xt7vmc8rg859 https://exploreuk.uky.edu/dips/xt7vmc8rg859/data/mets.xml Hawkins, John Issac 1808 14 pages, music, 35 cm. Call Number: MT35 .H350 1808 Library copy is imperfect: covers wanting (Special Collections copy) books MT35 .H350 1808 English Printed by J. & E. Hodson for the author and published by him at his Museum of Useful and Mechanical Inventions, and W.H. Wyatt Contact the Special Collections Research Center for information regarding rights and use of this collection Musical notation Organ (Musical instrument) -- Instruction and study Piano -- Instruction and study A New System of Musical Notation: by Which Any Person May Learn to Perform on the Organ or Piano Forte in a Few Hours, 1808 text A New System of Musical Notation: by Which Any Person May Learn to Perform on the Organ or Piano Forte in a Few Hours, 1808 1808 1808 2025 true xt7vmc8rg859 section xt7vmc8rg859 A

NEW SYSTEM

OF

MUSICAL NOTATION,

BY WHICH

Any Person may learn to perform

ON

THE ORGAN OR PIANO FORTE

IN A FEW HOURS.

3111 ”(Etna 39mg.

.0—

PART lst.
CONTAINING COMPLETE INSTRUCTIONS FOR PLAYING CHURCH MUSIC,

And a large Colleétion of the most approved Sacred Compositions.

PART 2d.
CONTAINING THE SAME INSTRUCTIONS,

IVith a Sclefiz'on of the most favorite Pieces of JMusic, songs, Dances, Sgc.

IN BOTH PARTS
The Theory and Practice of Thorough Bass are treated of in a very simple Manner, and an easy
transition from the Practice of these Notes to those in common use pointed out.

flgiw... W, V #7 74~__.__..__ ‘7--

BY
JOHN ISAAC HAWKINS;

-—-———
W

L 0 N D 0 N :
PRINTED BY J. & F. IlODSOX’ CROSS STREET, HATTON GARDEN,
FOR THE AUTHOR;
And published by him at his Museum of Useful and Mechanical Inventions, 793 Great Titchfield Street,
Mai‘y-le-Bone; and W. H. W YATT, 9, Pickett Street, Temple Bar,
Sold also at all the Music Shops and Booksellers.

1808.

 

  

 PREFACE.

 

THE length of time, and great attention necessary to acquire even a moderate degree
of practice on the Organ or Piano Forte, have long been subjects of regret: How often
do we hear people wishing that they could play a few tunes to amuse themselves and
friends in their leisure hours, but have not resolution enough to charge their memories
with the forms, names, and uses, of 40 or 50 different characters, and the meaning of

as many hard words, before they can attempt to play a single tune!

To contrive a remedy, and facilitate the practice of these instruments, has been the
study of the author for several years past ; he flatters himself the object is attained, and
that the system contained in the following pages, will be considered if not a “716 plus

ultra,” at least as leaving very little to he wished for.

By this system the memory has scarcely any thing to be burthened with; all the
instruction necessary to enable any one to play a plain tune, the old 100th psalm tune for
instance, may be communicated in a few minutes, and the tune performed after one or

two hours practice.

The extreme novelty of the Work, must apologize for some errors of the engraver as.
well as author, in the first number. The utmost care will be taken to prevent a repetition

of them.

 

  

 

 

 A NEW SYSTEM
Of MUSICAL NOTATION, &c.

 

 

 

'FO perform any piece of Music on the Organ or Piano Forte, nothing more is necessary than to be
able instantly to touch the finger-key indicated by every note ofthe piece, and to keep it down the
proper time. The more naturally therefore that the notes represent the finger-keys to be touched,
the more easily will music be performed.

In forming the system here presented to the public, it has been attempted to make the places of
the notes resemble the finger—keys of the instrument, so that without the necessity of calling either
the one or the other by names, it may at once be seen what key is pointed out by any note.

To enter this purpose, five perpendicular lincsare adopted, two of them separated from the other
three by a wider space, similar to the five black finger-keys of every octav'e*. These five lines ar
called a STAVE, and may be considered as a map of the finger—keys, continued to an indefinite length;
the lines themselves representing the black keys, and the spaces between the lines, the white keys.

