6 4

~~ ™™

∑

4 4

∑

∑ ~~

OO ™™ OO ™™

7 4

4 4

turn off by using the whole of this bar to fade out

4 4

178

w.t. B. Fl.

° &

5b ) ™ 4˙ ™

∑

˙)

7 4

6 4

∑

2 4O

j b‚

∑

mf subtone

ppp

˙™

w B. Cl.

5 4

¢&

wo ™

6 4 w™ w™ o

K ww ™™

˙™

7 4

o ppp

4 4

∑

2 4

∑

2 4

∑

pp p.k. scrape let vib.

scrape 3

? ‹

5 4

∑

7 4

∑

6 4

∑

4 4

∑

® >œ mp

Hp.

5 4

{

7 4

6 4

>œ >œ mp

4 4

2 4 D§/D# f

T. D. 1

Db.

æ ° wæ ¢/

æ 5 ˙æ™ 4 ~~

° ~ ¢&

ææ ˙

OO ™™

æ 7 wæ 4

OO OO

ææ ˙™

b ~~

5 4

OO ™™

æ 6 wæ ™ 4 OO ™™

4 4 b ~~ ™™

~™

7 4

∑ ~~

6 4

2 4

∑ ‚‚

‚

∑ OO

4 4

2 4

o ppp

185

B. Fl.

° Kr ¢& <b>‚

3 4 O™

j ‚

O™

6 4 b~ ™

j ‚

3 4

Hp. {

~™

6 4

4 4~

3 4 bO ™

4 4

3 4

D p

whip

whip harp let vib. let vib.

r T. D. 1

°/

T. D. 2

≈

>¿

∑

3 4

∑

6 4

∑

4 4

∑

3 4

∑

3 4

∑

6 4

∑

4 4

∑

3 4

∑

6 4

∑

4 4

∑

3 4

∑

ff snap let vib. T. S.

Kr ¢/ ¿

scratch with force

3 4

˙™

Db.

‚ ° RÔ ¢&

¿ ¿

∑ mf

O™

3 4

∑ OO™™

O™

OO™™

‚ ‚‚

‚

‚‚

~™

6 4

~~™™

~™

~~™™

4 4

O™

3 4

OO™™