Being Apu Sakar

Christian Winther Christensen

Being Apu Sarkar

(2009)

for alto saxophone, piano & percussion Dur. 7’

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Edition·S publications are supported by the Danish Arts Council Music Committee / Edition·S udgivelser er støttet af Kunstrådets Musikudvalg

Christian Winther Christensen

Being Apu Sarkar

(2009)

for alto saxophone, piano & percussion Dur. 7’

PERFORMANCE NOTES

”Being Apu Sarkar” is a trio of percussion, saxophone and piano.

The percussionist has two wine glasses which are filled with wine. It is possible to use nonThe percussionist has two wine glasses which is full of wine. It is possible to use non-alcoholic alcoholic “look wine” but it is with very normal charming when wine or look awine like or wine butalike it is very charming wine :-) done with normal wine.

Every time they playing tempo 96 the percussionist have to drink from glass 1, glass 2 or from both EachExample time when 96 theispercussionist a sip from 1, glass 2 or glasses. barplaying 22. Thetempo two glasses marked so thetakes percussionist canglass see how much he from have both glasses (Example bar 22). The two glasses are marked so the percussionist can see how to drink. much he/she has tohave drink.

Later the percussionist to beat the glasses against the table (not too hard. The glass should not go to pieces). Possibly practicing with other glasses when you have to beat the glasses against the Later the percussionist is required to beat the glasses against the table (not too hard - the glass table. should not break!). Consider practicing with other glasses when you have to beat the glasses Theagainst piano player and the saxofon player also have two glasses. One each. The glass must be a little the table. stronger. See the picture The pianist and the saxophone player also have two glasses – one each. The glasses must be a little stronger. See picture:

piano player beats theagainst glass against a book thatput he/she put on the iron frame inside TheThe piano player beat the glass a book that he have on thehas iron frame. the piano.

The saxofon player beat the glass against a book that he have put on a little table.

The saxophone player beats the glass against a book that he has put on a little table.

In the end, all three have to sing one of the voices [ from bar 165 ] In the end, all three performers have to sing one of the voices [from bar 165].

Good advice for practicing 1.

2.

3.

4.

5.

6.

Good advice for practicing: Practicing with other glasses when you have too beat the glasses against the table.

1. Always - Practice with other glasses when you have to beat the glasses against the table. have some extra glasses. course,have do not use extra wine glasses available.

2. Of - Always some Do not drink too much water to the rehearsal. The first part is very simple for the 3. percussionist - Do not use but wine during 0f course. very hardrehearsal, if he is practicing to much. playertoo have to create system the so he can navigate the is piano 4. the - Dopiano not drink much watera during rehearsal.

The inside first part very simple for the The pianos are but not very identical. on the same percussionist hardPractice when practicing toomodel much.as you are using in the concert. it is piano possible.

5. If - The player has to figure out a system so that he/she can navigate inside the piano.

6. - Pianos are not identical. Practice on the same model as you are using in the concert, if possible.

THINGS YOU NEED TO REALIZE THE PIECE

An old grand piano The piano should preferably not be a new Steinway. The piece works best on an old piano.

2 two strong glasses Like the glass in the picture 2 two wine glasses Marked with tape or something else A bottle of red wine Alcoholic or non-alcoholic A small table for the percussionist A small table for the saxophone player A small glass of water For the percussionist to dip his/her finger in the water. Makes it easier to play on the glasses.

A book in the piano So that the pianist has something to beat on with the glass.

Tape Different kinds of tape for the marking and piano muting.

BEING APU SARKAR for alto sax, piano and percussion

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Christian Winther Christensen komp. 2009

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Glass 2

˙

& 44 ˙

˙

43

!

b bb ····

·· ··

·· ··

r#‰ Œ fl "f "

7 16 7 16

Œ

r

Glass 1 Glass 2

43 ˙

œ.

J

7 16

·· ··

œœ

r ·· # ‰ ‰ . ·· ·· # ‰ ‰ . ·· R

&

·· ··

Œ

43

·· ··

·· ··

44

œ œ‰

9 16

‰

9 16

# ·· # ··



6 œœ ..

16

œ . (u )

Ø

43 ˙œR 43

˙ (u)

43 ···

9 & 16

5 16

Ó

5 16 ‰

Ó

!

