Ian Shanahan (19881991)

To Eric Gross and Peter Sculthorpe

For Roslyn Dunlop, Daryl Pratt and Tony Cowdroy to play:

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Cycles of Vega
for

sopranino clarinet in ee
and
percussion (2 players)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

1991, by Ian Shanahan.

 PROGRAMME ANNOTATION
Cycles of Vega
for e~ clarinet and percussion
Ian Shanahan (1988-1991)
In what may well become an ever-expanding set of compositions for wind and
percussion instruments, Cycles of Vega is intended to be a 'companion piece' to an
earlier work of mine: Echoes/Fantasies (1984), for bass clarinet, vibraphone(s) and
tubular bells. Both of these compositions make use of various complex long-range cyclic
transformations - hence the present work's name - as well as embracing related musical
materials and structures.
The title "Cycles of Vega" makes oblique reference to my longstanding astronomical
interests. Vega (a Lyrae), the brightest object in the 'musical constellation' Lyra, will
become the Earth's north celestial pole-star sometime around 14,000 AD - since Earth's
polar axis inexorably describes, or cycles through, a vast circle in the sky every 25,800
years or so. Considered to be the greatest astronomer of antiquity and the founder of
systematic observational astronomy, Hipparchos of Nicaea (fl. 146-127 Be) was allegedly
the discoverer of this diuturnal cosmic process (referred to as 'precession') - although an
explanation of precessional behaviour was not forthcoming for at least another 1,800
years, with the advent and codification of Newtonian mechanics! (Rotating bodies then
perhaps began to be understood, a little ... ) At any rate, the (epi)cyclicity discernible within
Cycles of Vega is certainly a 'precessional metaphor'. Intended to proclaim our Universe's
grandeur, I trust that Cycles of Vega is not just some lifeless 'acoustical orrery', but is,
rather, a truly vibrant model of the Cosmos it extols.
Much to my delight, I have learnt that the star Vega possesses a rich cultural history;
its name is resonantly polysemic. According to Richard Hinckley Allen:*
The association of Lyra's stars with a bird perhaps originated from a conception of the
figure current for millenniums in ancient India - that of an Eagle ... But the Arabs' title, AI
Nasr al Waki - Chilmead's Alvaka - referring to the swooping Stone Eagle of the Desert,
s
generally has been attributed to the configuration of the group a, E, [Lyrae], which shows
the bird with half-closed wings ... Sayce identifies Vega, in Babylonian astronomy, with
Oilgan, the Messenger of Light ... Owing to precession, it will be the Polaris of about 11,500
years hence, by far the brightest in the whole circle of successive pole-stars, and then 4.5"
from the exact point, as it was about 14,300 years ago ... [Vega] was the first star submitted
to the camera, by the daguerreotype process, at the Harvard Observatory on the 17th of
July, 1850.
Moreover, the theologian E. W. Bullinger claims that the star-name Vega "means He
shall be exa/ted".t And I also recall that in the science-fiction novel Contact,:j: written by
the celebrated cosmologist Carl Sagan, modern radio astronomers first detect intelligent
extraterrestrial life through the reception of a sequence of prime numbers transmitted from
Vega!
Anyway, I try to evoke, within the sound-world of Cycles of Vega, an extremely
unearthly, timeless, cosmic, astral state. In large part, this is achieved through the use of a
rather unusual (even idiosyncratic) instrumentation - which includes twenty(!) varieties of
windchime, seven rin (Japanese temple bells) and tubular aluminium sound-sources that I
have constructed and assembled myself ("Shan Tubes"), as well as a number of other
metallic percussion instruments. (Some of these instruments' microtonal tunings, and the
e~ clarinet's technical treatment in general, additionally indicate an attempt on my part 'to
look ahead' musically and aesthetically, liberated from the artificial restrictions of the past.)
The fascinating stochastic behaviours at play within the windchimes themselves - a
prominent element of the piece, simply because these instruments are so numerous -
provide a metaphorical mirror for the complex tumultuousness of the Cosmos itself:
Cosmological Entropy, Chaos, and the Second Law of Thermodynamics ... as well as the
seemingly random chaotic perturbations - 'nutation' - of the Earth's polar axis, which
wobbles periodically in conjunction with the precession-of-the-equinoxes phenomenon,
itself evinced by equinoctial points retrogressing ever so slowly along the ecliptic. (Such
labyrinthine concepts, exhibiting 'disorder within meta-order', are encapsulated beautifully
by James Joyce's neologism "chaosmos"!) Furthermore, the intricate structural hierarchies
woven into Cycles of Vega could perhaps be interpreted as an (admittedly gross)
simplification, essence, sign, or symbol of the infinite architectonic nature of God's
Universe.
Cycles of Vega was commissioned by the Australian clarinettist Roslyn Dunlop, with
funds provided by the Performing Arts Board of the Australia Council for the Arts; it is
gratefully dedicated to Ros - and also to two of my former composition teachers, Eric
Gross and Peter Sculthorpe, at the University of Sydney.
Ian Shanahan, Sydney, Australia; 10 March 1990.
* Richard Hinckley Allen: Star Names: Their Lore and Meaning (Dover Publications, Inc., New
York, 1963; ISBN 0-486-21079-0), pp.282-286.
t Ethelbert William Bullinger: The Witness of the Stars (Kregel Publications, Grand Rapids,
Michigan, U.S.A., 1995; ISBN 0-8254-2245-0), p.66.
:j: Carl Sagan: Contact: A Novel (Arrow Books Ltd., London, 1986); ISBN 0-09-950780-3.
Cycles of Vega was premiered by Roslyn Dunlop (e~ clarinet), Daryl
Pratt (percussion), and Anthony Cowdroy (percussion), during the
Second Sydney Spring International Festival of New Music, held at
the Art Gallery of New South Wales, Art Gallery Road, The Domain,
Sydney, on 2 November 1991. The composer was subsequently
awarded The Adolf Spivakovsky Memorial Prize for Composition
(1991), for Cycles of Vega.
A recording of Cycles of Vega, played by the same personnel, is
now commercially available on the Compact Disc "Shoalhaven Suite"
(Broad Music Records Jade JAD CO 1087).
HIPPARCHOS
Cycles of Vega,
stately precession:
Axial changes so slow.
Azimuth rising,
Pole Star declining:
spinning-top Earth 'round you go!
1. L. Shanahan, 31.8.1989.
 PERFORMANCE NOTES - 1 sea-urchin-spine windchime
- 1 herd-bell windchime
- 'triangle windchime' (3 triangles) {suspended high}
- 6 small-diameter "Shan Tubes" {suspended very high} *
PREAMBLE
- 7 Japanese temple bells (rin) {resting upon their traditional cushions, on a (cloth-
covered) table}
I wish to thank Roslyn Dunlop for her research assistance, for her kindness in
- sleighbells {suspended high} .
demystifying the subtleties of the e~ (sopranino) clarinet for me, as well as her patient
- 9 windchimes, activated mainly by the percussionist's left hand {all suspended high}
editorial guidance later on in the compositional process - particularly in relation to the
- 1 wooden-rod windchime
deployment of many unusual e~ clarinet fingerings throughout Cycles of Vega. I am also
- 1 bamboo-tube windchime
greatly indebted to Daryl Pratt who, as usual, was keen to share his immense knowledge - 1 sea-urchin-spine windchime
of the percussion genre and how to compose intelligently with it: for example, In deciding
- 1 shell-disc windchime
upon the layout and distribution of the percussion instruments in Cycles of Vega (thereby
- 1 'Kenyan bell tree'
ensuring that mallets and percussion instruments would always remain compatible),
- 1 ceramic-disc windchime
Daryl's expert advice was invaluable. I thank him for his affable generosity.
- 1 brass-tube windchime
- 1 aluminium-tube windchime
- 1 brass-disc windchime
1. GENERAL REMARKS
- very large tam-tam {suspended in a frame}

INSTRUMENTATIONAL REQUIREMENTS Note: technical specifications with detailed descriptions of all of these percussion
instruments shall be given later; I have also appended to these Performance Notes a
Sopranino Clarinet in ek comprehensive diagram depicting their physical layout .

Percussion (2 players) * Both sets of "Shan Tubes" require very high stands - reaching at least 2 metres above the floor!
The "Shan Tubes" themselves are suspended in much the same manner as a set of
Percussion 1
commercially manufactured tubular bells, from many small hooks screwed into a pair of flat
- vibraslap {at rest on the mallet-tray} home-made rectangular wooden racks. However, in performance, these suspension-racks must
- large autocoil {suspended high} be placed close enough together so that each set of "Shan Tubes" physically interacts with the
- very large triangle {suspended high} other set, as a kind of single 'super windchime', at the climax of Cycles of Vega (bar 177).
- crotales (one octave set) {rack-mounted} t Note that until bar 39 in Cycles of Vega, both percussionists are able to share the same set of
- vibraphone (optional: employ an assistant to regulate its rate of vibrato) three (suspended) cymbals: duplicate instruments are therefore not needed (although their
- 4 cowbells {rack-mounted} presence would serve to expand this composition's timbral spectrum).
- 2 ag6go bells
- 2 cencerros
ADJUSTMENT OF TEMPI, AND DURATION
- 6 large-diameter "Shan Tubes" {suspended very high} *
- 3 suspended cymbals {all suspended on cymbal stands, but ideally grouped together
If the fastest tempi specified in Cycles of Vega prove to be overwhelming for the
in vertical order upon a single cymbal stand} t
performers, then decrease all tempi proportionately, by the same factor - lest the work's
- 1 large sizzle cymbal
architecture be distorted. (Likewise, the duration of each pause lasting a given number of
- 1 large Chinese cymbal
seconds will need to be multiplied accordingly.) This is by no means a desirable
- 1 very large (Turkish) suspended cymbal
circumstance, for the designated tempi are optimal and preferred: I therefore encourage all
Percussion 2 executants to work up to playing Cycles of Vega at these tempi!
- 3 suspended cymbals {all suspended on cymbal stands, but ideally grouped together
Cycles of Vega embraces extremely subtle, long-range accelerandi and decelerandi
in vertical order upon a single cymbal stand} t
(bars 12-36; bars 86-178; and bars 180-214), the contours of which are defined by
- 1 large sizzle cymbal
approximate tempo-indications every bar or so. In order that performers attain the required
- 1 large Chinese cymbal
shapes of these tempo-contours fairly accurately, they are advised to repeatedly 'count
- 1 very large (Turkish) suspended cymbal
through' the piece with an electronic metronome, tuming the device's dial correspondingly.
- dove call in C {hanging from a string, around the percussionist's neck!}
This practice activity will greatly assist projecting, in concert, the right 'feel' of tempo-
- vibraslap {at rest on the table with the rin} .
evolution. Of course, a certain degree of flexibility is permissible, provided that the general
- 8 windchimes, activated mainly by the percussionist's right hand {all suspended high}
contours of tempi are preserved overall. Additionally, approximate durations (in minutes
- 1 aluminium-tube windchime
and seconds) of subsections of Cycles of Vega have been supplied, both singly and
- 1 ceramic-disc windchime
cumulatively, as an aid to executants in this respect.
- 1 brass-bell windchime
- 1 shell-disc wind chime
- 1 wooden-rod windchime
- 1 bamboo-tube windchime

