Embed Size (px)
Citation preview
VERY BEGINNING BAND
INSTRUMENTATION
A ClAssiC TouChFeaturing “LARGO” from Symphony No. 9 in E Minor by Antonín Dvorák
and “LARGO” from Xerxes by G. F. Handel
Arranged by VICTOR LOPEZ (ASCAP)
ANTONíN DVORáK (1841–1904)Antonín Dvorák was born on September 8, 1841 in Nelahozeves, near Prague (then the Austrian Empire, today the Czech Republic), where he spent most of his life. He died in Prague in May 1904 at the age of 62. It was in Europe that Dvorák achieved international acclaim for his musical genius. However, he accepted the post of director of the newly established National Conservatory of Music in New York City from 1892 to 1895. In the winter and spring of 1893, while in New York, Dvorák wrote his most popular work, Symphony No. 9, “From the New World.”
GEORGE FRIDERIC HANDEL (1685–1759)G. F. Handel is considered one of the greatest composers of the late Baroque period (1700–1750) and, during his lifetime, perhaps the most internationally famous of all musicians. Handel was born February 24, 1685, in Halle, Germany, to a family of no musical distinction. His own musical talent, however, manifested itself so clearly that before his tenth birthday he began to receive, from a local organist, the only formal musical instruction he would ever have. The famous Largo “Ombra Mai Fu” (Serses/Xerxes), used in this arrangement, is frequently performed at funeral services.
1 Conductor 10 Flute 2 Oboe 10 B b Clarinet 2 B b Bass Clarinet 6 Eb Alto Saxophone 4 B b Tenor Saxophone 2 Eb Baritone Saxophone 8 B b Trumpet 4 F Horn 6 Trombone/Baritone/Bassoon
2 Baritone Treble Clef (World Part Trombone in B b Treble Clef)
4 Tuba 1 Optional Timpani
(Tune: B b, Eb & C, F) 2 Mallet Percussion
(Optional Chimes/Bells) 2 Percussion 1
(Snare Drum, Bass Drum) 3 Percussion 2
(Suspended Cymbal, Bell Tree/Triangle)
WORLD PARTSAvailable for download from
www.alfred.com/worldparts
Horn in EbTrombone/Baritone in B b Bass ClefTuba in Eb Bass ClefTuba in Eb Treble ClefTuba in B b Bass ClefTuba in B b Treble Clef
Please note: Our band and orchestra music is now being collated by an automatic high-speed system. The enclosed parts are now sorted by page count, rather than score order.
Previe
w Only
Legal Use R
equires P
urchase
PROGRAM NOTESA Classic Touch, arranged by Victor Lopez, is based on the 2nd Movement of Symphony No. 9 in E Minor by Antonín Dvorák and “Largo” from Xerxes by G. F. Handel.
NOTES TO THE CONDUCTORThe entire selection is to be played in a legato style. Legato is the Italian word for “tied.” To play a series of notes legato means to play smoothly, without articulating or accenting the beginning of each note; in other words, no break between notes. Legato playing does not come naturally to most students. The smooth connection between notes in a musical line is difficult on any wind instrument. The key is in the steadiness of air support. Furthermore, legato playing is a bit different for trombone players because for a trombonist, it is more about articulation than slide movement. This will be a great opportunity to explain the opposite of legato, which is staccato, meaning “separated” or “detached.” For effective legato playing, encourage wind players to tongue with just the tongue and not the entire jaw. They should use the syllable “d” as in “do” or “dah,” thinking of “baby talk” while tonguing. Legato study should be part of every wind player’s daily routine. Much attention should be placed on dynamics as well.
This arrangement is actually “two in one,” as it features two Largo movements. It is suggested that they be rehearsed separately before playing the entire work. In the first part, a concert B-natural appears in measures 1, 11 and 24. Reviewing these fingerings at first will save time during rehearsal. Notice that the low brass and woodwind parts have been scored in unison. This should produce a nice full bass sound and provide strength throughout. At measure 6, the designation marking is “With Passion.” The melody is introduced by the flute, oboe and trumpet. The low brass, horn and tenor saxophone play open fifths. This may be a new harmonic sound to young players. For good sonority, ensure that the open fifths are played with good intonation. At measure 13, the breath, or pause mark ( ), is used as a phrase marking and all wind players should take a breath or make a slight pause simultaneously. At measure 14, the melody continues in the flute and clarinet parts and then adds the oboe, alto saxophone and trumpet in harmony on the repeat. Ensure that the dynamic level stays at a mezzo forte. Measure 19 is the same as the A section, except for the crescendo to forte at measure 24 and then decrescendo to a piano at measure 26.