# œ . (u) œ . (u) œ . (u ) œ . (u ) œ . (u ) œ . (u ) œ . (u ) œ . (u ) 9 J J J 6 J J J J J & 16 16 % –.

J

–.

J

–.

J

–.

J

–.

J

6 –.

16 J

3 4 # Jœ . ˙ nœ. ˙ 3 J 4# Ø Glass 2

–.

J

- - - - - - - - - - - - - - 9 œ œ œ œ œ œ œ œ œ œ œ œ 6 œ œ œ œ & 16 16 2 2 2 2 2 2 2 2 p 9 6 16 16 ! ! !

!

Glass 1 Glass 2

5 4 ˙.



3 4

!

œ œ

Œ

 

˙

?

5 4 ··· · 5 4

·· ··

· b b ··· b b ··· b·

#

pizz.

3 4

Ó

Œ

3 4

#· n n # ···

b ··· # n # ··· · #·

3 4

right hand on the key

Œ

44

˙œ R

œ 5 4 R#‰ Œ !

8

6 16

Œ

3 4

‰ Œ 43 P

j 6 · 16 b ·· ... ‰ .

·· ·

3 4 r r #‰ Œ . . p P R. L.

6 16

!

!

#

·· ·

4 4

$ – 9 16 P œ 34 Œ 9 Œ ‰ J 16 P 3 Œ 9 r # ‰ ‰ r # 16 4 "p" ° *

!

·· ··

&



& 44

·· # ··

44

43 r r # ‰ r # ‰ Œ fl "p" °

!

6 16

!

?

!

9 –. & 16 J Pno.

43

·· ··

43 # ˙ . Øp 3 · 4 # ···

y yyyyyyyyyyy 6 yyyyyy 3 Π43 y y y y y y y y y y y y 16 yyyyyy 4

107

A. Sx. in E b

·· # ‰ . ·· R

· b b ···

4 4

!

yyyyyyyyyyyyyyyy 5 & 44 y y y y y y y y y y y y y y y y 16

4 r#‰ Œ 4 *

Glas

3 4

3 4

œ 7 R # ‰ ‰.

16

5 j # 43 16 œ œ œ

right hand inside piano

Pno.

b ˙ . (u )

43

r ·· # ‰ . ··

5 œ 16 J

r 7 œ # ‰ ‰.

16

3 4 ˙.

œ 5 R # ‰.

16

102

Glas

r 5 œ # ‰.

16



Glass 1

97

n· # n n ···

b ·· # n ·· b ·· # n ··

45 r r # ‰ r r # ‰ r r # ‰ r r # ‰ r r # ‰ fl fl fl fl fl ƒ

3 4 43

3 & 4 œR # ‰ Œ

Glas

A. Sx. in E b

· ? 43 ···

œ. ‰ Œ J

·· ··

·· ··

right hand inside piano

Œ

·· ··

Œ

H

& 68

118

A. Sx. in E b

Pno.

q = c 160

(q . = c 107 )

& 68 & 68

¬.

p

Glas

A. Sx. in E b

!

5 & 4 –J ‰ Œ

–‰Œ J

Ó

Œ

..

–-

–-

–-

–-

.. – ‰ Œ J

Ó

.. œ. ‰ Œ J

Ó

.. Œ

j‰ j‰Œ

Glass 2

45 ˙ " j 45 b ‡. ‰ Œ

!

Œ

Œ

Ó

# œ (u ) ˙ ‰ J Ø

right hand inside piano

8 16 Jœ . " # œ . (u ) 8 J 16

œ.

J œ . (u) J

œ 43 ˙ .

J œ (u) # ˙ .

J 3 4

y y yy y y y y y y y y yyyy 8 y ## y ## y # y y y y y y y y y y y y y y y y 16 y y y R R R left hand on the key j 5 Œ Œ ‰ ·· ·· ·· 8 ! &4 16 · · · " 54 Œ r r # ‰ Œ 8 r r## r r## r r# Ó 16 5 &4 Œ

Pno.

Œ

3 4

..

!



–-

Ó

j‰ j‰Œ

œ

œ

Ó. Œ

Œ

Œ

Ó

Ó.

I

q = c 60

5 &4 Œ

85

–-

j M˘ 85 ‰ œJ b J‡ # œ .

M p % ‚. .

58 ‚ ‚.