When a note is on one of these lines, it indicates that the black key similarly situated, is to be
touched, and when on the space between the lines, that the white key between the corresponding
black ones is intended. There being two white keys together, between the two and the three black ones,
it is necessary that the notes should have two places in the wide space, one right and, the other left:
Of course, when the note is at the right side of the space, the right hand one of the two keys, is to be
struck, and the contrary when the note is at the left. A note must be understood to be on the wide
space, when it is situated at the side of the stave, the difference between right and left being known
by one being close, or nearly close to the line, and the other at the distance of about it’s width.
There being in instruments, having what are called the additional keys, five sets of two, and six sets
of three black ones, in the whole 28+, it is necessary that the stave, consisting onl of five lines, should
be subject to a change of place; two slaves therefore are used, one for each hand, the right hand
stave is called TREBLE, and the left hand BASS. Each of these staves is liable to represent two
different sets of black keys ; the bass stave in its proper place, will belong to the 9‘“, 10‘“, 11”“, 12‘“,
and 13‘“, respectively; but by putting a figure of 8 to the left of it; the 4'“, 5‘“, 6‘“, 7““, and 8‘h ; by
adding, when in this situation, three short extra lines, called LEDGER Lita-Ls, to the left, the 3", 2“ and
IN black keys will be represented.

The treble stave in its place, corresponds to the 16‘“, 17m, 18m, lO‘h, and 90‘“, black keys, and
with a figure of 8 to its right, to the 9.1“, 224, 5234, 21‘“, and 25‘“, to which adding three ledger lines
for the 26m, 979‘, and 281“, all the black keys are represented, except the 14"“, and 15‘“, which may
be supplicdby twoledger lines either to the right of the bass, or left of the treble, as is most convenient,
The spaces between, and at the side of these lines, also include all the white keys.

* An octave, so named from its including 8 notes, is the distance frOm any one finger key to the next one in a similar situation with itself.

1‘ Some instruments have more and some less, but those which are deficient or redundant, will be known by comparing them with the
plan fig. 1, page 9.

B .

 

  

"Al" ,1,

6

The tedgrer lines are used, to prevent shifting the stave an octave to the right, or to the left,
when it is will} be required only for a for: notes, they then belong to such black keys, as are adjoining
to those which the stave represents. An inspection of the plan of the linger-keys, with their cor-
responding lines anr spaces, given page 9, fig. 1, will render all this clear. The finger-keys are
marked with their usual names, merely to assist in making comparison between them and the notes
on the lines and spaces below. The black keys are called sharps or flats, each key being; a sharp to
the white one which is to its left, and a flat to the. right hand one; thus the black key to the right:
OFF is F sharp, written (F =1 ) and that to the left of G is G flat, written (G b}. F *- and G b are
therefore seen to be the same finger—key.

These letters and characters, although essential to music as commonly written, are of no use upon
this system.

At first it was thought expedient to make the bass and treble stavcs, with the lines in the same order,
that is, with the three to the left, and two to the right, but after the pages 1 1 and 12 were engraved,
the bass appeared to have too many ledger lines, and the right hand ones to interfere frequently with
those ofthe treble, and would often make it necessary to shift the stave an octave : this inconvenience
is avoided, by making the the bass lines in the order of? and 3 as above described, it affords also a
distinction between the bass and the trehle stoves, the former being in the order of 2-3, and the latter
of 3~9.

NOdificulty however could occur even if both these orders were occasionally used for each stave,
so as to suit the music with a less number of ledger lines, since the place of the note is not determined
by its situation with respefit to the five lines, but in relation to the two or the three; therefore no
mistake is likely to happen, except that of an ofiave, which is seldom of any material consequence,
one octave being often taken for another, for the sake of Variety. There are 12 situations of the
notes, corresponding to the 19‘ finger-keys of each oEtave, they may be designated as follows.

The note to the. left of the 2 lines corresponds to the key to the left ofthe 2 black keys.

........on the 1”of the 9 lines ............. l‘toftbeQ ..... ..
........ between the 2.... ..........betwcenthe2..........
....... on the Edofthe 2 .....5......2“ oftlie 2
totherightoftheQ .. . ..........right ofthe2..........
......“ to the leftoftheS ............lcft 0fthe3..,.......
........ on the i"of the3 .... ............1“0fthe3 ..........
....between I‘M"; SJ of the 3 .. .. “between the 1" 852Cl of the3
......onthcmiddleof theS.... ...... ...middleofthe3..........
........betwecn248£3d .... ......”l;)etvreerlgd&3d .......,,
“......ontheB" .... ............the3d ......”
........totherightofthc3.... .......... rightofthe3..........

TIME;

The place of the notes being known, their duration must be determined ; for this purp0se the
two staves which are to be used together, are crossed by cqui—distant horizontal lines, called
bar divisions, and the space between two of the lines, a bar; the bar is subdivided into two, three,
or four, by dotted lines called beat divisions, and the space between two dotted lines, a. beat ; the
beats also are occasionally divided into two parts by short dotted lines, SO as to enable the eye to
measure more exactly very short notes. See fig. 2.