-i- - ii-
GRACE-NOTE GROUPS
Grace-notes occupy (very) short indeterminate durations, which are left to the discretion
of the player. In general, they should be played quite rapidly (but not necessarily evenly),
at a speed somewhat dependent upon local context and other instructions or technical
exigencies. Grace-notes marked "agile" or "rapid" (etc.) should be interpreted accordingly,
or even played 'as fast as possible' ("a.f.a.p."). Furthermore, grace-notes ought not to be
thought of as mere 'omaments', of secondary architectonic status, to the 'main notes': all
sonorities in Cycles of Vega are equally important!
nr.
- a grace-note group commencing before the 'main duration'.
[1IP - a grace-note group commencing precisely on the 'main duration'.
f V~1 - a grace-note group commencing near the end of the 'main duration'.
Pm '1 - - an accelerando within the grace-note grouping.
a grace-note rest.
PAUSES
Unless otherwise indicated, precise durational details of pauses are left to the
interpretation of the performers. The following symbology is employed:
~
7" is a squared fermata, denoting a pause the approximate duration of which is
I I indicated in seconds above the fermata;
~ is a comma, denoting a (slight) caesura or cut-oft- not necessarily for the purpose
of taking a breath.
The durations of other pauses - given as a squared fermata alone (,..,) - are determined
entirely by instrumental characteristics or other acoustical properties: e.g. "Pause until the
Tam-Tam resonance is 'pp"'; etc. (The appropriate textual instruction is always provided in
conjunction with the squared fermata.) Sustained (approximate) durations within the ambit
of such pauses are notated time-spatially - i.e. extended beams depict such local
durations; the end of a beam indicates the termination of a (previously sustained) note.
LOCALIZED TIME-SPACE NOTATION
I Bold orthogonal brackets denote localized time-space notation that spans a
duration corresponding to the rhythmic value directly above the left
[ ] orthogonal bracket, at the prevailing tempo. Within this temporal grid, play
any musical events between such brackets approximately in direct
chronometric proportion to their relative horizontal placement upon the
score-page. (Sustained durations herein are notated with extended beams,
the end of a beam indicating the termination of a note.)
DYNAMIC INDICATIONS
Apart from the traditional dynamic indications (ppp, pp, p, mp, mf, f, ft, fff), the following
symbols are employed in Cycles of Vega:
- iii-
p poss. and f poss. are abbreviations for 'as soft as possible (but still audible)' and
'as loud as possible', respectively;
<> >< small 'hairpins' (crescendi and diminuendi, without any other dynamic indications)
signify a very subtle nuance of dynamic variation around the prevailing dynamic
level;
o represents the initial emergence from, or final vanishing into, inaudibility;
Dynamic indications apply until they are modified by the next dynamic instruction.
Moreover, a proper balance of dynamics between instruments ought to be maintained
throughout Cycles of Vega: for example, the perceived loudness of an mf sonority in one
part should match that within the other two parts.
ARTICULATIONS AND ACCENTS
All articulations - legato, tenuto, mezzo-staccato, staccato, staccatissimo, accent (,
sforzando (A) etc. - should be duly observed. For the purposes of Cycles of Vega, a
tenuto marking (-) is simply to be understood as a direction to sustain a sonority for its full
duration as given (or even a little longer), and staccatissimo denotes a very short, clipped
envelope (i.e. 'molto staccato'): neither tenuto nor staccatissimo in themselves imply the
application of any additional accent or stress whatsoever in the attack, unless otherwise
indicated. Moreover, a sforzando attack will always be based upon the prevailing dynamic
level, so that (for example) sffz = sforzando in ff.
QUARTERTONES, OTHER MICRO TONES, AND PITCH DESIGNATION
The following symbology for microtones is employed in Cycles of Vega:
* and ~ denote a quartertone above ~ , and a quartertone below ~ , respectively
(i.e. 24-tone equal temperament). Arrowheads upon any accidentals denote slight
intonational deviations - up to about an eighthtone, but not necessarily tempered -
in the given direction.
In any textual references to pitch herein:
- "Middle C" shall be designated as C \ 3, the C \ one octave higher as C \ 4, etc. (i.e.
assuming that A\3 = 440 Hz, then C\3 =:: 261.6255653 Hz).
- * and ~ denote a quartertone above ~ , and a quartertone below ~ , respectively.
Smaller degrees of intonational deviation - slight microtonal inflections, non-
tempered, of up to about an eighthtone - upwards and downwards are indicated by
upward-pointing and downward-pointing arrowheads, respectively, upon accidental
symbols. Examples: BJ 5; F~4; At3; G~2 etc.
TRILLS
denotes a trill. The pitch of the secondary note(s) is indicated by a small
notehead in parentheses; note that the interval between trill-pitches may be
greater than a major 2nd, so that the expression 'trill' here refers to an
oscillatory trilling-action over any interval! The evolution in velocity of a trill's
motion is denoted by changes in the moment-to-moment frequency of the
triangular waveform contour.
In relation to trill-speed, "a.f.a.p." is simply an abbreviation for 'as fast as possible'.
- iv-
RANDOMIZED PARAMETERS
"Rand." denotes the random treatment, over a specified duration, of individual, clearly
indicated technical/musical parameters. Such parameters operate independently of one
another when more than one parameter is so engaged. "Rand." may be applied to the
trilling-action of a (sub)set of fingers in a clarinet fingering, to the frequency modulation
(i.e. speed-changes) in a trill or clarinet key-vibrato, or to the vibraphone's vibrato-rate
between given upper and lower limits, for instance.
CUEING ONE ANOTHER WITHIN BAR 39
Within each part comprising the single, fluidly shaped macro-event that spans bar 39 in
Cycles of Vega, instructions are provided for cueing or reacting to one another - either as
an instantaneous response to one musical gesture, or as a trigger for another executant to
immediately perform some other musical gesture. Such 'aural catalysts' are notated as
large bold arrows, together with the name of another instrument (and, if necessary, a
technical description of what is being played upon that instrument) written nearby.
Elsewhere throughout Cycles of Vega, all interpreters are encouraged to discover,
thence to notate within their own parts, additional points in the music when cueing one
another for the sake of accurate coordination might prove salutary.
VISUAL IMPACT AND LIGHTING IN CONCERT
The gestural/theatrical aspect inherent within the instrumental set-up and public
presentation of Cycles of Vega must enhance the music, not impede or contradict it. All
physical gestures and actions must be seen to be deliberate, fluid, and totally controlled:
this sort of 'effortless theatricality' is crucial, for instance, in the second percussionist's
performance upon their numerous windchimes (bars 1-179) - lest they appear instead to
be merely a child running amok in its play-pen! Furthermore, the percussionists should
pick up any mallets (or hand-held instruments, such as the vibraslap) as discreetly and
unobtrusively as possible.
In mounting a performance of Cycles of Vega, I do encourage the artistic use of stage
lighting and spotlights (of various hues), so long as they are employed tastefully. Such
visual effects must enhance the cosmic, other-worldly soundscape of this piece!
2. THE SOPRANINO CLARINET IN E~: DETAILS
E ~ CLARINET FINGERINGS
Every fingering-indication provided within the score of Cycles of Vega that supplies the
notated pitch(es) accurately over the given duration is to be strictly adhered to: any
modifications of such fingerings are forbidden! But whenever a fingering yields an
unacceptably inaccurate outcome, or is acoustically untenable on a particular instrument,
then the clarinettist is at liberty to alter that fingering - subject to the proviso that the
resultant sonority matches, as closely as possible in context, the composer's original
intention. (If no such fingering exists, then just do your best with the provided fingering.)
So, whatever fingerings end up being employed herein, the sonic results must always
correspond as closely as possible to the notated pitches while retaining, as much as
possible, the original timbral signatures generated by the specified fingerings.
Non-standard fingerings for chromatic pitches, for tempered quartertones and other
microtones, and for multiphonics found in Cycles of Vega are appended within a prefatory
-v-
table - to aid the clarinettist in checking their intonational accuracy, to assist in the
familiarization process, and for general practice purposes.
MULTIPHONICS
The notation of e ~ clarinet multiphonics in Cycles of Vega is necessarily incomplete:
sidebands, such as 'difference tones', have been excluded. Nonetheless, the pitches of
the highest and lowest component tones (the primary audible pitches) are carefully
notated, and should therefore be fairly accurate in performance; this can be ascertained by
playing through the abovementioned table. If, however, any infinitesimal pitch-
discrepancies do occur in playing these multiphonics on your instrument, then they can be
ignored!
The steadiness of (unstable) e~ clarinet multiphonics is not a high priority: unless
otherwise indicated, a reasonable degree of 'inner fluctuation' is acceptable. Similarly, it is
my intention that certain slow-speaking multiphonics might be heard only incipiently,
whenever their specified durations are insufficient to fully secure and stabilize all of their
constituent pitches simultaneously.
VIBRATO
If used at all when not specifically called for, vibrato on the e ~ clarinet should be
employed with considerable discretion throughout Cycles of Vega. Air-column vibrato
(generated by pulmonic action), or perhaps even jaw-vibrato, is recommended; unspecified
key-vibrato is, however, forbidden!
The following vibrato-types are called for at specific points in the music:
K~ denotes a key-vibrato. Its fingering and trilling-action is specified by the
tablature pictograph above the stave. The triangular waveform contour
suggests micro-details of the key-vibrato's frequency, which may be static or
evolving. The emphasis here is upon timbral oscillation - although some
small microtonal fluctuations may be evident as well. All e~ clarinet key-
vibrati employed in Cycles of Vega have been appended within a prefatory
table, the rationale for selecting each key-vibrato's fingering being that it
achieves maximal timbral alteration with a minimal pitch-shift, wherever
possible.
J" ..J\.Jvv"v denotes a jaw-vibrato. Repeatedly inflect the given note's pitch with the
embouchure and/or through oral-cavity manipulations. The sinusoidal
waveform contour suggests micro-details of the jaw-vibrato's frequency and
amplitude (i.e. the extent of pitch-alteration around the given note), either of
which may be static or evolving. Precise details concerning the (maximum)
width of pitch-inflection are left to the discretion of the clarinettist.
PITCH-BENDS AND PITCH-INFLECTIONS
."b<1l"Pl
) .
be.n'"
/'
denote downward and upward pitch-bends, respectively - they are executed
with the embouchure and/or through oral-cavity manipulations. (Ameliorative
changes of fingering-configuration during a pitch-bend are permissible, so
long as the pitch-bend itself sounds perfectly smooth.) Pitch-bends should
always be carried out towards the end of the indicated duration; moreover,
the termination of the 'bent' tone must never be emphasized. Soft
(diminuendo) downward pitch-bends are to be reminiscent of a sigh, as if the
clarinettist is running out of breath! Precise details concerning the range of
- vi-
 the pitch-bend are left to the discretion of the clarinettist.
benc;l In exactly the same manner as above (including permissible changes of
..J fingering-configuration), bend the tone upwards as far as possible,
smoothly.
denotes a 'fall-off - a pitch-bend falling downwards as far as possible or
practicable, using finger-action as well as embouchure and/or oral-cavity
manipulations. Allow the tone to break down and smear into lower registers
as well!
.-v- 1 .FL. denote downward and upward pitch-inflections, respectively. These are
equivalent to their pitch-bend counterparts - except that the pitch promptly
returns to the initial given pitch, as shown. The timing of the pitch-inflection
within the note's overall duration is clearly indicated on each occasion.
TEETH-ON-REED
By placing your lower teeth directly upon the e~ clarinet's reed, project a
thin, piercing, rather unstable but extremely high-pitched (indeterminate)
sound; include changes in embouchure-pressure as well. Then scrape your
lower teeth up and down over the reed's surface, to create a rough 'broken
portamento' effect, including random changes of partial. End the event on as
high a pitch as possible, as shown. (Note that such sound-production
activities evolve independently of fingering considerations.)
ARTICULATION
The following special articulations for the e ~ clarinet are utilized in Cycles of Vega:
fl"t.
t denotes fluttertonguing, a trilling of the tongue-tip against the alveolar ridge, or
alternatively, a trilling of the back of the tongue against the uvula (soft palate) - as
in gargling. Either type of fluttertonguing is acceptable within Cycles of Vega: the
type, intensity, and speed of the fluttertonguing to be employed at each
occurrence are left to the discretion of the clarinettist.
+ denotes a slaptongue. Place a large portion of your tongue against the reed,
L thereby creating a vacuum between the surface of your tongue and the reed.
Suddenly 'break' this vacuum by pulling your tongue down away from the reed -
this is often accompanied by a drop in jaw-pressure - whilst simultaneously
initiating the air-stream. Such actions on an e~ clarinet should result in a very
strong, almost percussive attack to a normally-blown note: this instrument's reed is
simply too small to generate the characteristic 'thud' of a larger reed noisily
rebounding against the mouthpiece, as in a bass clarinet slaptongue. The
clarinettist should vary the slaptongue's intensity in accordance with the indicated
dynamic level.
h percussive activity are usually identified with an x in the tablature pictograph. A
denotes an aspirated attack, with minimal intensity, using the phoneme 'h' (as in
"hamster"): the sonority is to be rendered without any 'tonguing' whatsoever!
huh l
.' denotes a diaphragm thrust. Attack the note with a sharp jolt or impulse from the
diaphragm only; do not 'tongue'. Again, the articulatory action here is entirely
aspirated and pulmonary - but with the aspiration being suitably intensified and
heavily accentuated.
- vii-
denotes a rising pitch-bend (portamento) attack, executed at the beginning of, or
immediately prior to, the indicated duration: the technique needed here is precisely
the same as that required to produce a pitch-bend (see above). The pitch-range
covered by this smooth, upward 'scoop' into the note is left to the discretion of the
clarinettist.
denotes a (very) brief 'squawk' attack - involving any (very) high pitch elicited
from, or somehow related to, the fingering for the primary note, overblown. This
colourful attack can be achieved by momentarily touching your lower teeth against
the reed; or perhaps better still, curl your lower lip back behind the reed and
behind your upper teeth, and with sufficiently high breath-pressure, then allow your
lower lip to be blown forward, bursting explosively into its normal embouchure
position, thereby yielding a particularly dramatic, raucous overblown attack. The
sound, as I have imagined it while composing Cycles of Vega, is merely an
inseparable part of the note's attack characteristic, and so ought to resemble the
occasional transient squeak/squawk noises of a tenor or baritone saxophone that
occur sometimes at a change of register in playing jazz.
AIR-SOUNDS
denotes an air-sound, in which the given (first-register) pitch is fingered while air is
blown through the e~ clarinet with a loose embouchure that is insufficient to cause
the generation of a normally-produced tone: a breathy tube-resonance with a
clearly discernible pitch-centre (corresponding to the fingering's fundamental mode
of vibration) ensues. Note that an air-sound's timbral quality may be modified in a
quite subtle but continuous manner through fluctuations in breath-pressure, or by
varying the embouchure and the shape of the oral cavity: the sensible application
of these techniques is left entirely to the discretion of the clarinettist. Whenever the
circular notehead is drawn non-specifically beneath the stave (bars 1-35), the air-
sound's pitch-bias is indeterminate.
f
denotes a normally-produced tone that contains strong air-coloration (i.e.
'breathiness').
- - - -0 denotes a transition from a 'pure' tone (containing no air-coloration) to an air-
sound.
0---- - denotes a transition from an air-sound to a 'pure' tone (containing no air-
coloration).
KEY/FINGER-SOUNDS
L
r
)(
denotes a key/finger-sound, in which the e~ clarinet's key-mechanism is made
audible and/or tube-resonances are generated by keys/fingers slapping shut hard
over their holes, in addition to the blown tone. In trilling actions, an x is drawn
above the triangular waveform contour; the finger(s) engaged in the ongoing
transition to prominent key/finger-sound (f poss.) is indicated by - - - - - - x .
3. THE PERCUSSION INSTRUMENTS: DETAILS
PREAMBLE
Cycles of Vega calls for a number of highly exotic and/or extremely rare - even unique
- viii-
- percussion instruments. Therefore, in order not to make this piece's realization
prohibitively difficult, I propose the following practical solutions:
- Many of these percussion instruments can be obtained directly from the composer.
- Alternatively, percussion instruments such as the windchimes and the "Shan Tubes"
can easily be constructed according to the detailed specifications provided herein.
- Some substitutions are permissible; specific suggestions will be made later in this
regard.
- Electroacoustic sound-production (e.g. digital sampling and the activation of samples
with MIDI percussion instruments - or even digital synthesis and signal processing
with a synthesizer or computer, rather than sampling) is another viable possibility, if
certain percussion instruments are definitely unavailable; this is by no means an 'ideal
solution' (either acoustically or visually), though.
It is crucial that the microtonal tunings of many of the percussion instruments described
below be preserved at all costs: these particular micro-intonations were very much fixed in
my 'mind's ear' throughout the composition of Cycles of Vega; it is, therefore, obligatory
that instruments which conform as closely as possible to these tunings be procured! Note
that certain percussion instruments whose pitches almost match those designated may in
fact be inflected accordingly: for example, some rin pitches could be flattened somewhat
by pouring a certain amount of water into the rin (although the water's inertia does entail
an undesirable loss of rin resonance); cowbell pitches may be flattened similarly by
adhering some extra weight (e.g. large lead fishing sinkers embedded within a malleable
gummy substance such as "Plasticine" or "Blutac") inside the cowbells, etc.
RESONANCE AND ARTICULATION
.".--- Allow the note(s) to resonate beyond their specified duration. Unless otherwise
directed, such notes should be allowed to resonate until their sound has
completely dissipated. The complex aleatoric sound-textures of all windchimes
(and cognate instruments) must always be permitted to decay into silence!
denotes damping the resonance of the specified instrument(s) - by hand, or with a
mallet - to silence after it has been struck, at precisely the moment in time
corresponding to the rhythmic placement of the closed-diamond notehead.
denotes a 'deadstick'. Once the mallet has struck a sound-producer of an
instrument, it remains in physical contact with the strike-point, without rebounding,
thereby muffling or damping any after-resonance. In Cycles of Vega, this
technique is applied only to the vibraphone (in "non Ped."). The resultant
vibraphone sound's envelope will thus be a fairly brief 'choked' staccato.
A parenthesized x - (x) - upon a vibraphone note's stem denotes 'deadsticking' if
at all possible.
denotes a tremolo using (at least) two mallets.
ARPEGGIATION
! - arpeggiate the notes in a somewhat leisurely manner.
t - (very) rapidly arpeggiate the notes of the chord.
- ix-
For both forms of arpeggiation, their speed of execution is left to the discretion of the
performer. Arrowheads upon the above symbols indicate the direction of the arpeggio's
action: t = play the lowest pitch of the chord first; 1 = play the highest pitch of the chord
first.
GLISSANDI
(L /.'"
ghSS.
denotes a glissando, in the given direction. The glissando's initial
(parenthesized) note should not be accentuated or individually attacked; the
glissando's ending-note - likewise played with absolutely no emphasis - is
indeterminate, but corresponds vaguely to the point where the glissando's
line-contour terminates with an arrowhead: such glissandi usually cover as
wide a range as possible. Whenever this arrowhead is replaced by a regular
notehead in parentheses, the glissando's ending is now, of course, clearly
specified; however, exactly as with the glissando's initial note, this final note
must not at all be attacked individually.
The actions of all glissandi in Cycles of Vega always span the entire duration as
notated.
Any accidental in front of a glissando's initial pitch (i.e. 'sharp' [#] or 'flat' [b], or 'natural'
[\]) unambiguously indicates whether the glissando-action shall take place upon a
keyboard percussion instrument's 'white' (diatonic 'natural') or 'black' (pentatonic
'accidental') notes.
MALLETS
The following pictographs illustrate the different types of percussion mallet called for
throughout Cycles of Vega. Drawn together in various combinations within rectangular