5 j‰ Œ 4 œœœœœœ œ 3 % F inside piano 54 ˜J ‰ Œ ‰ ‰ –. –. ‰ ‰ 85 Œ ˜ . Glissado with the glass J J P 5 5 j ‰ ‰ Œ.

8 Œ j ‰ ‰ 4 j ‰ Œ ° * *

6 j ‰ ‰ Œ.

8 °

124

Ó

44 œ. ‰ Œ Ó J % 44 Œ j ‰ j ‰ Œ

–. ‰ ‰ ‰ ‰ –.

J J P – .

R # J– ‰ ‰ J–. ‰ ƒ P '‚. Œ. ‰ ‰ J f left hand

!

!

& 68

&

4– ‰Œ 4J

..

!

!

–-

43 r r # ‰ r # ‰ Œ fl "p"

Glas

4 4

& 43 ˙ . ~~~~~~~~~~~~~~~~~~~ 44 ~~&R # ‰ Œ – – - % p F 3 &4

Pno.

q = c 96

Œ

112

..

–-

Œ

–-

.. – ‰ Œ J

Ó

.. œ. ‰ Œ J .. Œ

!

43 Π9

!

6 8

5 j ‰.

16 –-

68

5 16 –J ‰ .

6 8

5 œ. ‰ # 68 16 J

Ó

5 ‰ # # r 68 16

.

85 –J ‰ Œ .

P – . .

85 R # –J ‰ ‰ –J ƒP

!

38 – . p '. b‚ b ‚. .

3 ‰ b œ 8 R #‰ ‰ 85 f 38 !

85 Œ

q = c 96

4 – ‰Œ 4 J

3 8

Ó

!

..

45 45

–. –. ‰ 45 P 5 !

4

5 8

!

45

!

7 .. 16

. . 7 –- –- –- –- . –- –- –- –- –- –- –- –- . 16 % Ó

4 œ. ‰ Œ Ó 4 J % Œ j ‰ 44 Œ j ‰ j ‰ Œ p "p" ° * °

3 4

–-

j‰ j‰Œ

œ œ # 38

4 œ#‰ Œ 4 R œ 4 R#‰ Œ 4 !

5 16

!

.. – ‰ Œ J .. œ. ‰ Œ J .. Œ

Ó

7 .. 16

Ó

7 .. 16

j‰ j‰Œ * °

7 .. 16

J

7 & 16

Glas

A. Sx. in E b

Pno.

3 4

!

129

7 & 16 –J ‰ ‰ .

A. Sx. in E b

Pno.

L. 43 r # ‰ Œ . ..

*

!

M˘ j 5 ‰ & 8 Jœ b J‡ # œ .

M % p (')‚. ‚. ‚.

5 &8 œ#œ œ œ œ œ 3 F & 85 Œ ˜ .

Pno.

j

‰ ‰

°

q = c 140

3 &4

139

A. Sx. in E b

43

¬.

3 &4

!

p j 3 b n ·· ‰ Œ & 4 n n ·· ?3 4 43

b· n n b ··· ‰ Œ J r

!

4 –. –. Œ Œ –. –.

4 P 44 –R # ‰ –. ‰ ‰ –. Œ J J ƒ P ' ‚. right hand on the key 4 Ó Œ ‰ J 4

!

44 Œ

!

L.R.

& 85

5 8 Œ

Glas

3 4

7 œ. ‰ ‰ . & 16 J

134

Glas

¬.

43 p

7 j ‰ ‰. & 16 –-

7 ‰ ‰ 16

q = c 160

r#‰ Œ fl

Œ Œ Œ

44 –. –.

P 44 b ‡j ‰ .

44 44 4 4

‰ –. –. ‰ Œ J J P !

left hand inside piano

44

Œ

Œ

Œ

–. –. 85

–. ‰ ‰ –. Œ J J P '‚.

J j‰ Œ Œ ‰ œ ƒ % ˜ J ‰ ‰ –. –. ‰ Œ J J P j ‰ Œ Ó *

4 –. –. Œ Œ –. –.

4 P 4 –R # ‰ –. ‰ ‰ –. Œ 4 J J ƒ P ' ‚.

4 Ó Œ ‰ J 4 ƒ left hand inside piano 4 Œ ‰ –. –. ‰ Œ 4 J J P 44 !