The continuation of this arrangement, which starts at measure 28, presents the Largo by Handel and it is written in a 3/4 time signature. As mentioned earlier, and for rehearsal purposes only, this section should be treated as a separate part all together. It is marked “Expressively” and should be played legato. Note that a “ritard” marking is introduced in measure 31 and then appears again in measures 46, 57 and 58. A bit of work may be needed as the ensemble plays through the ritard and continues to the “A Tempo” section. Again, pay much attention to the dynamics, specifically towards the end of the piece. Notice that almost all measures have the 3/4 pulse. This should establish a steady rhythmic configuration. Phrasing, intonation and legato playing are critical and students need to be made aware of these characteristics. Additionally, crescendos and diminuendos need to start and end at the marked dynamic levels. Percussion parts have been added as cautiously as possible so that their contribution is not overdone but, at the same time, keep the players involved. Ultimately, upon completion of this work, my hope is that it would also provide ensembles with valuable daily warm-up literature.
I hope that you and your students enjoy A Classic Touch, a new rendition of two of the most famous Largo melodies written by Antonín Dvorák and G. F. Handel.
Best wishes!
Previe
w Only
Legal Use R
equires P
urchase
&&
&
&
&
&
&
&
&?
?
&?
ã
ã
b bbb bbb
b
b
b
b b
b bbb bbb bb
b bb
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Oboe
Bb Trumpet
Trombone/Baritone/Bassoon
Flute
Bb Clarinet
Bb Bass Clarinet
Eb AltoSaxophone
Bb TenorSaxophone
Eb BaritoneSaxophone
F Horn
Tuba
Mallet Percussion(Optional Chimes/Bells)
Percussion 1(Snare Drum, Bass Drum)
Percussion 2(Suspended Cymbal, Bell Tree/Triangle)
TimpaniTune: Bb, Eb
Slowly Π= 66
Slowly Π= 66
˙P
œ œ˙
Pœ œ
P œ œ
P ˙
P ˙#
P ˙˙
P ˙
P œ œ
P ˙#˙
P˙
P ˙∑∑∑
1
∑
ww
˙ œ œ˙ ˙˙ œ œN
w˙ ˙
w˙ œ œN˙ ˙
˙ ˙∑∑∑
2
∑
S.D.
B.D.
œ œ œ œ
œ œ ˙
œ œ ˙
˙ ˙˙ œ œ˙ ˙
˙ ˙
œ œ œ œ˙ œ œ˙ ˙
˙ ˙∑
Ó æp
wæpÓ ˙
3
·æSusp. Cym.
p(Soft mallets)
wfwfwfwfwfwfwfwfwfwfwf
∑œ
fŒ Ó
œf
Œ Óœ
4
¿f Œ Ó
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
.˙ Œ
∑∑∑
5
∑
29550S
Arranged by Victor Lopez (ASCAP)
© 2008 BELWIN-MILLS PUBLISHING CORP. (ASCAP),a division of ALFRED PUBLISHING CO., INC.
All Rights Reserved including Public Performance
A Classic TouchFeaturing “LARGO” from Symphony No. 9 in E Minor by Antonin Dvorák
and “LARGO” from Xerxes by G. F. HandelFULL SCOREApprox. Duration - 3:45
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b bb
b bb
b
b
b
b
b b
b bb
b bbb bb
b bb
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
6
6
With passion Π= 72
With passion Π= 72
Largo from “Symphony No. 9 in E Minor” - ANTONIN DVORÁK
Largo from “Symphony No. 9 in E Minor” - ANTONIN DVORÁK
ˇ
ˇ
œP
œ ˙
œP œ ˙
P ˙
wP˙
P˙
wP
wP
œPœ ˙
wPw
PwP
∑
∑
∑
6
·Bell Tree
P
œ œ ˙
œ œ ˙
˙ ˙
w˙ ˙w
w
œ œ ˙
ww
w∑
∑
∑
7
∑
œ œ œ œ
œ œ œ œ
˙ ˙
w˙ ˙
w
w
œ œ œ œ
ww
w∑
∑
∑
8
∑
w
w
œ œ œ œ
wœ œ œ œ
w
w
w
ww
w∑
∑
∑
9
∑
œ œ ˙
œ œ ˙
w
w˙ ˙
w
w
œ œ ˙
ww
w∑
∑
∑
10
·Bell Tree
P
œ œ ˙
œ œ ˙
˙ ˙
œ œ# ˙˙ ˙
˙# ˙
œ œ# ˙
œ œ ˙
˙# ˙œ œn ˙
œ œn ˙
∑
∑
∑
11
∑~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
4
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b bb
b bb
b
b
b
b
b b
b bb
b bbb bb
b bb
..