To

 

 

 7

To keep the time equa‘ole, what is called heating time has been adopted ; this is done with the
foot, and as many beats as there are in a bar, so many equal motions of the foot are necessary.
When the bar is divided into two, the foot is to be put down, on striking the first note of the bar,
and raised up at the first note of the second heat. When the bar has three beats, the first and
second are down and the third up; when four, the first and second are down and the third and
fourth up, as is shown in fig. 3, at the right hand of the staves, where d signifies down, and u up.
It is however more elegant to count time, the practice of which can casil y be attained : the manner is
shewn in the same figures by the numbers to the left of the staves. '

‘vVhat has been said refers only to relative or proportional time, but it is expedient to determine
the absolute time of the beats in a piece of music. For this purpose, a small ball of half an ounce
or more weight, maybe suspended from a pin by a fine thread, of a greater .or less length, as the
music is to be slow or quiclfi’. The vibration of this pendulum will determine the absolute time of
each beat.

Instead of using the common terms of slow, moderate, quick, &c. the time will be marked by
2 y‘“, 1 yd, %'d, fiyd, §yd, or ,lfiyd, meaning that a pendulum of these respective lengths will
vibrate in the proper time of the beats.

THE NOTES.

The notes are broad perpendicular lines, placed on or between the lines of the stave, and are
read from top to bottom, like some of the eastern languages ; being long or short in proportion as
the finger keys are required to be held down a longer or shorter time; their times are determined
by the quantity of the bar or beat they run through. They are sheWn of their proportionate lengths
in fig. 4; as also for the sake of those who have already learned music, their correspondence with the
common notes is given.

When the middle of a note is left blank, it is called a grace note, and may be played or not, at
the option of the performer: ifit is played, so much of the one adjoining must be omitted, as is
equal to the length of the grace note.

THE FINGERING.

In order the more easily to touch a number of notes succeeding each other rapidly, it has been
necessary to study the best order for the fingers to touch the keys, so as always to have one ready
for every key, without any aukward motion of the hand. Whoever wishes to perform difficult;
pieces of music. should pay great attention to fingering from the beginning ; but where the objeét
is onlyr to play slow music, it is not of much consequence. Every one may attain to tolerably
good fingering by trying difiicult passages in various ways, and fixing on the easiest, for the easiest
is the best.

To assist in forming a foundation for good fingering, the exercises in page 10 are inserted,
and others will be given in the ensuing numbers, it being thought best to leave the tunes
unincumbcred with figures.

' A small bullet, a boy's marble. or a little round stone tied in a bit of rag or paper, and suspended by a. fine thread, will vibrate for
several minutes.
down

 

  

 

4.“'\

 

8

Some of the Psalm tunes are printed, first. with the bass and airs only, as being easier to begin
with and after“ ards repeated with ehords*, the others which are given with chords only, may be
played single, bv taking the right hand note of the treble, and left hand one of the bass; omitting all
the rest. _ h

The bass stave in pages 11 and 12 in its place belongs to the 6th, 7‘“, Su.) 9:11) and 10: black
keys; with an 8 to the left, to the 1“, 2d, 3d, 4‘“, and 5‘“; and with an S to the right, to the 11th, 12th,
13‘“, 14‘h and 15m. . .

Pl. signifies that the stave is returned to its place, after havmg been shifted to the oétave.

List of Tunes in part first.

N° 1. Old 100m Psalm tune. ' N 7. Otford.
2. Ditto with chords. 8. Truro.
3. Abridge. ‘ 9. Irish.
4. Ditto with chords. 10- Easter Hymn.
5. Old 1046‘ Psalm tune. l 11. Magdalen.
6. Ditto with chords. i 19. Bedford.

13. Ashley.

Airs and Picees in Part Swami.

N0 L Rondo .......... by Cellini.
2. Andante . . . . ...... Hag/(Zn.
3. Henry’s Cottage lWaid . . Plrycl. -
4. Surprize . . : ....... Hal/(Zn.
5. Adagio . . . . ....... Pity/d.
6. Life let us cherish ..... fllazart.
'7. God save the King.
8. Ap Shenkin.
9. Dance in Tekeli.

‘ A chord is two or more notes sounded at the sametimc.