boxes, such pictographs show the number, type, and deployment between the left and
right hands of mallets required over each section of the music; no more than two mallets
per hand are ever needed. Usage of the 'plus' and 'minus' symbols (+, -) in this context
indicates a straightforward temporary change from the basic mallet-configuration. In
relation to certain percussion instruments (such as the autocoil and the crotales), a mallet
pictograph marked "sempre" means that henceforth, until further notice, only the indicated
mallet-type is to be used to elicit sound from this instrument. Otherwise, a non-boxed
mallet pictograph just refers to a specific percussion instrument and note.
Note: L.H. = the left hand; R.H. = the right hand.
PERCUSSION 1
~
denotes a very hard and heavy brass glockenspiel mallet.
i
,.
denotes a yam-wound vibraphone mallet of medium hardness.
denotes the vibraslap, held by the right hand (bars 4-36)1 Strike the specified percussion
U instruments with the vibraslap's hard wooden ball!
~
Play the vibraphone glissando with the very end of the vibraphone mallet's rattan/cane
handle (bar 39)!
-x-
PERCUSSION 2
denotes a very hard and heavy brass glockenspiel mallet.
denotes a large, (very) soft tam-tam beater. This tam-tam beater should be carefully
suspended from the tam-tam's frame in such a way that the beater's interference with
(damping of) the tam-tam's resonance, after the tam-tam has been struck, is non-existent
or negligible.
T denotes a very hard plastic (or heavy brass) glockenspiel mallet.
I denotes a yam-wound vibraphone mallet of medium hardness.
denotes an authentic hard wooden rin beater (not the soft, suede- or kidskin-bound
I variety); such beaters usually accompany the rin themselves. This quite rare type of
beater resembles a short wooden rod, about 150 mm long, wrapped lightly with thin
colourful cloth: if it is unavailable, then substitute an ordinary hard wooden or hard plastic
mallet instead.
PERCUSSION INSTRUMENTS: DETAILED DESCRIPTIONS AND ABBREVIATIONS
Within the two percussion parts, all of the percussion instruments are notated in
sequential order according to their physical distribution; they are listed below in the same
fashion.
PERCUSSION 1
Vibraslap: Vbslp
Select a vibraslap with as wide a dynamic- and resonance-range as possible! A metal
vibraslap (with a wooden ball) is quite acceptable.
Large Autocoil: Coil
A large helical spring, from the front-end suspension of a car, hung up high by a leather
bootlace. An arrow to the left of a notehead indicates a sweeping rasp-like 'arpeggiando'
attack (either upwards or downwards) that dramatically runs along the whole length of the
helix, striking most (or all) loops in rapid succession; otherwise, for the coil's normal mode of
performance, tap just a single loop.
Very Large Triangle: Tri
Use the largest triangle you can possibly find, suspended high! (Its timbre must be quite
different to that of the large autocoil.)
Crotales: Crot
Written range. C 44 - C 45, sounding two octaves higher than notated. The thirteen crotali
should be rack-mounted, in the manner of a keyboard. If preferred however, a set of thirteen
rack-mounted crotali sounding one octave lower than those described above (i.e. with the
written range Cq4 - C45, but sounding just one octave higher than notated) may be
employed instead. This lower-octave set of crotales will certainly possess a greater resonance
and longer decay-times than the higher-octave set; in any case, the actual sounding octave of
crotales does tend to be somewhat ambiguous to the ear.
Vibraphone: Vib
Range: F 42 - F 45. A high-quality modern instrument (with wide bars in the low register) is
required. The vibraphone must also be equipped with an electric motor and potentiometer that
will yield a continuously variable speed of vibrato - widely ranging from 'slow' to 'fast'; an
-xi -
instantaneous vibrato on/off capability, activated by a switch and/or by the potentiometer, is
needed as well. Indeed, the vibraphone's vibrato must be able to be turned on or off with the
potentiometer alone: for instance, this faculty is crucial for the initial vibrato accelerando, in bar
44.
Vibraphone Vibrato: Rates of vibrato on the vibraphone are specified by ringed numbers:
indicates non-vibrato (i.e. 'motor off'); @ signifies the vibraphone's maximum vibrato-
frequency; CD and 0 '" 'slow' vibrati; (3) and @ '" 'medium' vibrati; and ~ '" a 'fast' vibrato.
Between the extremes of and @, the numbers CD, 0, (3), @, and ~ denote approximately
equal gradations of vibrato-rate; hence, each of these numbers is perhaps best thought of as
a narrow bandwidth of vibrato-frequencies, so that (3) (for example) does not deSignate a
precise, fixed rate of vibrato for each of its occurrences. When the vibraphone's motor is
turned off (i.e. to : non-vibrato), do please remember also to rotate the vibrato-discs at the
top of the instrument's resonators to their vertical position - in order to capture the
vibraphone's maximum degree of sonorousness. Smooth transitions between numbered rates
of vibrato (i.e. vibrato accelerandi or vibrato rallentandi) are depicted by appropriately sloping
dashed lines which connect the ring around one vibrato number to that around the next. NB: It
is most probably advantageous to employ an assistant whose sole purpose will be to
manipulate the vibraphone's potentiometer, and thus regulate its rate of vibrato.
Vibraphone Pedalling. All pedalling on the vibraphone is clearly indicated throughout Cycles
of Vega. "non Ped." must be strictly observed! (No damping of resonance by hand is called for
anywhere in this work.)
Glissandi across the Vibraphone's Resonator Tubes: Using the ball of the
vibraslap, execute an extremely violent glissando across most or all of the
vibraphone's resonator tubes, sweeping from left to right, starting with the
resonator tube for F 42 - a very aggressive, quite ugly rasping sound (bars 4-36)!
Do allow the vibraslap to resonate fully as well, please.
4 Cowbells: Cowb
Two ag6go bells (Cowb 1 & 2) and two cencerros (Cowb 3 & 4), rack-mounted. The ag6go
bells may be replaced by cencerros, herd bells, almglocken, metal blocks or other forms of
cowbell, if desired. Do not muffle or mute the cowbells in any way! The cowbells' timbre
should be rather clangorous, not too mellow - although their given pitches must be readily
distinguishable. The four cowbells utilized for the world premiere performance of Cycles of
Vega were pitched as follows: 1- Bq4; 2- G #4; 3- Gr4; 4 - Fr4.
6 Large-Diameter "Shan Tubes": ShTL
These home-made metallic percussion instruments - which resemble large-diameter tubular
bells (but are instead able to sway quite freely, as a kind of windchime) - are mostly struck
individually, with vibraphone mallets. They all project a slightly 'dirty' gong-like sound - akin to
that of the Javanese gamelan kettle-gongs known as 'kethuk'. It is of no consequence that
"Shan Tubes" struck with mallets may themselves strike other "Shan Tubes" - although, if
possible, this sort of knock-on effect really should not occur during low dynamic levels. A stem
with a A drawn upon it denotes striking a large-diameter "Shan Tube" near its point of
suspension: aside from timbral considerations, such a strike-point minimizes the possibility of
the tube clicking against other tubes. Note that some trills on the large-diameter "Shan Tubes"
can be carried out with one hand, by rattling a mallet very rapidly between two adjacent tubes.
At bar 177, use both hands to collide all of the large-diameter "Shan Tubes" together in an
explosively violent manner; agitate them further according to the given graphics! After bar 179,
the interacting "Shan Tubes" will continue to click together for at least one minute into section
J! This is intentional and has been taken into account by the composer, so do not attempt to
damp the resonant sound-texture of this 'super windchime'.
ShTL Specifications: six aluminium (zinc-plated?) tubes: 52 mm outer diameter, with a seam;
1.2 mm gauge. Lengths. 1 - 604 mm, 2 - 876 mm, 3 - 952 mm, 4 - 1062 mm, 5 - 1122 mm,
6 - 1372 mm. The six large-diameter "Shan Tubes" that were utilized for the world premiere
performance of Cycles of Vega produced the following readily-perceived pitches (although
other, more obscure resonances are present as well): 1 - AN; 2 - A .13, [0~5j; 3 - F/3, B14;
4 - [0 $3j, G N, 5 - [C$3j, Fr4, 6 - [F42j, B$3.
- xii-
3 Suspended Cymbals: Cym:
1 Large Sizzle Cymbal: Sizz
A large, very resonant, thin sizzle cymbal, possessing a high 'sizzle' and a long decay
1 Large Chinese Cymbal: Ch
A (very) large, resonant Chinese cymbal.
1 Very Large (Turkish) Suspended Cymbal: Susp
A very large, 'splashy' Turkish suspended cymbal, pitched somewhat below the Chinese
cymbal.
PERCUSSION 2
3 Suspended Cymbals: Cym
Until bar 39 in Cycles of Vega, both percussionists are able to share the same set of three
(suspended) cymbals, whose details are given immediately above: duplicate instruments are
therefore not required (although their presence would serve to augment this piece's timbral
palette).
Dove Call in C: Dove
A dove call pitched at Cf4, with its second-register tone (overblown attack transient) pitched at
G 45. This simple wind instrument - played just once (in bars 43-45) - is suspended from a
string around the percussionist's neck, being gripped in the mouth between both lips and/or
the teeth. A mellow, hollow, eerie 'hooty' woodwind sound is required: acoustically, the dove
call is a stopped pipe, which therefore must be blocked at its lower end. If an 'authentic' dove
call is definitely unavailable, then use, as a substitute, a slide whistle (i.e. 'Swanee whistle,)
with its slide fastened into position once Cf4 has been found. In any event, the chosen sound-
producer must correctly furnish Cf4! The following symbology is employed:
't' Attack the note strongly with the articulation phoneme 'tah', so that it overblows
V 1 Sea-Urchin-Spine Windchime: SUW *
briefly to G 45
A\rJ\/\.l\..A., An air-column vibrato, generated by pulmonary (blowing) action. Shape the
vibrato's speed and depth in accordance with the sinusoidal waveform contour.
........... Roughly in accordance with the dotted contour, blow harder so that the dove call's
. ..... C 44 rises approximately a semitone (thereby generating 'beats' with the
vibraphone's C44), then allow it to fall to at least a major second below the original
C 44 - completely dying away to inaudibility The single gesture as a whole ought to
be extremely expressive'
Vibraslap: Vbslp
Select a vibraslap with as wide a dynamic- and resonance-range as possible' A metal
vibraslap (with a wooden ball) is quite acceptable. This vibraslap must possess a timbre quite
distinct from the vibraslap played by the other percussionist.
8 Windchimes, activated mainly by the percussionist's right hand [R.H.]:
1 Aluminium-Tube Windchime: AW *
This metallic windchime consists of six aluminium tubes: 25 mm outer diameter; 2 mm gauge.
Lengths. 1 - 348 mm, 2 - 370 mm, 3 - 399 mm, 4 - 430 mm, 5 - 468 mm, 6 - 500 mrn Its
large central disc, made of hard plastic, strikes each tube towards its midpoint; very little
displacement of this central disc should be needed to make all of the tubes resound. The
aluminium-tube windchime that was utilized for the world premiere performance of Cycles of
Vega produced the following readily perceived pitches, a 'quasi-pentatonic' set (although
other, more obscure resonances are also present). 1 - 0/5, 2 - C/5, 3 - A/4, 4 - Gf4,
- xiii-
5 - E:t 4, 6 - 0 f4. This windchime possesses a mellow, starry, 'soft' sound - slightly rin-like in
timbre (but different to ShTS 1 and ShTS 2 [see below)), ca.30" decay'
1 Ceramic-Disc Windchime: CW *
This earthenware windchime consists of six to ten large glazed ceramic discs, which may be
irregularly shaped. It should possess a rich and resonant sound - 'loud', mellow, relatively
low-pitched, ca. 15-20" decay
1 Brass-Bell Windchime: BrBW
This metallic windchime consists of three tiny brasslbronze bells (without clappers) suspended
in a horizontal line from a rod - with the lowest-pitched bell hung in the middle, just touching
the other two bells. These bells' approximate pitches are. 1 - C # 8, 2 - C # 7, 3 - G r6.
Their
timbre should be very cutting, caS' decay Jolt, displace or shake the bells' suspending rod
(or the bells themselves) to trigger a sequence of echoed attacks - roughly in accord with the
notated waveform contours.
1 Shell-Disc Windchime: ShW *
This 'crustaceous' windchime consists of many large discs made of shell, suspended vertically
in several lines. It should possess a 'hard' moderately loud clattery sound - medium- to high-
pitched; caS' decay
1 Wooden-Rod Windchime: WW *
This ligneous windchime consists of many cylindrical hardwood rods. It should possess a
more brittle sound than the bamboo-tube windchime described immediately below - medium-
to high-pitched, caS' decay
1 Bamboo-Tube Windchime: BaW *
This vegetal windchime consists of many hollow, round bamboo rods/tubes. It should possess
a very dry, hollow sound - medium- to high-pitched, but lower-pitched than the wooden-rod
windchimes described immediately above; caS' decay
This rather rare 'echidermous' windchime consists of numerous sea-urchin spines. It should
possess an extremely high, dry, delicate sound; ca. 10" decay If a sea-urchin-spine windchime
cannot be obtained, then it may be replaced by a stone or glass windchime.
1 Herd-Bell Windchime: HW *
This metallic windchime consists of four quite small cylindrical iron(?) herd bells, with clappers,
suspended in a circle. These herd bells' pitches are: 1 - B d4; 2 - B j, 4; 3 - A $4; 4 - G f4. Such
a homespun windchime can be readily constructed by appropriately suspending four
(clappered) cowbells of any type or shape - so long as they render the abovementioned
pitches; ca.2" decay
'Triangle Windchime': /::,. WC *
Three triangles of different size/pitch - i.e. small, medium, and large triangles - suspended
high and grouped together (as a windchime) in such a way that each triangle bangs against
the others without losing much of its natural resonance.
6 Small-Diameter "Shan Tubes": ShTS
These home-made metallic percussion instruments - which resemble small-diameter tubular
bells (but are instead able to swing quite freely, as a kind of windchime) - are mostly struck
individually, with hard wooden cloth-covered rin beaters. The four longest tubes manifest a
timbre very much like tubular bells, whilst the shortest two tubes sound slightly rin-like. It is of
no consequence that "Shan Tubes" struck with rin beaters may themselves strike other "Shan
Tubes" - although, if pOSSible, this sort of knock-on effect really should not occur during low
dynamic levels. A stem with a A drawn upon it (bar 168) denotes striking a small-diameter
"Shan Tube" near its point of suspension: aside from timbral considerations, such a strike-
- xiv-
 point minimizes the possibility of the tube clicking against other tubes. At bar 177, use both
hands to collide all of the small-diameter "Shan Tubes" together in an explosively violent
manner; agitate them further according to the given graphics! After bar 179, the interacting
"Shan Tubes" will continue to click together for at least one minute into section J! This is
intentional and has been taken into account by the composer, so do not attempt to damp the
resonant sound-texture of this 'super windchime'.
ShTS Specifications: six anodized aluminium tubes: 22 mm outer diameter; 1.6 mm gauge.
Lengths: 1- 573 mm; 2 - 603 mm; 3 - 917 mm; 4 - 1041 mm; 5 - 1146 mm; 6 - 1221 mm.
The six small-diameter "Shan Tubes" that were utilized for the world premiere performance of
Cycles of Vega produced the following readily-perceived pitches (although other, more
obscure resonances seem to be present as well). 1 - G/3, C/5, 2 - F/3, BI4, 3 - FI;4,
4 - 0 f4, 5 - A13, 6 - G 13.
7 Japanese Temple Bells (Rin): Rin
Seven small- to medium-sized Japanese 'cup bells', resting upon their traditional cushions,
which radiate extremely beautiful, resonant, sparkling, microtonal bell-sounds - all of them
exhibiting very long decay-times. (Their resonance-times are. 1- 13" [ppp] to 31" [ff], 2 - 12"
[ppp] to 25" [ff), 3 - 14" [ppp] to 28" [ff], 4 - 15" [ppp] to 33" [ff}, 5 - 15" [ppp] to 35" [ff], 6 - 15"
[ppp] to 45" [ff]; 7 - 20" [ppp] to 55" [ff]) When the smaller rin are struck forcibly, there is a
slight but possible danger that they may be overturned and tipped off their cushions. Such a
calamity can be prevented simply by attaching "Velcro" (or some other adhesive device) to
each rin's base and cushion - thereby physically attaching each rin to its cushion. However,
the rins' resonances absolutely must not be interfered withl (It might also be advisable to
fasten the rin-cushions themselves to the table with pieces of string or masking tape.) Note
that some trills on the rin (e.g. bars 54-55) are to be executed with just one hand, by rattling a
single rin beater rapidly between two adjacent rin. The seven rin utilized for the world premiere
performance of Cycles of Vega were pitched as follows (although other, higher partials are
clearly audible as well). 1 - B $4, 2 - Af4, 3 - G $4, 4 - F!4, 5 - 0;4, 6 - B <13, 7 - G!3
Sieighbells: Sleigh
A lush-sounding ribbonlloop-type sleighbell consisting of many individual pellet-bell elements,
suspended high and struck (almost never shaken). A ghungrO (Indian bell strap) may be
substituted, if necessary
9 Windchimes, activated mainly by the percussionist's left hand [L.H.]:
1 Wooden-Rod Windchime: WW *
This ligneous windchime consists of many cylindrical hardwood rods. It should possess a
more brittle sound than the bamboo-tube windchime described immediately below - high-
pitched (higher than the RH WW), caS' decay
1 Bamboo-Tube Windchime: BaW *
This vegetal windchime consists of many hollow, round bamboo rods/tubes. It should possess
a very dry, hollow sound - medium- to high-pitched, lower-pitched than the wooden-rod
windchimes described immediately above, but slightly higher-pitched than the RH BaW, caS'
decay
1 Sea-Urchin-Spine Windchime: SUW *
This rather rare 'echidermous' windchime consists of numerous sea-urchin spines. It should
possess an extremely high, dry, delicate sound - even higher-pitched than the RH SUw,'
ca.10" decay If a sea-urchin-spine windchime cannot be obtained, then it may be replaced by
a glass or stone windchime.
1 Shell-Disc Windchime: ShW *
This 'crustaceous' windchime consists of many small discs made of shell, suspended vertically
in a circle. It should possess a 'soft', gentle, delicate, brittle but dense sound - medium- to
high-pitched; caS' decay
- xv-
1 'Kenyan Bell Tree': KBT
This unusual metallic windchime consists of about twenty or so bronze conical and cylindrical
bells (with clappers), suspended in a flat diamond-shaped frame, microtonally pitched within
the range Ck5 - CF. The Kenyan bell tree's timbre should be a high-pitched, delicate, fairly
dry jingle, rather cutting, caS' decay Jolt, displace or shake the framework to activate the
bells, in accord with the notated waveform contours. If necessary, the Kenyan bell tree may be
replaced by many very high, bundled-together almglocken, or - better still- a 'string of jingle
bells' (strung together as a windchime).
1 Ceramic-Disc Windchime: CW *
This earthenware windchime consists of six to ten small circular glazed ceramic discs. It
should possess a rather cutting sound - relatively high-pitched, ca. 10" decay
1 Brass-Tube Windchime: BrTW *
This metallic windchime consists often or so small thick brass tubes (outer diameter ca.6 mm,
maximum length ca. 120 mm), sounding within the range Ck6 - CF brilliant, starry, cutting,
high-pitched; ca.10-15" decay If necessary, randomly-chosen rods from a Mark Tree may be
hung in a circle as a substitute for this windchime.
1 Aluminium-Tube Windchime: AW *
This metallic windchime consists of six aluminium alloy (Ouralumin?) tubes: 32 mm outer
diameter; ca.1.8 mm gauge. Lengths: 1- 210 mm; 2 - 220 mm; 3 - 310 mm; 4 - 330 mm; 5-
402 mm; 6 - 503 mm. The aluminium-tube windchime that was utilized for the world premiere
performance of Cycles of Vega produced the following readily perceived pitches (although
other, rather more obscure resonances are also present): 1 - B;6; 2 - Ak6; 3 - B/'5;
4 - G/5; 5 - 0 '/5; 6 - F /4, [B $5]. This windchime possesses a brilliant, starry, 'hard' sound -
slightly crotale-like in timbre, quite loud, ca. 15" decay
1 Brass-Disc Windchime: BrDW *
This metallic windchime consists of several thin brass discs, not necessarily regular in shape.
Their timbre should be clangorous - a high-pitched, extremely resonant and rich sound; ca.5"
decay
Very Large Tam-Tam: T-T
A very large, resonant tam-tam (at least 1300 mm in diameter, if possible) - very deep,
profound and mysterious! Apart from the following cases, strike the tam-tam in its usual,
slightly off-centre beating-spot.
Strike the tam-tam at its central point, and strike the tam-tam away from its central
point (towards its rim), respectively
* Windchimes [Percussion 2 only]
Agitate the elements of these windchimes directly, with hand(s) or mallet(s), roughly in accord
with the notated waveform contours. All windchime attacks and excitations should be varied
as much as possible, subject to the indicated dynamic level.
As a rehearsa/- and performance-aid, for easier readability of the numerous windchimes'
notes (i.e. correctly matching these notes to their corresponding windchimes), the noteheads
written upon the windchimes' staves could be colour-coded using a wide variety of highlighter
pens or coloured pencils. The percussionist might even consider carefully attaching the
associated colour of ribbon or a strip of coloured paper to each windchime somehow; these
ribbons or paper-strips must not cause any impedance whatsoever to the windchimes'
typically stochastic acoustical behaviour. (Besides being musically functional props, such
visual variegations will help to impart a beneficial ambience of decorativeness and festivity!)
Ian Shanahan, Sydney, Australia; 28 September 1991.
- xvi-
 E-f .... AT CLAR'NET FINC.~~'N"S I
(I. RA RA
{I.
~
(I.
0
P-
.0
0
I\.
0
0
(I.
0
AI> -. .0 c."
It
!.-
0
~
0
.!.
A
!- a 0 A'" A'3 .0A'" 0 0 00 0 ..!. .!.c." 0
N 0 0