ƒ

5 8

58 ‰ Mœ b ˘‡ # œj .

J J M p % .‚ .

5 ‚ ‚.

8 œœœœœœ 3 F 85 Œ ˜.

85 Œ

!

M 58 ‰ œ b ˘‡ # œj .

J J M p % ‚. .

58 ‚ ‚. bœ œ œ œ œ œ 3 F 85 Œ ˜ .

5 8 Œ

5 8 5 8 5 8 5 8 85

j ‰ ‰

°

4 –. –.

4 P 44 b ‡j ‰ .

!

10

–. –. 85

Œ

–. ‰ ‰ –. Œ J J P ' ‚.

4 j‰ Œ Œ ‰ J 4 œ ƒ % 44 J˜ ‰ ‰ –. –. ‰ Œ J J Glissado with the glass P 4 j ‰ ‰ 4 j ‰ Œ Ó ° *

43

44

!

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~r 34 b ˙ .

44 b œ #‰ Œ " p 43 j ‰ Œ bœ % 34 ˜J ‰ Œ 3 4 j ‰ Œ *

Œ

left hand on the key

Œ

Œ

?

44

# ·· b n ·· # ·· b n ··

· b· 44 # ··· n b b ···

85 5 8 85 85

43

! Ó

43

·· # ·· ·· # # ··

43

·· # ·· ·· # ··

43

4 r r #‰ r r #‰ r r #‰ r r # ‰ 3 4 4 fl fl fl fl

4 –. –. Œ Œ –. –.

4 P M˘ ‰ œ b ‡ # œj . 44 b ‡. ‰ –. ‰ ‰ –. Œ J J J M p P % ' ‚. ‚. ‚. .

4 ‚ J 4 j‰ Œ Œ ‰ 3 œ#œ œ œ œ œ œ ƒ % F 4 ˜J ‰ ‰ –. –. ‰ Œ Œ 4 J J ˜.

P Œ j ‰ ‰ 44 j ‰ Œ Ó ° * !

Œ

5 8

!

M 5 ‰ œ b ˘‡ # œj .

8 J J M p % ‚. .

5 ‚ ‚.

8 3 bœ œ œ œ œ œ F 5 8 Œ ˜.

85 Œ

j ‰ ‰

°

4 4 4 4 4 4 4 4 44

4 . . &4 – – P & 44 # ‡. j ‰

144

Glas

A. Sx. in E b

Pno.

4 &4 ? 44 44

Œ

Œ

–. –. 85

–. ‰ ‰ –. Œ J J P ' ‚. Œ ‰ J j‰ Œ bœ ƒ % ˜ J ‰ ‰ –. –. ‰ Œ J J P j ‰ Œ Ó *

. . . . & 44 – – Œ Œ – – P œ . . & 44 R #‰ –J ‰ ‰ J– Œ ƒ P ' ‚. Œ ‰ J & 44 Ó ƒ left hand inside piano ? 44 Œ ‰ –. –. ‰ Œ J J P 4 !

4

149

Glas

A. Sx. in E b

Pno.

5 &8

154

Glas

A. Sx. in E b

Pno.

!

M 5 ‰ œ b ‡. # œj . &8 J J M p % (' ) ‚. .

5 ‚ ‚. ? œ # œ œ œ œ œ &8 3 F ?5 Œ 8 ˜.

85 Œ

j ‰ ‰

°

3 4

!

˘ 58 ‰ M œ b‡ J J p ‚. ‚.

5 ‚.

8 3 œ #œ F 85 Œ ˜.

85 Œ

j

°

!

!

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~r 34 b ˙ . bœ # ‰ Œ " p

j #œ.

M %

3 4 j‰ Œ œœœœ œ % 34 ˜J ‰ Œ

Œ

left hand on the key

Œ

43 j ‰ Œ *

‰ ‰

Œ

3 4

!

2 4

!

43 j ‰ Œ *

Œ

left hand on the key

Œ

Œ

&

2 4

!

2 4

# ·· # ·· · # ···

· b· # # ··· n n b ···

85 85 85 85 5 8

n· b b n ··· b· n b b ···

42 r r # ‰ r r # ‰ fl fl 11

3 4 ··· · 3 4

·· ··

˙.