 

 In

 

 

 

 

 

‘2! 2.: ‘23

FGABCI)EIFEE(1

‘H 23

2G ‘17 ‘18
T”

I
I
MI

 
 

f- .. ---

 

 

I ‘1 ‘3 4 5 6 7 8 9 K) ll \‘1 ‘3 11-15 161718 19 ‘10
, I
I I
I
Iw (.GEAA BBICCIUI) .
Fig.1.; I I I I I I II I I
' ' I . I I I I
'2 I I I I I
I , I E I I
I CI I II . -:)EII AII Ir
In! I P'IGI71(‘$¥DI) Ig3nb
IAzfitz‘9 :1" IICIIm Eb.,BI
3A II l-IEI:E: Enl El CII
Gai‘IAb nu? i Igrnb Fl
nIlI bIAII VII GIb

I,

“Db

III II III III
(”II It;
I
I

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I I
: cc II I A II
:ms I I (I: i Ab IE I F I
MHBBBI I (“I I IEII
v I
IAAIIE’ I '14?an 133+ch
fv(~#3EA I Ir II I I :{I
GGII Ib Irerl I E01; inb
”:30be mIgEumbE I I0 .I‘ "
HII I I ImIEIIE I 'EBII
Fig. A. Fig. 2.
I ,‘ h x Thr- Tye
C d J O H
,‘7‘ I"I‘II ‘ITI III;
.I. . ...I ........ .I...I..I..i ' IBassI TIIIEeblIeI
I I I I I l Iita'v‘e‘ St‘avé I
I III. 'I .............. I-I' .... I I I. I E
1 II " 7 I I . _ I
I 1..I.I. ........... .I...I..I II Ledger l‘ne‘s‘l I H
. I I I
I i. I I I I
I " I I” I I I 3 I I I . I
IIJIr}II\I -I...“II ......I
1 I I Z _ . :divisioui I ; .1 I
I ' E ‘ I I I
: = I I i
' ' I : HA-at ’ I, E I
.., .......... "I" ......
Anvinon I I’.
.J.h.".l I I
meat I ;E i I
I I: StrainI II
, . . I I I
I

P4»11 _—,,
— I

‘ divisinni

 

 

 

 

 

 

IE3" IdhisiunE
&Repeat'E ,E

 

Ior thus

---- .1 . .I..:-
'2'.-
of the. vune.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

GII

IAIAb

l)‘l
I
I
I

(In? I)‘I7 (‘

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

II - I
I
I I
II I
. i . - _ d
Triple
2 .....T.‘.'.'.'.I...I. . d
, I I
I I
I I d
I
2 .....I. ..... d
..... u

 

 

 

 

 

 

 

 

 

 

addiEuunal Re; 3

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

9

      

.5 ........... u
l d
g . ........... . d
I
3 .i ........... . . ... . u
I
4. _ .......... .. ....I u
‘I- II-

 

  

 

FINGERHG.

IN

Ex ERCHFS

0

y the sidr of them are to be Played with the Thumb

It'ixurm X I 2 3 (q, 4 Sign”! that the Vote: b

T In-

of the Notes are for the Left Hand, and

The Figures to the Left

2‘.‘ 3'.‘ k V.“ Fixuels “min-Hind).

1 ’.'

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I'll. lull.

 

fit.

 

4

 

 

,

 

 

0.?

l lthri .

 

 

 

al‘

 

 

 

 

 

 

 

 

 

 

 

those- at the» Right for the Rum “and.

 

L 4 950w.

L...

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

22

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

” M .V a H W .. 4
.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1 . . ‘
. _ n n ”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 ll

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

l-_dh
_
-

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pan int!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

:'°Plli'

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Ill 1 .. . :-

]

 

 

 

 

 

, & Iignifies that the notch to be Icld lunger Run (II own

 

 

 

 

 

 

 

 

 

.) 19 called I Panic

 

 

 

l

 

 

(-

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

N93

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I
rf.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

E‘-
—
I .j
rotesf

In precc i a. B

if nun
v‘ y

 

 

 

 

 

 

 

 

 

 

 

 

 

Ta thq beginninl

 

 

: "Jhi In
“Erin I " ‘cl:

 

 

 

 

k

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

N“ 2

l A ’Y‘l‘

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

13L

 

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

. .rll'fi .l

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

90ft

 

 

 

 

 

4. phlj thiwth Bar livifhhf
l I x 1

 

 

 

 

 

 

 

 

 

 

 

 

4r Easily” or wr )u

r 3
[J PNnu L7
‘ }

 

 

 

 

 

, Ill: :57“

‘

l

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

nd‘
Tan 1 .i

‘ 9

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

If! [If-‘1;