-
0 0
0
0 0 0
0
0 0 0 0 0
a
a
0
0

~!
~ ..!.(e:) ..!.c.lI' 0 0 0 0
N N N 0 0 0 0 0 0
0
0
0
0 0- 0- N N N 0
0 0 0 0
o
=
~ ...... ~ ....
~L<i~~ ,jj:~b--,-
0 a 0 0 0 a 0 0 a 0
,jI: .... l:>..L ~--'..
r'~"" r~ I
0 0 0 0 a 0 0

14ft k>i I~'

0 0 0

I~ I~. I~. Ifw l"I\=w~' law I- I I I

'3Ul<1.(""1\ ("on-s-\-o."<>\,,,roI) fi,,~er;1\3S - 1,0+" hOlno\s ...

.. ..
rI~"t \'''IMI '1lone. .. . P- I\. t\ R P. p.. P-
ooP!
(I.
00 00 00 00 00
1\ e eo eo

00 00 00 00
0

0
0
f{i-
0
0
~I>g
0
0
8.2.
0
1>0
Go
B-
0


'0


-- 00
a
A
00

F.A
00

sl'(~)
etc))

1\1\
e.

.-

0 Bo- 0
..2..
T

0
0
0
0

00

0
0

0 0
e'O S.. : ~
f~ ...
0,0
eO
0 E 0 0 0 0 0
0
0 0

0

0
e.\>
0
C- BO- o 0 0 0
~ ...
0
~-L
0

0 -0
0
ct- tG.lI') Cillo f ~~
0

$~
",3
0
0
0
0
0
0
0
0
0
~--- ~ 1:--'.. E
0
0
(F)
0
(e)
f p.\I- ",'Vt

~. P. $..... :fi ~ ....

I~) ~. I~w 1$ I;' I I I(j ~. I~. It, 1M. I~. 1;- I~ If' I I I I
(l.
IKE'I VI811.ATI I ri~h+ 1,"11\0\
'00+10, " .. ,,<>IS .
",\o,,~
RA M (I. A 0 It.H h"lno\ II. tr-A R
0 .0 -0 -0 "'\o"e. ... R eo e.-o

.!.c.1I< .-
'.-0 RA (l. R
0
.c.~

.- o c.1I: e.
o-e 00 00 00"'"<)
ro
0
.!. ~-. 0" C- o
" 0
00
0
00
0 a 0-
.0
'P~.-o

0 0 0 .2- 0 0 0
..!. 0 0 0 0 0 0 0-' '!'tr-f "!"'tr_i:
0 6E..
0 0 0 o-e, e
.'
~-;..!(.~ 0 0:-. 0-' 0-. 0-
0
...
~.P", ~
0 0 0 tr-ww
b~(~. tJ
0
0
a ~--'-
0

1-L
0
0- .I'\Mt.
.-0
0-. .-0
0-_ 0-. 0-. 0 - . 0
0
0

==- 0-' ......., J
<I ..... "Ii.." 0 0 0-' 0- 0 0-' 0-' 0-. 0 a
"''!. -i-r-;vvw - 0 ~.L +<-- ir-E (F) (+r-,,~) ttr-I-) -Ir-f~ (ir-E) (I;) Ct~ 'i

1$ I 1. . .(~)1 II ~. I h. I~ I~ I,;:. IE- h!Fe b. I~ I" h.

~+

(l.. R P-
Po '0 .0 (l.. AP

. e -0
~ \l. '0-. 0
"!-o AP '-0 R

{I..

(1.
'.
P-
' o
... 0 a
o

" 0-'
0-. o 0-, 0...
0"
o 0"
.- o o
'6 '-0 0-. 0-
0-.
0- o o o o
o o o
'-0
o
0-'
o
o
o
o 0-'
0-
tr-c..'tr
(ore)
(~iI')
0-' o
o tr/Vl.Nv' 0
0

o o 0-. 0-' o tr .. c.......

:\f--,-b~
tr-pI'
q-. ~~ ~..!... q-.!. (~:!:) ~ ~ o: 0 e-
t ... f\IV\N\IV
-h--E tr-f~ tr-E E:l-t(") to-I:
9+
f'
",'!l l.rf~) ~. ~....!.. '1..... {-

I*~ I~' IP-~ I~-

I II i. Ii- I~.
r;~M " .. ,01
I~l ~I~~II
boBo h"lnM ...
",100" (se..
I MVl.TIP\\ON IcSI bo,r I~q)
fl-\'(S IC.AL LA'{OvT 0 F
T\-IE I NS'f({\}l1ENTS
1 Icy(.\e.~ of Ve~q I
@ :r."I" Sho>.""Ihfl) Stolnl/.'f I AIlstl""l11o. j 2i Se.f*<!NIbe..r IQ'1l.
10 I::ric. c..ros.s ",,,0\ ?en.r Sc.\1lth0"f'\!.;
For Rosl"ft'l OV"\"f'J lA~ I {'"",tt- ",,01 Tony ~wo\tl:7f to plo.y .

Sop"""; no cllA,r-
.i,.,e+ in (!.v

st"l"o\
m
,C.owb--,
I'I11S1(.

.1 rID
Grot
1&81
V;b ~ --Coil
@

Pe.r(.\}!)s;of\ 2. ?uc.vssiof\ I
----
II:.
===i
(YlO\11~ts
Do,"",
00

@ : svsrUl~tq\ n~~\") "IT G\'oovt- ~st-!'e;~hr - "bovQ. o-\-~<;!r ;Il>trv",,~h :f. f)e. ce.H'{C"'1.
~ : svsr~"'i!<A "'O."f \':~h - r~C(c.'nit'l3 "It l~t ). M'l..tf'I.> GlQQV<!. +'-11. .floor!
T-T 00 : \,qn~in~ &0 .... " W;"'3, the. percvs~;olli:;t'~ ne.c.k, ~
'\/"0""",,

thl: M!.st-;I\'3 v~o'" ~e.;r tr"lJ.it;C9n<1\ cv<;,\'ioll Oil (c.IQ~- co"ereA) fqble..
"I

[J . r"lc.\<.-MOVf\~.
 I", i +a.~ +h~ $0""",, e-welope
RhyP''1''';O'Il\y pre.c..'Sf/.. A~
.-0 "'''f' c-. $;11.
"
o of ~ Vi bra.sl'1p .
... ....\.

0"
0 .F} 1 ~ o
0 L s-:'t.J o

.'1 ~-~-~ ,.." ~

,.." ~.Q:
~.
T-T"

7~r "
0

~.Q... C'l~)
h ,...., ~.:II: ~-
eMlf!:!;~~' " A _ "~
" . a..f.'.f>.