# ·· # ·· · # ···

p

44 Œ

Œ

4 4

Œ

Œ

r#‰ Œ fl

Œ

44

n· b b n ···

b· n b b ··· r

4 4

!

44

44 –. –. Œ Œ –. –.

P M ˘ j ‰ œ b ‡ # œ . 44 b ‡. j ‰ –. ‰ ‰ –. Œ J J J M J p % P ' ‚. ‚. ‚. ‚. ? œ œ œ œ œ œ 44 Jœ ‰ Œ Œ & ‰ J 3 % ƒ F 44 ˜J ‰ ‰ –. –. ‰ Œ Œ J J ˜.

P Œ j ‰ ‰ 44 j ‰ Œ Ó ° * !

3 4

3 ˙.

4 p

q = c 120

Œ

r #‰ r r#‰ r r#‰ fl fl fl

q = c 96

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~r 3 b˙.

2 4 4 bœ # ‰ Œ " p 3 4 Jœ ‰ Œ % 3 ˜ 4 J ‰ Œ

#· n· # # ··· n b n ···

r

44 –. –. Œ Œ –. –.

P M ˘ j j . .

85 ‰ Jœ b J‡ # œ . 44 b ‡. ‰ J– ‰ ‰ J– Œ M p % P ' ‚. ‚. ‚. . ? #œ #œ œ œ œ œ 4 #œ ‰ Œ Œ ‰ J 85 ‚ 4 J & 3 % ƒ F 58 Œ 44 ˜J ‰ ‰ –. –. ‰ Œ J J ˜.

P 5 Œ 4 j ‰ Œ Ó j ‰ ‰ 8 4 ° * 85

K

!

Œ

Œ

Œ

Œ

43 r r # ‰ Œ fl

Œ

4 –. –.

4 P 4 œR # ‰ 4 ƒ 4 Ó 4 4 Œ 4 44

Œ

Œ

85 85 85 85 5 8

–. –. 85

–. ‰ ‰ –. Œ J J P ' ‚. Œ ‰ J

5 8

‰ –. –. ‰ Œ J J P !

5 8

ƒ

5 8

85

5 &8

159

Glas

A. Sx. in E b

Pno.

!

M ˘ j 5 ‰ & 8 œJ b ‡J # œ .

M p % (' ‚. )‚.

5 ‚. ? b œ œ œ œ œ œ &8 3 F ? 85 Œ ˜.

. . & 42 – – Œ P j‰ Œ 2 b ‡ &4 .

164

A. Sx. in E b

Voices

Pno.

& 42

!

? 42 b œ #‰ Œ R ? 42 J˜ ‰ Œ

42 j ‰ Œ *

Keep the glass on the table

32 – ‰ Œ J p 32 b w . Ø 32

A. Sx. in E b

Voices

Pno.

Ó

right hand inside piano

!

32

!

32

& left hand on the key

.

5 œ &4 J

44 œ. ‰ Œ Ó J

‰Œ Œ Ó

45 r j # ‰ Œ Œ Ó

&

!

44 ˜J ‰ Œ Ó

‰Œ Œ Ó

L

Ó

& 45 ˜j p 5 & 4 –J ‰ Œ Œ Ó p 5 & 4 œœj ‰ Œ Œ Ó & 45 –J

4 –. –. Œ Œ –. –.

4 P M 58 ‰ œ b ˘‡ # œj . 44 b ‡j ‰ –. ‰ ‰ –. Œ .

J J M J J p % P ' ‚. .‚ .

5 ‚ ‚. ? œ # œ œ œ œ œ 4 œ ‰ Œ Œ & ‰ J 8 4 J 3 % F ƒ 58 Œ 44 ˜J ‰ ‰ –. –. ‰ Œ J J ˜.

P 58 Œ 4 j ‰ ‰ 4 j ‰ Œ Ó ° * !

!

32

169

Glas

–. –. 85

Œ

44 b ‡ ‰ – ‰ ‰ –. Œ . .

J P ' ‚.

4 bœ ‰ Œ Œ & ‰ J 4 J % ƒ 44 ˜J ‰ ‰ –. –. ‰ Œ J J P j ‰ ‰ 44 j ‰ Œ Ó ° *

85 Œ

Glas

4 –. –. Œ 4 P

44 – ‰ Œ Ó J 4 4

œœ ˙˙ ..

44 – ‰ Œ Ó J

44 ‰ ‰ j ‰ Œ p "p" °* °

42 42

44

CHORALE

44 œ #‰ Œ R % 44 #˙. Ø 44 – ‰ Œ J

Ó œœ Ó

!

2 4 # ˙˙

42 –J ‰ Œ 24 œ. ‰ Œ J

˜ 45 J 45 –J

‰Œ Œ Ó

5 4 œœj ‰ Œ Œ Ó 45

54 œ.

J

!

‰Œ Œ Ó

j ‰ 5 r #‰ Œ Œ Ó 42 Œ 4 j * 12

˙˙

– ‰ Œ J œ. ‰ Œ J Œ

85 Œ

!

42

# ˙˙

42 œœ

!

Ó

°

44 – ‰ Œ Ó J 44 œ. ‰ Œ Ó J

44 ‰ ‰ j ‰ Œ p "p" °* °

42

45

# œœ

45

.

42 œJ ‰ Œ

45

45

j ‰ 5 4 *

42 Œ

!

44 – ‰ Œ Ó J # ˙˙

2 4

45

44 j ‰ Œ Ó ˜

4 ˙ 4 #˙

42

!

42 –J ‰ Œ

Ó

2 4

j ‰ ‰ 42 °

42

j ‰ j ‰ Œ

*

!

M 58 ‰ œ b ˘‡ # œj .

J J M p % ‚. ‚.

5 ‚. ? b œ œ œ œ œ œ 8 3 F 85 Œ ˜.

!

!

44 œ. ‰ Œ Ó J " 44 ‰ ‰ j ‰ Œ p "p" ° * °

!

5 8

! œœ ˙˙ ..

–‰Œ Ó J œ. ‰ Œ Ó J

Œ j‰ j‰ Œ * °

&

!

2 4

!

5 4 ˜j

&

!

42

!

45 –J

# ˙˙

175

Glas

A. Sx. in E b

Voices

Pno.

& # ˙˙

– & J‰Œ . œ & J‰Œ Œ

Ó

j‰ j‰ Œ

* °

& 43 ˜j

181

Glas

A. Sx. in E b

Voices

Pno.

2 4 ˙ ˙

5 4 œj ‰ Œ œ

Œ

Ó

!

24 œ. ‰ Œ J

5 4

4 4 œ # ˙˙ .. œ

45

!

j ‰ 5 r #‰ Œ 4 j *

42 Œ

4 –‰Œ 4 J

Œ

44 œ. ‰ Œ J

Ó

3 4

Œ

44 – ‰ Œ J

Ó

43

3 j 4 œœ ‰ Œ

Œ

4 4 œ # ˙˙ .. œ

34 œ. ‰ Œ J

Œ

3 – 4 J‰Œ

Ó Ó

j 43 ‰ Œ *

44 ‰ ‰ j ‰ Œ p "p" ° * °

Ó

4 j‰ Œ 4 ˜

Œ

Œ

3 4

4 –‰Œ 4 J 44 œ. ‰ Œ J

Ó

!

!

!

Ó

!

!

!

!

!

Œ

44 œœ

3 œ. &4 J ‰ Œ

Œ

# ˙˙ ..

44 – ‰ Œ J 4 œ. ‰ Œ 4 J

44 "p"

‰ p

° *

Ó Ó

‰ j ‰ Œ °

j œœ ‰ Œ

Ó

œ. ‰ Œ J

Ó

*

°

– ‰ Œ J

Œ

Ó

j ‰ j ‰ Œ

13

– ‰ Œ J

Ó

œ. ‰ Œ J

Ó

*

°

Œ

j ‰ j ‰ Œ

Ó

3 4

Ó

43

44 ‰ ‰ j ‰ Œ p "p" ° * °

44 J˜ ‰ Œ

& 43 œœj ‰ Œ

Œ

43 –J ‰ Œ

44 – ‰ Œ J

4 – ‰ Œ 4 J

j 43 ‰ Œ *

Ó

Ó

Œ

Œ

3 ˜ 4 J

Œ

3 & 4 –J ‰ Œ

& 43 –J ‰ Œ

Ó

‰Œ

2 – 4 J‰Œ

Ó

4 ˜J ‰ Œ 4

– ‰ Œ J œ. ‰ Œ J Œ

Ó Ó

j ‰ Ó

*

43