I:
( ... ) '-
~:; 2:: {j
o

b. h.l.~ +y
~
-"-:: .- -.
1-
-
.-
k
r--
Po
-
IV I I u , - 'v p-
J

,tj "- <p '--(

f -<!'If t...,p) f <off- t -==:: : s. o
RA R...
g_. 10
00 00
o .x
..r-c.~ 1~1i' 2.. J.X
o o 0
g g
0
g g
l(E) .--3--.
~- fJ x ~$ bt.fon.
1\ f\
1\ 0 I\l.~ +y
+y 0 + -
0
I===:::::t

?f <. f>{'ff ppou. -< 1f.:f>p:pp

R
.~ - - - (-1<.0./'0 ~;V1U\ '1Hl.e ""'~:"~:"'J
I
,*,,-.Jt"( ....,. or $0).
T o
1\ ...!.(el
+ 0
y 8

f====-p:lI1f

* "5"~'1k ",tj.,~k": .f~o\~ ;" 'I-I,~ "v \+ifl-.o~:~ 't~;~kly "",,"il\~ ~ iI<.* ~o'" 1,014 -!l\<;e M~l+ipl,o~~~ qbso\vt.."t ~qJ..'1: :,j<;k * ro~l)' br,q;f: "ff-c.nS;,,-..t- ov-o.rbl","",,> o;q,,,,,,,,I<)
~!"CV~$;O" floVl"isl, (~!'O,,;ble l . TI-.~ Mvl+"ly~"":c~ MSllt \> ..1\ -like) "",,-,,;broI-\-o 1. (MI!.'"'j'l. i+- -:+i- tM. Ilk... "I vert lI"s-tq"",y "I-I\qcJ<..
sl,.vlo\ b.. co .. ptehz.ly .bS<...re.\ . fe-("CvS-I"" rQSO"Ol'lC'l.S.)
I.
 C"",b &,W Stu. SI,,::t> S1"~'31.,

,Fl . 1f . ~ '() ~~-./

Sl ..;~\' C<>wb '-';'1-
.0
..J

R f<-A r3--. o ..A.... Ab

R
o
o
-0
: cit Suw.,.W,""
r =j
..
'\I
j;~c* :~iI-
oo 00
...
~
o

0
~ J o 0 o
o
0
0
o
o .I:.\I~ ~~f X u.s b~ t
-~(E)
f;II" K-
, =)1.\ r - 3 A' '-~i
~9~f- ,..
\~ ~ 0 ~"'K~ -+ ber--;
v

~
~ ~d '-b. t 1. -=- F9 0
0 , b~""";' =~ ?~.i~.! ;"1 ~l= t= ~..!.
@ v'

.,..
I~"t - 0 ..... 0 ----c D' ~y
Co
- u
======- p
b::d rJ
-k
-
L.- i:: l=3
rnf FP -====- f : f s.
0
of ",f ::::::=-f: P : f
Jl<>SS.
<,.,f n+.::;,. p:"'f' f'f'f ~r-f> PfY':""p

.0 A
o
o
"'bslp
.(,
,r:')Ob
,-3---,
+

R-
eo
~c.'" .g
"0
~ A'o
o 0
o
o
o

(ill

lI1f-

eO
ShW R .!.c~ ~~
r-'b-,
"1 r r
,=--\l3 ,3-;
0
0
!.CE)
sw.15"
'1
vbsljo

~
"
fl.2.
L-s:.~..J
0
0
+1 <)
+ +, 0
0 >r9!r-3~
p,;,. ::
@
!.
f <,..,r f -0
Mf"i'
l

'l-.
 ~ ~
-0
R
0 ~oA~ r"lS/'

~c~ 0 c-o ,(.
ic" ..2..
7 j
0-
0
0
0
0
o
0
0
0
r - - 3---, ,1::'1,7
I-~~
.-3---, r
=(,5. S7qble .
0-
EO
K~ T
~ ..., r---'" ~ lID
;:..

.,.--.....

i-T
. . . - - - - - - - - - - - - - - f~"SQ onhl the io(M-Tov'.
L .......O'\.",c;R. i< 'fP'.,)<lf. -0
:cll=
E ..... +or t", ".""h"." of th~ it-:l\. i-:::::-P""5e. v(\\-;I~T"M-i~..,re~"ql\~e. "I~ f1p'(qp/""""-.) (
oJ 0-_ x RA~.
o
o0

-- ... .r ..:%.. ,~
1:] .-3-.
o ~

..
+r \.l 0-. br;I\;q,.,+: " .f.... p. , ~\h"'..tiOn (~; ')')

,,""~ (~ ......~ --- 17 / ~ ~ ... '* ~.......

c..+ <HI- s.xlolenlyt
~~~ ..!..V SC;"'f<. 1JJ 1)
d-:b'S)
\1'" ~. q.iJ.,' ~ 1
0--1- - - - - "\h- _ _ _

J,-" '--" . =: '11".:11=..... ~:i:9+ bkd+J....==-===-f'=

'- t+~
>PF ""P -<1'Tf
I'P ~~ p = f'P~ ==={f- f
Sf!fz : ...f.
--0

A
00

echo;"'3 +1,,, 0""". t

F I .....'fl S :
.-;:3. t ' .~ .-l-,
Hz.
'J'~

fF

_0
.-
S"T\..
Fl+r
- fh. I .........
!,r\)vJ

0~ .--- ~ .-
V:b ..... :4>..J

-
. . s-:'t--, V~.f,-
'\"9
-\ ..........
k~T ShTS -v- .-'3-, .f .j..
-" l:3 l..'-' +- ~ -l. ~... t- ~ 1= +r-~
@
~"I!.
==-0
10 10
",
pp -
~ffoss .
u

<>
b::.J
r=
L
fPP

\' A ....+h.,r ..'-or*, ) ;"oIe+<.r<'\;""I~ d.vn,,+'.'\, \ ike. ",n "'~r-f'<l.>O"""C\!. . PI",! i"".,~ '''I-\I;t Up"" h.,."r;",) th... o,:""s" (~""bo&\ *'11( Fe".. "vr.tt;O<l~ . 0,,<1. S~ ~s\V<'e : ~..c.+ to on.. .."ott,qr '" C\('C""'o\ .."c.e w;~ +I>~ '3;"".., ""ro-vS,
"\'\lo.clc (bv ~i). Te.~onf'Uo\ : Vtlf't h;~'" ,,"'" 1+",*, )s-\,..+;~ pvre. \ft.\, -(.onf)c.c~) COfl+~"vO"S.

3.
 ,
-, , 8
.
'" 'i
'1 , fl F1'" :r~ i,'~' ~' .f1 ... K~
ViI.<'i
\ -l-
n
'- S-:'t..J '- ,..J
' ,
LS : 't..J
~ _ J v
~I'I ~1- beo,oI L- 7 ''1--1 <--~ ... R r _ r' J;-- , ....
-
10 :II''''~T
\. =
9. . . . . . . .
~
~
"
u I "'f: PfP
UL.
0
...1U

Pf =-------~
fPP :.=::: r = <
f' R

o .Q..
0- o
o o
~-~
r - - - - - . : Lt-.f -=-----, t--~
5~TS (w

...
PI 7 ')
L..3 ...

..!. 0 r'''''
0 ...... f
v;\. ~_I:' ~ -7'1 ~ 7:1t-.F
e-o
0-.
't
y {j

J .-- S":'t ----, r-- 3----, +,..,.".,...., o.
Ctr-c. ) 5"''''

i fJJJJ7Si,
v;\' h

.g.
~.(~) ..... k~r- . ---,
.r v;\, c,,-b ker

r r~
h~
.j..
r
14 7 I 2ftJ tl 7 7 7
kj
P:::=-Pf =======--0 f'f"'1S . <~:f:f -== ""r: Ff-=====-Pross . ppf' Mp -====
It
e
..!..
g-eX
0-.)(
E(-+r) I-T - -+ (~..,po 9'- IlVUY
b.':l;~.i"3 of
ctI- ~
r--!>----, J. ,

---- 1:
l-
--- t ~I- d.;j:: ~4
~

~:;"(b.!..)~
.. x
l<~
b, - ... r ~ b; . b....f'I-'" -F: b~-6
-
G
,.
~,{fp1L.k~
.... > be"" ".
~"rs

...
f9
'bo r,ot' so).

n

bd I - Ib - V
~f
u
-
_Mf=_~-~
I::.....
P
paSS.
----""F =======- PP>rf'f
'--
M
f = 0

+.
 \<A
00
eP <1\
o R ~
Svw o
(e)
ooA ")(
i=:-,< I<&r
.... cr'"O+-
IF} o
f
+r~ . - 5":'1"-, .-5:,.-, 8
~ .fro. J~

RA
>
r
f. -\"
;>

.-- 3--, '-\ .f ... . ('. ='+7 . >

. f.41l..n
6eT"" SI,TL Brew .-
+r~9:!:...HIW'NW\- ~ ~~~~ =J .F;
. . L- 5:lt-J L... ; .J fh. r-

<>-0--========::~Mf/
,,------J1 1. '--- .J"}
\ of " . - - "'f""",M}t=======~- pn po.

vib
(I.
.; ..
II.

f\ 1-:1 r.
0" 10
.......... ..=1 - ',-,..J
-I(
~. .:::50
".
~
~
+<--1:'
..... 7:,..../ I'<>"tic . - 3 ---, r -"5: It--,
S"TL
K~~l~ (we.) .. F
l
,--.."./\----e. "i.!'~

f:PP <:: I'Tf

R~ v;.
J ) ~ 1
S~T~

"
.L ..
"> ~ '"!:
~
. ---, r -
fh.
----. .FI..
l.- S :'t'-' ' .. ,). -:i=~ ~.O(
c
-l- ~~ :j::
~
F9 ~ ~,......~~
r t-
:r~

---
-
J
'6.. .... L =l L-d I::::: r"-
~ T
-T lC I -
----- ~-
Mf. > I'>f<>
st:l'1r ====-- P:Mf f'

5.
 R

el
(.~
J= 5'B
V;b 1t~n
J::~ J,,~
Sl<TL
it.--
0
N
G r -3 - - ,
'\-:bl
T-T

'7 r.
f',W S.W R;~ v:b
! ~ ,r fl1. botnc\ .Ff. +c- ,I.
-\, J r-- ,-...-/ >~

~======='''f ~P>f===-Pf'f'<1VIf

K
========- Pf<"'P

R

~+r-r--
: ,r::: 1.5
..!.
o
0-.
-0
.r ,f=", r"b't +r~
"
G"

,----5" :'t----,
,'3,
fl>.
Sl-.TL S

r-- !i:3f--, r~.:,

K~ SloTS ~ 3 ----, H:z. + AA
K~~'
:rf'vvv..-..-..
1~ F-I (~-!. .~ ... f\... "9+

~- b. '-" bT
e<f ========---ff I'tT <> ===-r<f ~>f sffz:p <:: MP=======~fPP lI1hf<f>M"<Y

0
~
.-0
0 J::Io'O .r~b'j S1.TLtr
BrDw
,f -:..{,,7
o-eX
c........ v;b I><-i\l",I\t,
"3 i1, .
,-... . s:......
A ~
..J
~ ~
. f l-
. - 3 - - , ...f .... t'.
'Ii. ' ~ N
~ +r~~

sh: f' -<""'If >-r SI=<.> F "'f-~=====-

~.

N r - - - - 3 -----,
~"",.. pa-ol,
v~t"cIls,Qt,*"r
~' fo~ib\e .
bt o <\

""P========--Pf

b.
 P- R
R
..!. ...!.
o
r
tl-<-I: J=SI .1::'31 * l~
o _ ='t3
<!-
r 1:'t-, +r-I:
V;b ,---- :, ---. ,-S:'t'---,
\1.<1,<\ ( we..)
k~
- be-.

R ~

... ~

,f::.O,7 -: r=IOI
-n?-,"
S:e(_;n~ ~0.11 , . - - - S:'I- --...:..:......:::...." rn:- 3 --,
~1[G...n\- I ;"f;"ite",
k~!!.~
tv>~ Qn~ "~O't"t.
S'i!1.. ."9 . +

<:>

.r
::.( o'!,
~.
r" (OS'"
J::'II'l. F= 117
,----
tr_ _S-:'t--, .2..-- 0

o ShTI "~l>
v;\,
~~~l
':. J
,-..~.; ~ 9~d 11C..-b V;\
b~(t~)(~) P-.-
~ . ~~ .1Ih'" ..fL'""' 't.;. - i= K~ 'I 1 I. I~.!.. ~ J
,-...

~
~-
J _ 'I(
~ I bd -l E...
........\;7) f===-hf < .:> fff:fI1f < <" {(l; > ff ====- Mf -=:::::f .fff- ~
=-p~s.
f
--
c.;\ Crck ,,;\, ,\i$Se4
l, P"",Q. "n+~' t\, .. '''Ul>~. ~'f"''''M;< -----,
.I .FF15"'.'t - - - J
0+ ~~ Pfl.f"(..'-'S~;~ ~\i)"q .... c..e..l ;s (~I
(~p"''' .)
L-
[ (j;) C s"
r::\13 )( "13'1-. ~'bl... . r.,
I<~J~
r---'tiI- lif
:; k.:i),
0 .\.

T-T
I

tr~
~':;'<.b~)~
1\
.I
m.JI...flZ."
j~
11\
I p '\- +r_
,or-.. ".fr
~ ~
tt- ----~l~tt:
t-
+"~~
~
~"'~~ ".--. ~ ... ~.
,j. r ~.JI- ... r,-U. > btO<\ t- I-
- I-

...
of
I:::...... I:::::::
.fff. <> '--
of poss .
I J.... I:: u ... ,
~ 1.=:1=::
T poss . r l
of ross.
"b.. lvt..11 d.
.f po'S.
'$"

C.to.dy'M~C '.
u
V
r : Mf
p~.

..'* f~"'''~
7.
 r=5~ l::~
00 00 flA~- ..

s.~ f-.~
eo 00 00 00 00 00

s&0- J=-{'o
0
sI- 0
.. ~
~~
o
o
tg
B..
[=.1.1
0
0
0-.)(
0-."
e2-
0
0
0
0
..
0
0
0
0
0
0
0
o p..; . . ff--w>{ 0 0 0
r-~:'t-,
\,,1,1.
o
o
.r'"'
~~h

Il-.l.
>
h
">
"
:;.
t..,

~f lI<lf .fl'2. 1<.~..J...A...... ~ ? ~ ~ P--

I...!.. -V-r-.. ..!. 't:!::;.,,,
~ -""

00

tP~
00 sg
e* 0
0
"<>
S.!L
0
0
00
~o
o
o
o

[=5"7 S ~
" fl.:.
~
e
0
r-l--, ,-1:ct ..
en>!-
1
j .

Sh: If < ""f ===- Mf' ==- f

00 00 00
00 0
s g 0 Oe
F:'t7
~o i"g
.2.. ~-
9.2....
r=='\-i 0
0
0
0
0
0
00
"0 ---- - ------------~
o e
"h 0 s- ~ 0 00
I, L:" h 0-
()
~~ 0
:;.
1 t (I.,)
:;. > 0
0 (\:" G-;-
~ o
o
r-3-,
>

00
o
f>....
o
"o ~~ F- 6 v;"
.... 7: ... ..., ~ r
.'1
-- ... ~
J~ '1"
,..--... ~.;:

JIt A\~o IMI.,q.l/. og +1eLti~'1 tlo"" C;~J. *~ ~"'",c.~ n,*" "0. twz beP.+". iI<:I<'i''I< +"01 ... ;" -I+>e ""JI~;pIo""'~ (le~ .. r;""~'"'.) ~ f"'5s;b\Q) o(.-lwae." #10. -Ivo S''':lle pl-k'-e. - (~"t fi'jer;~ .

~t ~""'4C I"'s\. w;~ the ""~'1r-"I'3M .. cl.o n<* +O--'3~e. . ~;O<JI(;\<l< ;MM\1..",,..+e1y c.A- off.; 'o'f !;~o\k""I re ..... "";f\~ fk insffv~+ f""'" ~~" f\.e \ip~ ~ An (u.Ul""",;""re~
o '"h.c-rV{'t'." ,n B.e pro~...~~) I,k" '" br-, I\"'.-.+-, b\l~:f\j } c.O,""s<-'1-H<e ~
of h~"+I.
 o g r - I'qoSe v,t;1 +I.e. T"", -to,,,, ---,
00 00 00 00 0 o ~. - - - - - - - - - --I ~S"""ncC1. i'; 'fPr' ('PI'Iln<.)
,,~o 0
~~ ~"l ______________ -j
'" 0
80
Q
0
0-
0
~o o
o o"
+11..:" c;
+ v;b till[6J ....[
o 0 o
" o 00
s~ 0 0/. r q.o.Sfqble.
Vhslf'
s-%o o.-~3----,
J
o R"nG\ .
l<~
r-1

m --======
p~~
f'ff'
poss. ======-1' -=
poss.

== p: PPf -===== 0 010 nc* l'Io"e vn~' ""Y oI-I-..r r<t5"",'I<>C<!S ...r-e lo~+ ;"
S""'~~nly ~" ~ ;"5\.-"......... ~ H.,. J.:~-\-q"c.e..
~~~\if's~

'\.
 Vbslf
1\
~. '" 1\ ,.... .,
_'i
r- ---, 1\ l' r- :q., ...,. ...,.
,-
'7 f.
(2) Cow'b
14- ." ~p...,
. '- '4 ... I ." 7 '-t 2 '4 l\ Xl 3
'-' . 7 '-' _'-t '- \.

g ~

S;14 : __.,...,
~~
8
I

8 SVSf'

U It I Ih I

s:t:, fff7 ':- UL

1"If' off-
L.::
..ff- ==f br"r"
J{l:2 p M
b..
S~z.
.....
r -.r:r5":'t--, .r: J: II" - - - -'- - e::J r r
.f
.=117 - - - 1"2.\ - - - - - - - - - 11"\ - - - - - - - -:- - 'clv;"M J:.1I5 -
,5":"', 1\ SI' ),
,~ ~ .-- 3>---,
:.111 -r-?-,- - -- '::. lOS

VDsif I\~ ..... >11 r~:It-' /I.,..., r- ~

~ I~ '1 .., In ., I~ X ...... I I~ '-
3
.. '> '-f
"
'2. ... 3 '-f ~ \.

..
\. \.
COWD

~ Isi u L
...... Ch <t
1_,... g 3 g s;n~,..

~
..... I(, I Ib I
I

---..:: L ""- LEaL L.:

f :p = bdl b.. .....
Sft."'Tf P f I'Tf
-flO" - - - - - [10"3 - - - - - - - [ lOP
s-{f2.

- - - - - f,% - - - - - - - - .::: "12 - - -

r f l-rf
[=90 - - - - - -
r
.::.30 -
r
,:Z3 - Sow

vbsle
~,....
"A rS:'t-, """''>Jr--3 --, .,.1' rS-:'t-, ?,....
. ~
~ .F
Cow Ill- ... ., l\ \. ... . 7 ... 'l x 35l .'-f 7 I)
.
't 2-
@ '-t '1 'OJ ~ '-f :::t
".
~ Svsp?
i 3 ~ ca ch IJ ,... ,... Ib
I
lib I
I

......
I'1f
L '- L=l f
L..:
\"If "'f I"IP'PP
== bd I b.. ""-

- - [Sll ):71
r
- .::'07- - - - -r.:1
E
r
.=.bfi.Sfqble. .

Vbslf> "7,.... ~'"

Sk;~h
>t
.-- 3 --, lJ
"y
1
It 5<1
'1 . ~

4 l~f2 ., '} x/
C_b
~
<- ",
3 '-# ."

f>
...
I
" :t '1
.
'1 r.1

C'II\,
suspi '. 0
5.2.1.\ ............
8
~'"'

fop
L
ppp
=. L.:! L L::

Vbslf
GI 1\
c.~"'},
r.t (J
5~p2.Y
('to, r S'1."I.\
." .......,
L
Lt
Mp f =...,.f.
L
 [43. Extn:<'Ie.1'f slow,."ist"l'.t G\~o\ ~qM-like: +....e\~SS Gl.tlol i"el<orqble)bvt r~'jt~"'i'c...\\y
, - - - - - - - - - P"vSe v..,+iltl>e T", ... -T"II" re.l"",,~"e is Iff - - - - - - - - - - -- -----,1

i=",e o\v",,+;o...s . On ... """oot\-. ~est"r~: r..",c.+ +0 o"e '\nother in <\CC.Ofb\q0c4 ",ith the 9;""''' 'Ir,,,,,,,! ~
\seMf~ we..H '" (o"(\e.C.~ J (,Of\ti. ,,\.10\1'$ .
m rrl1.o'i.ot.) likt q h"~'1. COSMIC. c.\ockwork.

~ se"'p~ C\q, . ri i i i i t i i i ~
,. 1
r - 3 ---,
U. r-
Crot
J
CIo.,.. ~-SCl"\po.. C\'\<:(ff)
fff
! ! /I
I<J~OI
ShTS

..
n ()
I
"
(~.!.)
/-
<J
I b.;niqnr Iw\- ""'t :".f .... p. /I.
fib ... f\
b~ -~:!: }. lA
\ \I @)
I~ J" ~;"
~
'>
~ ...... ~

IV ~J
V

L
'1
bp:;:i \7~r
j
'I
iOIs+,
r..sf"l . ".AeJ.J..st;o~ ~ }F ~ D) (; )()
A ff--.lff
p< = r=
Pf rff
C.... b
f-
""" P..", ...
()
I 11 3 It

2
~,1

sq"'r~
- ?- 3- - --
Pf'F

f' =~2 f f"$S. 0

n
..
I I I .~

p Chi ".......
'"

A'" r - 3 ---,
rT .....--: r--
pm /l.:n +r-_

fI
k3-1
f-tt:;,..,p..!. '"
~
@)_ - - - - - - - - @r - =-- -- --..cD "I .f .r rd?- ---- --------~
19~
~

,..., Gr' ----.ill ShTS

.J..
~ ~

J
IJ.P9 1~ :::: ,I+- ~ rf 1.1 - -
Pf
1=
-=:::::::::
b Mf'
I L =
<'If'
r
b
Pf' ~+'-'+.~
frF
Ib
f~
Cow'o
- ...I'...-
2
,

5' pPp~
It-
ShiL
prr

2.
 r- 5:'1----, r
L
.~
1
J
n~ prF
Crot
n
-
J

tr -
"- +<- ...,. BrTW
r 5:<Y...,

.F!.. f9 ...[ b....

r - 6":'t-, 8rOW
> -...- r5":"+-,
rf"- = ..... r- 5':'" -,

fI'l
F r-- r--
"'1 .f Rin
!.f f
1 .F r-
S~T~

V;h
JO ~~:iI: ~ ~q =4X .....,
[\ r- r- ""P~P
---"
pff'
r-
?<to\. - - - J\ --
C.,w'o
2
3
Co
5 ~

'-'
- 't-

fP -=::::::-"'P ====-rrr

r':or. -,
~ ... ...
~ ,...
Crot
.J
r-- 7 :1t! ~ r-l~
r- . Fe
- -=
-
~~L ~
I-

pp 4:- 0----11)
crr-- ...(j) ~:!...
~hw .......
.- 0---- - --Q) l ' l 1';"
.I-
I"
J. +.. .
I" 1'\ l\--~ In
I-
--..
Vi'.. ---
::::...,=. ::; p ...,
J It:;) I~~.z: '1 0 10
~~::; ~~;t lib
~~
!o
fF~
fPf'
Pff
~ --
rrp"
~~. --"PP
I

F
S~TL
I ilt !--.

~
 r -
~J ,;..~. ~
,...
~

(nit
-;r
,'3. r5":'t., PF
..... c."" --
'a.
ShTS o~
'I . ==
f ;;- R;'l

n
p.;'l
.r .r ShTS
~
I"Ip:p
l,.;w<' ~:t:, ~ - - -- - - - -- -.@--------- ---------J])
l.- ~ ~Cw
~ ~ ' II- I
,..., 1 ~
f
o

@ Vib
I ~b~;i=.:-
J
""F
-I
f'e..A f\l\p
- --- - --
I
Cow\,
f
h '3
, '"'
ShTL
- - - Si11.
S\lSp
--
F

.r
rlm." 1j
.-3---,

~ i\.r~~
J
/I.;.,
...- - r
~ &ilJID- - -LD
r-- .), ,-
-
.n .
rS: .... ..,

n
CI.,. ~

11 M~~ ,.. --- --0)

~ ,I I- -
ID- - -'-Q)
Ii-
r --- - - - -CIt - - - - - - - - --
-
~

Vib
I~+~T~~~
~

P If
te..."""....
. ' +I.!.c.'"
a- =(\'If ~
fp =F
f'ouA sl;~1,I-11
fPP m ...../\

..
I-
If

f S" 't
......
eh
-..J
pp "

4.
 r [S] '~'".I'y '" .,," '" '''f''...- - - - - - - - - - - - ;:, '" - - - - - - - - - - - - - - - - - - - - --

Coil r .~
L f j
puss.
"
(rot
J
fP
T-T

- ___ _ __ J.
,.. ------..:!:.J
a\ ShTS

..n. ........
= = ff
IIV
"
U 1"
....
..." u

-= -
~'------- ~----I--------I------------ r---rr ------ - - -

I .~
f'

Susp

Coil
5: it'S - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .C'tb --- - -- --- --- ---- -
r.
J b..........
crot
J

ff <\qr r-3--, tr
(.w
,t, fl.;"
tr __ 7 [. r--: - SI,TS
r - 5':'t1

--- -- --@ --- - - - -~ . .r ~

~

0/ F -- -- -"@~ ~..! ,.....

": ,.....
J.
(~J - ------ ?----@ 'J
F
n - ?> c:-
'-'
.
IV
IJ,~ ~.:::;-
J

IU
"'r "'f ....
1f.~ -
.....,~ ........
.'V

VeJ..
, - /' Ihf
- r -- --
2-
F '3 'l.
S- f-
"
S-

r
o

!'If C~ p -==::::: "'f

L ..... ..
1

~.
 r. r ~ I f
Co"
.
- - - - - - - - - - - - - . -=-+7 - - - - - - - - - - - - - - - - - -='\-3 - - - -
~6"'1L----"
.....
- - - - - - - - -- - - -.
. r .,...., - - - - - - - - - - - - - - - -='I-~ - - - - - - -

L Pf j

en>\-
"
. -=-
--+r~,Dw

:f
r =I'1f - - ShT~

@ V;b "
J
1[\
<]

9~Z ~ ~~.-:
f
1-
F1, - -
1S:4-.J

- - - - . - -- G) "

u
~:::>I'1P_
~.
rf
- J

Cowh

ShTL
~
'-"
C..,'" ====--pp

______________________ r __ .r-=-~ ~ __ _ _ ___________ .CS-2. - - _

. -=50
Coil r 7 :'t.-,

n
\q ....~,..

J
f e<;.ho

r--
r--7:'I-. ---, r-l---'
- ,7:cr.t,
-
~1-1"
- ~-- ~

..
~ (!: . <ID/~.!.~
Iti"
r ~-~ l .r .I
~hwe.tt.

n" Rill ~~ -- ...@

n ~ n r.i ,~ . '"""'
@ Vih
~~:1 ...... '{ D U 10 v
rt r,f~~ pp
J U
~

Plf .-
~P\p~ rp <-

I
- ~
---1\

Mf f-

S~TL
I .,.. l,...,
 f
- - - ::.'5:' - - - f-. - - - - - - - - - - - - - - ':: 5lt
r - - - - - ~ - - - - - -. ::55'
r _________________.r", :;'" ci _ _ _

r 7 :<t-. -, r0o-
I ~ f- .~ 1
91 .1
-.11- ..... ,...
l f .J

J p,;"
i'1f
.-3---, 5~TS '1 4). -l-
- -
A,. ~- ;.... -
~~~~ :et>-
R;~
I~ _ _ _ L~ : 't-J ~

/I
S"hTS
J TriW(Mf: "'f ~\>~;: @J'-- -- ---- - --"{0 - - - -- - ----U) 1 ,..... ~ - -
~
.J
f'If Cw
~~~ ~ ,.,f ....p
~,., <k- 1" .
""f~ --
I,
'1 , C"'P"qS I"l.OL C; sl;~~H't
~C\ . (.vv !:::
- -- -- -
I

f'lf
1t. '3
,
~

MP C.h
p

- - - - - - - - - - - r-=.57 - - - - - - - - - - - - - - - - -
. - ~--,
.r:.:-" - - - - - - - - - - - - - - r",s., ------ r"be - -- -
_0
r r
- - - - - - - - - -. :>41- - - - - - - - - -
Coil r .:::J.-

i~~~
L r oJ
I
"
Crot
,
'-(j) Rin (!,.,w F.i" T-T
- J. .v
~f.J~
-l-
r
,l-

F' roo-
GJ- - -- - - -.6>- - - - - - - - - --~
roo-
I <r-- -----.
/-~ -
n - r
@) Vib ~
3
J
"'~+I;e_V"- ~ ~~.,....::::: Jt) 3
p = I'1f
- f>~(\I1F 1'1+
ff -- .....A f- e.c.1.o_ -- ----A
~~ ,
It- r 3.n ..
t,

II1f
I..
-
f: Pf
pJ
pelS. .....
5'
sv,TL
I
~
7.
 . [BJ - - - .r~ (,1. - - - - - - - - - - J-:.Io?> - - - - - -I=bt - - - - - - - -- -- - - - - - - -- - --J-=-105 - - - - - [=10'" - - - - - - .1.=1:.7 - - - - - - - - - - - - - - -
Cod
,-3--, .1
~
J- ,... II'- D... " ,
Crot
Il.. 1
I'1f "'f/
~no\ .V;br'll"o : <D"'@ j O"/O{f \l.;n
.. +r~

..n .-
,j.
. ShTS

r=
fJ:.",l:>rn ~ F
11
1== L
t!~ ~ (vi I
F-in II1f ,l,
,I-
",) l!1
..,
-......,
~

~.
JV T' ~
IV b9.
:---= i...- I'Tf I::::: ~I::: f

\'e.l, .
Mt ""I' - - - ----.f\ - --- ~

3 \ +
...,f-
f:",f
I .. ;- 4-
S\.,lL -
of 5'+ Ch ff c.1-,1.- C>tf
1
'-' "- L '- 1

Co;1 - - L"1> - - - - - - -- .tt.'1 - -- -~ - -.1.=70 - - - - - - - - - - - - L7! - - - --- -T=n --- --- -- [=73 - - - - -
_ ...-5:'1"---.
[=7't-

/I 44
J

qqr
. - 3-,_
- ~
tc-
r-5':'t-,
.-- i=-
~--./

~DW
+r
:>
- ~ ....
r- J..i" tr~ i.-

7. J. I
.~
-
..."

,....
ShT5
F ={ ) ~() of

~ 'lib
n 1t J:. C I,)
'" I"
L.5'; 't J

of IIQ + -: .........
=1=-+ + 'V
10 0
I
~"r-~ '--"
~ ~'-t~ -..../
........
~tJ..
I'lt -It:::>-1' ""F
- -- - - - --" --
2
II-lf Ie '3 2-

" . 5" ~

. ,.....-
~
 J: 75 - - - - - .f=-7l:, - - -- .1=77 - - - - -- - . L78 - -- - ..L30 - -- - ,[=31 - - - - - - - - - .f=.'b'L - - - -- L 3~ - - - - --
\
Coil
...t. \ ."1
IL '" tr j
n
Crot
.J <c.h

/Z;n r-- 7:<r! ----. r-- 3 ----,

n
B,iW

7 .
=1
\- 5:'1--'
r-
SI,TS

,A .'
'-S:lt..J
I!:.,
....=r-....J ,... ~
...
r-
- I-
9',,1~
-
,...,
In
5\.w ..t-c..
-l- I')

~l
IU~""-:-: ~-+=-~ :U
~~~~.Ib: ,0 IV
J

f _ :=:=-.I'<f

-~
I'1r~
~.,;..
-- -
'b I
T
'I- 3
Sh1t -'

of ~U
f.ff

- - r.'6S" - - - - - - - T:.'67 - - - - - - - - T='i58 - - - - - - T=3"1 - - - - .f-=90 - - - - - - - - J=-'11 - - - J-=<j<t. - - - -- J::.% - - - - - -

.,.T. -,
. . .~ F-

n
~ ....,,... ~ .....f-JI..~-
'r-

. .-7:,+I.,
-
3-, - V:! ----- ~"
r-
R;" ShTS
r- 3-,
~ .........
ShT5

.~ .
.-
,..., .l- ~
..o..!l .1 I" k~ I,. :\q-: ~ ~ ..... '-5": ... ...1
" "
;

f'e~ .
1-
...t
1-
P'>p '--
Iitl
f~ <'err IV ,.,f -{f-

b~
-fr: of
I
-
-fff
- --A - --
f 2
oft-
I 1,... ,.. 4-
ShTL
f
L
S;l-..
.~
r.J
f svsp
.", It Siu .r-
L
"'rl",f
"1
...
ff:f

9.
 - -.f~'17 - - - - - - T="l'l - - - - - - r::'IO' - - - - - - 1::'103.r - . - - .f=IOfi - - - - -- .f.:: I07 - - - - ,1::'10'1 L
- 12
1
-- - - -
r 1.'-' . , ~ 2> ---,
LT
.-3-, ,.r k
I'1f
r
\
, .., i~~~2
J .....r ~.,2." ~ s\'3h\\) L J
+ -*-
. -
f. ,II" ;'4
-- I::::...- ,.... woN
I - Br1V-'

Xf I
r
n
c.w
'1 .f i<~
l-

'" r.

....,
ff
lob .,.....
B..""
~
bIe'"'
I!-"
~
, ~
'N= 1
kf

b*-
...J

~
ff:'ff l' fff -ff -f-
f1eot .
- - -- 1ft\:- - -
,s.
ShTS
91
- --

'3 YI
-It- 1
I..., ~ ~
fr-
5"
I~
.-
.Af

:a. - f Ch f- 0. r- "1
rL Silo.... -4-
" '-' L
.
SITS
r
f:.f .'" -'
f1

"w_ll of SNoJ."; -I+.~ "d'~o~ ~\,,,,,,c\ '0

r t~"'~ Q,3:l~s,;~ ",,,0\ "io\,."t!
__J=. ll't _ _ _ _ _ _ _ _ _ _ __
J"'1I7 - - - - - .r~l'l..O - - -
=\'2-3
. - 5:'t-.
f r
I - - ='1'2.~
Coil \ r-
v
/I. >It!:) r--..
~

(rot-
J ,loS,.
&rTW 8r Sw

" ~
V
I I~
p,;"
.1.
~
~TW

\

Tr,Wc.

~ '1
T-T
r '3lin.,.
(bj!::) -;:::
P.,,,, 1'1
(1..;"
.J.
III
>
..
r .F l-=l f~ \!.~~~ .";br ,
I"

J~+\jT v. ~ I- ;::. to-'c.... IU1~o+-:::: I(J

fffL
- -= =f poss.L..
r ,!~I.o
~ OJ ji:) '-~ I
f'f olS . . _ . . J
.f p<>ss .
AW
COASt q'3~o'"
fh ... 1"1""'0," q\tol<.\tJ
J\ ~ ;. C) ~ "";\\ ~c.x..."'(' "Ve.\\
~. ~cI ....n rill Ic.lIv j) 13 1 (.~C.lySM~c.l. b"l 0'\ '\ l<-\t .... :r !
'- t>tf
I;
\
Tof<.d,,\ I [\
'"1
r--.
""" ~1~ , f.
I
\
A
-v '\... ., r
,\ -,
c. 2" ~
"""
,0-
* -+ .,.,,,"
...,. .... ~ .. L I.
of ,"OlS.
.. ~

~;", . - - - - - --' - - -:=':----- . ...-f.

Col\;"'e ,,1\ -tvb...s t-o~e.~ ;n "n "Oso\v-\q.l'l "i'O\~"T
",.. nn .. r . Co,,+i ..~ -Tn ,,~:~ +1,,, .. fn,,,, +'"e -10 hM(. J
C'I"';"j "",,,,",01'" ..~ l>c\w.'l 'ill tv'o~S,
10. 'svpe.r w~...\ chl"''''~
 , _.r:: Ti7 _ _ _ _
J

(rot
..I
r- 7:It-.F-,

r~
@ 2 r- 7 :q..r... ~;,~ F
~ 9~''"' I F - - - - - - - - ___ ~ ffb ~~
" lr~-'- '" l-

"f~
vi~
L ~I~~
b...- f
ff ~ E:::= f ,..,f
~ ff -f{f rtf -{f
----- ---- ~'-------I------ ---- ------ ------- ~
th
c.'1'" ~

Mf

(0;\ - -
Tri
.L- 5b - - -

.3-, ,....
- - - -
.r. ::
6'[; - - F
r- 7:'1-.-. [KJ - - r:: Sit- -

- -

r- 3--,
- - - - r
- ";"3
r-l. Co,\ I./""
"'ff .J
- - r 5\ .~
- - - -

r':'\-' -,
g
- - - - - - - - - - r
='50

~-!: ....
" "" " -1\, \ JI. 1'L~ . " ~

Crol-
J

r-.f. Ed 6, r- ,:'t[--, 3 2 R;~ 2 P,'.7

.-1:'1- J=-, R;" R~",

B It .r -::.... Jb~ ___ _

\l.:f\~
-l-
~
tf1.~:~
....... "'," 2.
-!- 9'''''
~ .... ,-, f::
}l. -' 87 'F1 ~ . ~~-;::~ 1- ~-4
roo-
,...,
n
. ......

-r ~tJ~ ,Y
J

~
I:;
~f
c~-
=- l::=..-f f'lf'-
1>\1'
J\,\;--=t 1../\ f\ f' f
~e.J. '
eh
Cf""
-
t'lp'" Pif (I' pass ,)

Co~l
- - - - - - - - -r.41:,-
-
--- -- -- - r::q..7 - - - - - - - - - - - - - 'f IQ
I':'\"~ -, r' I r-,
,
r-
Iri .1 \I.;.~ f L .., f' poss. j
.JI- ~ - 7 . ~1="" A\
"
ero+-
" r- ,:'l-J--, p I .:'t.f-. r- ':'l-J--,
2 V-i".j, 5'" R,')2 1 r lZ.'~?
'3 2
@) 8 - - - -- - - - - - - -
~
r. b~~if;
~.!,: .....
I\..;,,~

1 ,r
11-;."1-
,r 3
It;",!>
f ~ 7 B
vi\,
n
- - --~ f'lfvj!:'"
~ 1.0' r ~~ .... ~ ~
L-3..J
1
"
...
~~~
J

~r
fF
r\'f f lpf
Ch
I- t~
A . . .1' f

- '"
fP
It.
 - - - - -
I
-.\,,'1-3 - -
I A" lU,,(.oOMi""l~) ;,,~r(Vp-\-io{\ ;" tl-.~ proce~s ) \;ke
br;I\,O\{lI-, bl;.,.Aln~ )cor"sc.'1hve ~ of- I;~\,)TI
'"
J-- - - - - - -.Ir Coil I .r"I

b..!.....
.~
r
;. ~~ I Lb .., -It,," ~;.~. ~
1\
r--
.........
IL .... J
f'Pf
~

2 21: ff'P J
- t,',.Q ~
2
8~9 -;::: ...-
lbr
r:l /
v !'If _=--s-Hn 1.
"wspe.T<Ao..\
00 notl'\ove~ g -------
17 ..... "-
/
c. . 7" - - - -- - - - - .... - -
II
~

f I- L ~~~
1..- ff L-
--A- f prr pp " - -
-- - - --
p.~ . Silo"!.
c~""
Svsp Si~:l .~ .......
'-.J'
r Pf'P

(0;1
.r -I=-'t1 - .- iI',
------r
lli1 ::.LtO. ~"'le. .
~ -
'-17:~--'
.~
Trj I'1 ~
;.._. ~"'''''''1
c.ol<A : 'I Cl\<1Ac!, )s+:1\
,. ~ ,..,. ff'P So""",,,

Crot
J
Prf f' poll. ~)(~"'~ P .J C.1~r t- k9T

@)
r- 3 ...., rtint-Qv r- 7 :/t-.F- , 5L o\e.hu"k. pOS1.
r:l '! . I- 5
~ jt.. ....
rb9~j~; 11- /' 32. i-I ..,...,
If>
~---JD j ~ b....... .... 5: 4- ..J @ PP1 ~
Vib ~

oJ
..... ppp m 01~~:~~
~
L.
fPf
1= PIf'-
f0- r po . I
" C.l;
-.J'
To Co",

Pfr

5" S-
32 C\~r {.h ..;r 1
c..\o
r:l
Ir
Mo.;"-j,.;,, yoor r"ys,,,,,,\ ",1I-i\va\t. for
00 N0T Mev,," .nohl ..,,'{ ~.... rc.son.. '1c.e.s
"Pfro~ . lo~:
4112. lo~+ '"
Now r't."')<~

Ib V'o$\f
~
fl..1t. ",,;st-. ... c't. .
~ J.....cI.\t;cl<.- t---z b c. .\o
II

Vib
J
(
b+
no... P.."~ f'
~
Cowb 'I-

f 12..
 I -1
/
I I F
>
... h. 'We.
shW Cl,,
1
Clqr
q~C'"

. --- :

~
~ fifOl}'. 7' s~u Sle;~h
Slei~\'
I.h.we.
4- (J
J T-i I~ =l .... '"' 'D"I'W"?......,
------ It. . fJ
vb....
Sh""
;:- 16
p ..... ~
T-T As {"1st, viol ..rrI- ~~ brill;q"tq5 I"0s.;\'\.. : ."
v\te,..r-\~ s\-\n; oj.~ ~e c..I",,,,,,t-
~ ":)'1\tq,,, .. fpass.i- I- ~ L b.Jof poSs.
MV l+~p~I\~c. \ ol)scA-. + p

.-3-,
> ,....
Ch I ~
.--3--,
Svspl
.v- c.....b
~
I
ww
svw HW WW .; 60."" ~w
r.l,. WC. - ,....
~
.

ib (.\CV"
J, 8 .. vb,lf q". ~ r r-"-'
sow>
"'to
.. >""""
Shw ~
Slei!jh
....."
Vb.lp
.J.
r ti

T =;1
Silo1-
,

/l
cl"r
'vIN/\
Mf -=:: f
-~
L...:;: 1
L.: b Ldf~s .I3d b E.. b I
f f.

F" r 131
-- . -------------.= - ------ - - - -.
- LI'1.'1
.- 3-----,
- --' - -- - - -
cowo
,j. s.-.w sow liw "WW Sl,w SClW
r.\'.WC ~
,....

g
~

==- fPf --== f'

If> (1.,.1
~'f

Sle;'3~ ~w>
of P
S1"~" ..... ~ sv-,... I~~w .~ ~d' ShW 51";1> ..... ~
.I~ (J $I,W>
1 J
2
\\'.\vt ----
';'o.I~
-. "'-

I-I -
1f. ff'f -== r ==- rtf
L '= f
.....
pOlS .
1-1 - bJ L=:
.fpo~
I -f
.-3-,
r r:: 1"1..'t -.r:::1"2.\
> -
-p-> r
- - .. ::1'2.7 - - - - - - -~
- - - (t
s"sp I
~
- - -
r
I
- - ~ll'1 - -- - - - - , ::. lib - - - -

I-tW S;1.'l. $\.7VJ

'Oc.w Shw 'o;h Sow I..v l-lW
r.'n. we
T . ~

r~"
.
"'f ===- m fpo~.
~ . -- f
'"'

i RS'''~ ~
(.l'llf'
.-3-, SI,,;,~ vb.lp m'===-
9..~ clv i1~. 9.J.., MP ww
J s.,w ....
""';'p ~ Sf,W -, .. >~ .... .-.. .J, 70..' ~wl\. IN,", >,... .)V'N ~"
~

b L..d Ebd b
f
E-. b Sf2.. Soh> I'F
I- ~
- b
 r 5':'t'-,
- ,I" liD - - - - - - - - - - - T= III - - - - - - - - - T:: \0'6 - -- .1"'\03
Si2:l.I.~
CI) 1 '" F""'
svW
r-,:'t
~. ~
1
.-1>,
ShW ww
svsr
I

Set"" J, HW
;
('.n. lIVe ,..,
r
@
~ Sleit>
.... ...
ec.'t)o
~
11~ 1 .I
"',It' Shw J~ ~
vbsl r
J,
(I.r
J.
,3--,
6qw"> $\''''.,. >ww
-.
SI!.i!lh v'oslp
.... --- .\r
'"

L....
+pOll .
I- - b..J L..: -
f-
L.:: b L..::
f
t-l b E..

r
__ .f::.\00 __
~
I
> =-% - - -
.-2-,
I
~
> - - - - - - - - .L'j'L . - .-
S()vJ 11<\"" c"t ww Si)W
H"" s.,.w
r.'-l. we. ..--
,
r-"
7c.~
,
<).NJ
>
r >- fff
g S~"" >
"r
ShW
:>
PI Sllw~m
-....
>
--.::::: Pf' 1& wvJ
r- 3 - ' ("",b
,.,j. !8
rS':q -,

'1-1 Suii"' > $1-,""

> IlL
71
v~'11' $\,'"

I:::: I ====- Pff 1-1 -I ~ I:::: L.... 1- -I L bdF :>-fpp

r P fr
r- 3 -,
- - - - - - - --
Si'L~

..... - ------- .fn
::. - -
.-3---,
r-
> - -- - -- -- - r
:> 75 - ---p-
I
[
- - - - - .::'71--P-> - -- - - -
.3-, s"'P c_ b
ww
Svw ""vi Svw
ShW .j.
~"" Shw .... .j.. B"IVIf

r . ~ . wc -.
~

Slt';~ Fl r- .-. ., -- -
rr ::> PfP <C"pp
S\tl~1. U, 18 r-~-' e1~
r 'l"1

l.~ INC.
V~.lf
+-
(I....
C\ir
.j,
'1\.
CI." Sk!,;,h ..... ~ 50.'"
> >
wW

"
..... ~'lbs'. . .("~ TS'""! Shw
ff ..::=- Pff
& ~w>

'" --- ,.... ~

511 ....
.
L:: ~ L= b L.: l- I b b l I- --l
fP ff m f ;> rr: ""f' Pff <: FP > rPf

,3-,

Hw
vi'b
.......\-0,..
I,.
'-'>1'
F Gl
Str;k~ b.t\. ShW
SiMIlw-...,.r'ly""it\,
~
so,W Cl<I.r. ~ -~(""pe.
Hw ( Iotr n.!
I",\...INC

T-T
~
.... '"
S\oI.i,"'

'-- b
'kke? T-T~
..........
f.I
.
[!jJ 5\,W

"',"'. - .- - - - - - .- - - - - - - -!Iof - - - - - - - - - - - - - - - - - - - - - - - - - - - f'f'

.....
ke,T (-:~ vi. ,lin.)

""fP\1-
.'
sit,

""1-1\,1<' V,b fjolll'lS)'

~le~~)' ....r-
PI.c~
~
O""q.
.
bQ-~'" Ii,,,:

~<:. J."""I-r"onS, 0 .... ,"'OO'I-VI ,~t-X"t. : re"c.+ to e".. ~no!+wl' ;" qc.<.oro(q'lc.e. >v~ tIo~
'3i~ ,,""CW$ j W'dl-c."",,~c.tt") <:0",+1,,,0\1$ .

2..
 fE)
OOV(/.
r.\' . 'wC
,-... .. .~~ -.... ---.... ~ -. ,-... .. . -... ~- - .... "" ,,- . ..

3 2 I
. r- 3
..
r-'b--'
W"'~ .
"
":~~~~21o+"~ vi". ,'3,
If"

jf-:1 ...
~ '" xfi
U ~hTL r--
,f ~llf
vib
vlb X .........
'r .. ,
~

'"
I" 7
"
pp~ ~ PI'
~ '=-;00 .... .1::::: 9 Frf' < rr > flf
I.h. we.
pr;===ppp f!x-T\AI
.......
9'1\" -=====-MP ppj)
~

".

15 1'1 f r? C\~r ..,.. el . . r S-:'t--,

t-

.n lib;ot 't.1l lib ... I~

F
~

If )~ '1 ~. tr
v.bp\,TL
r-,
~ = V,bi-<-
.l- I 5"
~

3 Ipp
v,
.
'-s:tt .... "'I

Ri.,.,

KeT
pl... BrOw k:J ;
L
1.1-... we.

r.\'. we.
...'. .,

r 5":'+, (Iv rFI A71 ... T --

r- S:'T--' 2.- 3 ~
It'" r. '~. ,t,.-l'l r- 7:'t.F-. q",.. I') pp,;; 11 r- 3 - ,

I =
~
Sl.rt.
~
[
(0\1 . ~

J
v;b
~
Ih Ift b g '+ r
...u,...b

=! 7 "#
. ~ 3 'Or---z=j q..
.
.....

~l"W ~p 1::::::=
~(.lJ> lc BrTW
15\'w
.;. 5'uw g"w ""'"' ~.,
c"'~ =j
1 -. .
f
1\o,.II'IC
~
-
L. .J

3.
r.r, . we.
AWC ..... --- r 5:'1'-, c>++Cowb

S~TS
3 2 ... '3 4- ...... I ~ r-3, q~7 : q.f---, l-~ ~ ~
.\.
,-'3-,

11::Js~T~
~
Ifi\'
,l.
.., v~ ... (.'~r
.0-
r"'l- -,
I ~
'2. 'r~ F;i r. .~ .1 .\-.
1<. L..~-.J
.---.,r /1>[ ShTL
..... ~ v'b
p F
-
-
~

E: b o~ (lII~ppp
/I1f
Pf>=,.
I-- L..=
lIP Cw kST

IT pp

r.\' . we.
'"'
CI-, vib Crot q, ..

S; ~.)Svs('
.t- 3~ .Fir ~ I
o 7~ ~o
\4 . i:Fl'
,. 1: I t~
,,",p
"''0
.j.. . I ~
+1 ,liT\..
.\.
J t.il
(.
,~

]
. .

~~~p KBT~ I'IfL

l.\' . we. -.J

- - - - - - - - - - - .r=-It't - - - - - - - r- 3 - ,
AW ~

r.~. We.
f ~ """t--;(e.heqtt. . ,3-,
I~ l'l I r- ~
I" ~ e, r-3-' tt-

l>v;\, i ,r.9 . r ,1
.\, '\(.-W. ,......
5"1 II" -~ \.. (, ~ 't 1f
\,rt., ~ F
VI S"Tl.
-lr

- r
~
1'1(' (~
\-T~ pgL 0 OJ) e. .iW Svw cw
b::::p
I.\' . we.
T-T p
~

f
. ---
f
 - - ,1::. Lr5 - - - - - - - - - - - - - - - - - - - - - - - - - - .r,,'tb - - - - - - - - - - - - T-=1t-7 - ~ - - - - - - - -

r.".'wc.
S~TS
3 ~ ? f ') (t,r +r~ r- t;~ 't - ,

~
rI; '~~J''l ~ Ib'V '-"'
B '7~" frl"W-N >WV
~
I ~ 7
" v,\! = F v;l:.t,..
.., I 7 S"

vib

t.~. wt
~D fp < f> Pf k6T f"I'p BrDW k:J ---
-::: t----

f f

MI,
- - - - - - - - - - - - - r
- - '" It'! - - - - - - - - - - - - - - - - - - .\=- 'So - - - -
\
...
. .- - Shw - - - - - ,
- -
r.\" . we. '"
L-
rS":' t , I ..J.
,.... r 5":'+.., C-l,r 2._,",~ ...... ~ 17 r=
r- 7 :<+-.--, C\q.-.,... I~ pp ' 1'1
"'~""-
:,
~
p r-= Srl. {f. -v-~.r Ib ~4- r- =! '{'1
~. ~F.l ~
1<.' -' . . 18 18
.
0
--
~

\.\..,. we.
L 8rTW
b.... t---
;;=0 J c.w .1.
r
SI,YoI $"", s..w wW
~
-,

..
~

L -.J
Pf' fpf

- - r:: 5'1 - - - - - - - - - - - - - r::. 5L. - - - - - - - - - - - - - - - - [-=53, - - - - - - - - - - - - - - - - r-= 5'+ - - - - - - - - - - - - - ~ - ~

TI',W(.

." -
r .l-j. 'we
AWe
rs:,+,
I, .-3-, 13 I? ?> .,."
1
r- '3--, Cl~r
:
'2. - _3 __

10 nl 't
II \7 9>1"'-
t-
v;'!>
o}
.~ r 7 :l+o
1 r\
--,

'2. 'tr!t ~ "1 . .11

~
~

.....

~ L
~
~

~ l.
~p
oa
~
MffIP
lIof
!=;,p
..
 ------------ r-=-5''' ---------------- - - - - - -- J=57 - - - - - - - --- J:=.53- rf Cw 9,.l\w
_>-"1
r.~ . W(
or

'{ ~.r. q~,. '1 . ~ vi\,

::r
~ r

Cr,
... 31J 2-

~f:""Q
I l'
c"",b
""f
I.\.-, . w(

-B.. ~-={,O - - - - - - - - - - - .1=-4.\ - --- - - - - - - -ffi]- J=41. - - - - - -- - - r-I,,'!> - - -- -- ,'=b't - -- - --

?PP f +T
. .]
t;
.
? ') ..
1 '"" ~
.r :
r-?,-,

Sh1L r [
Co.t r--

51 lib -
~1.' r: I~Tlf rilF
'1 I " r't
,
:- Sr1Y'J
SVw ShIN
'> .,> , ",f
T-T in I'IpL 4'>~
-
....11 erN
"'t
ShYv'
I.\.,. We
.....
~

i-T ... .J ~ of Posi. +p .Ol~

- - - - - - - - .f" I,,'S - - - - - - - J"-bb - - - - - .':b7 - - - - - - - - - - - - - r.r,'l, - - - -- .r~b'\ - - - - - - - - r=-70 - - - - - - -

r.\". we.
r!-,
3 ,... ~
I') 5
J " 11
SI'lTS "" "
@ Y'b 'F ... f
, k. '\IJ' - Sl,iL
~ I r-. 7 ,
;;-~

~ H~H.~~
V, = ,Ib . .
~

Rio
~ Sl";~""
... "
Cw
t:=~ 19 I>f< t<f>"'I
vi\,
I<~T f
... -----
"'f <:" pOl~.
f
 - -[=-71 - - - - - ,Ln. - - - - r ::.73'-- - - - - r=-7't- .....

,- r 5':'t-,

S~TS
w-' r- s:~--, r ,:q...-, '1. - r- ~ ~ It;' ')

C.\~r 1 1, F v;'o+r
-l- \ 7
trNW rw--
5"
.
r-.
3
~
Mf

.
r= ShTL
.(.
)
[
Cool J.. ~
] 16 .
I~ LL

,....
E
SrOW E:J: L tkTw f 90S~.
t=
. .I:. ~
I.~ . we

.r::'i!3

- - ,f -- '61 - - - - - - - ,r= '61 - - - .1 .

r t)W
- - - .,-~ -.r:.~5 - - - - - - J=~7 - - - - F='ilg - - - - - - .L- 3, - - - - - rO,o
- - - - -- --
r .lo. 'wC
J
..
..
')'- L- v;b f w;\,
_r-_l : 't ,F.-, Cl,r ~ ~olS. 2 r-~-' '3 '4-1, 7 iT {} 3 'I- I

.'"' r-'3--.

u
r-
+C ...,b

=I F f .f;l
k j(. lc.' ,-.Ff: . ~ ~
It>
-
i"SI.T1- D.C
r I 2. ~, 'r~
Svsr
,). r;=
'-

l~tlT
"
r:\ ShW :SuW s.,w ww
- -
, rT ''!-'"
'{ 9. ..
f
~rTW
L. f : I'1P ..l
1- -;" .f{f-
l.h. wc. '"' ......
j
L f poss

- -,
L~'l.
r Tr-""<.
I -, :> .-
I'.l., . 'wc.
A'WC. L. ...
M\,
~ .. r S:"''''' of
pO~l.
(o-b r5': '+-, c...,r
.forufv-I
~\;-U ,-...
c\v '2. -,..:!>_~ c.-..+ S"TL
..'" . .1..--
I
" J.
~

'1
iii f"
~ ._. ~
4<-
7iii.~.~.t ,\ ~

- r,/f
..- ~1
.F'\
\c. . .r ,Fl . c.~
~
'-'
F
;.: l ., f;
t: F Vib

~ .11-: - 1f - \ ~ =:I ....

~f r CW , I=.fff. I,! ,.,. ;> ,."., .f_s $K!'''I'-l ,-...

L. J L -'
+ Pu. ""

7.
 --r ------,.- -- - J .l .1::'117 - - - - - J=J20 - - - - '\::.12.3 - - - -.r::. I2.6 - -- -
~lo7 I-IO~ ,- 1= r C." arB""
-
"
ir\INc.. -
r.\" . we
t::.'Wc. ... . ..... ...,. vi.
5" f~.
C<.I-
ffo~ , MP~ I'1t cl.r coil "~Sl s'~s,
? q..
5~Tj

@ r<
'2.~
fff~
r
.' I
-to
T ....- n
."_0 ~ - .r ,FT~
-
'''l; F ~
Il..l"
1:= :It\'-
~rTW
Cow. '"
"-Sf
v,b

.f ... . .
~
r-ff
. 11Ir1W T-Tll -? f poss.

I.\., . we
T-j "
-
~ oss L- f f<'.
Si l -....,.
-ff
.~c.7. ~1Y"f ",ell
q'l~ows~;",,,,U't''1~:
.
t..t ort.
d'l""'''';c",\,y -.\\ -h"Il.... c.w.) f'l"tei'te . Very ;f\\ei\~~) 'b.,f- b~~ "or~ .. ~

t.l.J Oecn.o.se. ~.. w-.po -- .- - - - - --- r-= - - - - - - - * . - - - -

1,-:;1
..., 6f' n:s"""I"c.e~ I' ' ... f' (,I'J'[1!l<.)
. .. (,'t-
"
,e
bd~~ r:l
ceq ... "~;""+'On : ~ .....,,~ ....

Lt '.\( A
1-
L--
f f""S. 'l \
i- (.l.h
-= '" ..tfo,c.lt;s ....iI' &ec,wr ~\I b~l""o\
,.., 2 -l-
V'O
.l, 3 S"~e
(.lq,-

'"
2 ~ib v\b
.I:
~

r-7 :'t.;

.
'-../

D "sf1. I'" L.
ol.;..,. - - - - -
oJ
- - -
~
- - -- - - - ~ --",f
U r-"7 :'1-. -, Cror IU 7 f 'J- ~ IU 3 1'~
-f '1.. 5
I J.
"r .~
?
~
't-

H Mf
~
1\
f\ '-
Prw Brrwl
l.~. 'we.
~

.... f fOSS.
..
br,\\, ..~+ ........-~~"'1. of
ro $1.
~ Co'li..... "1\1 -ivbes ~~r. (",1>\-;4"" -hi "3;t..k/.
tl,e'" """"" f.'Poe. -I" +-I""" )""",;,..., """",,,,,, ~\<.S
bt.twc.en <ill tv.~s : "sJPo.r w''''''\ c";",e. \
r ~ - - - - - - - .=bO
- - .-=(.1 r - - - - '-"1
L C"Q .- - - - - - r-
,-.10
C'Il -. - - -
.-57r- - - - - - .-<:>
r-51 - - - - - - r-55
.- - - - - f\<:l
~.-'"
L r""u. - - - - - - - -

.
-
v;b r-;...,
+""-",,...-v
.-V" _

C;eoti'l "1 ,~~ .

? ? 1 f'Jl ct.,.. .
v;"
.. (rot ,!. J. '1 i
J r
It .
7 Ib "r
~
l)
I
t
Co,! ~.~
Sr 3
,-J, : ~.F-..j
,,;0 '1..
'-1~ -1
1...7:,+ ..J
\: 1.,...
1 :' t . ,
5"
.~
'2.

:~L MP 7"
~ ~ k-d~
I
f. ""f
,'0
 .r::.~1 -- -y;},
J-
_ _ f::.50
r+~ -
tt- 2. '3
l [j : ' 7 [' 17 E' 7b

"'f f F f'

r -- -
='t!>

r rr rpP ppp f'f

q~r
s;\..+
-----r ~ tr'l.
------ i- -
r s-:'t--,
~

fPP ffP PPf'

n",;nt<l.;11 'fOur fl,ys~c.. \ qitrtu<\~ .fOr <lPPI'OX". \0" .

- - [illItto . St'\Dle. DG"f Vb,lp Q9";I\~~

po !'lOT !'lovE: ",,+;\ <lfI,! o+l,<!r .~~o.,ql\~~~ 'Ina \O~t
Vbs.l f I. tw
,.... c 1.<\ t . 'f.
1 (\"-C.vSfIlr-70 III ~ ,>
r . ~ . wC
Vbllp
r--. -
V.,lp (l f\t.ct .

I I
5 Cro!- ff fvr~~.Iy ~ ) """'Ice. Yl:oslf 5 V;b ,Co.J
'I)"
~L
cl'$t... "'" c.

31 .r-
~ r:l
+a~r
IE>
I>lf~
-r .~ j.l
+~ T-TI( \<BT ~ c . Jo U
1..1, . 'vVC
T-T ...... "" rrr T-r+ (
Pf Pff