..
..
..
..
..
..
..
..
..
..
..
..
....
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
....
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
œ œ œ œ
œ œ ˙
œ œ ˙
˙ ˙N˙ œ œ˙ ˙
˙ ˙N
œ œ œ œ
˙ œN œ˙ ˙A
˙ ˙A
∑
∑
∑
12
∑
w ,
w ,
w,
w,
w,
w ,
w ,
w,
w,
w ,
w,
∑
∑
∑
13
∑
(Ob.) Play second time only
Chimes(opt. Bells)
14
14
œP
œ ˙
œPPlay second time onlyœ ˙
œPœ ˙
wPœP
Play second time onlyœ ˙
wPwPœP œ ˙∑wPw
PwP˙
FÓ
∑
∑
14
Œ .±Sm. Triangle
P
œ œ ˙
œ œ ˙
œ œ ˙
wœ œ ˙
.˙ œ
wœ œ ˙∑
.˙ œw
w˙ ˙
∑
∑
15
Œ .±
œ œ œ œ
œ œ œ œ
œ œ œ œ
wœ œ œ œ
w
wœ œ œ œ∑ww
w∑
∑
∑
16
Œ .±
1.w
∑
w
w∑
œ œ œ œ
w1. ∑
œ œ œ œw
w∑
∑
∑
17
Œ ± —
5
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b bb
b bb
b
b
b
b
b b
b bb
b bb
b bb
b bb
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
2.
.˙ Œ
.˙ Œ
˙ œ œ
œ œ œ œ.˙ œ
œ œ œ œ
œ œ œ œ2.
.˙ Œ∑
.˙ œœ œ œ œ
œ œ œ œ
Ó Œ œ
Ó æp
wæp
18
·æpSusp. Cym.
19
19
œF
œ ˙
œFœ ˙
F˙
wF˙
F˙
wFw
Fœ
FPlayœ ˙
wFw
FwF˙
FÓ
œF
Œ Ó
œF
Œ Óœ
19
¿F Œ Ó
œ œ ˙
œ œ ˙
˙ ˙
w˙ ˙w
w
œ œ ˙
ww
w∑
∑
∑
20
∑
œ œ œ œ
œ œ œ œ
˙ ˙
w˙ ˙
w
w
œ œ œ œ
ww
w∑
∑
∑
21
∑
w
w
œ œ œ œ
wœ œ œ œ
w
w
w
ww
w∑
Ó æpwæ
pÓ˙
22
·æp
Change: Bb to C, Eb to F
œ œ ˙
œ œ ˙
w
w˙ ˙
w
w
œ œ ˙
ww
wœBells œ ˙
œF
Œ Ó
œF
Œ Óœ
23
¿F Œ Ó
6
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b bbb bbb
b
b
b
b b
b bb
b bbb bb
b bb
n n bn n b
n #
n #
# #
n #
# #
n #
n n
n n bn n bn n b
n n b
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
œ œ ˙
œ œ ˙˙ ˙
œ œ# ˙˙ ˙
˙# ˙
œ œ# ˙
œ œ ˙
˙# ˙œ œn ˙
œ œn ˙
œ œ ˙∑
∑
24
∑
œ œ œ œ
œ œ ˙
œ œ ˙
˙ ˙N˙ œ œ˙ ˙
˙ ˙N
œ œ œ œ
˙ œN œ˙ ˙A
˙ ˙A
œ œ œ œ∑
∑
25
∑ Sm. Trgl.
wfwfwfwfwfwfwf
wfwfwfwfwf
∑
∑
26
.±F
Œ
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œp
.˙ Œ
∑
∑
27
∑
28
28
Expressively Π= 66
Expressively Π= 66
Largo from “Xerxes” - G. F. HANDEL
Largo from “Xerxes” - G. F. HANDEL
œP
œ œ
œP
œ œ
œP œ œ
œP œ œœP œ œ
œP œ œ
œP œ œ
œP œ œ
œP œ œœ
Pœ œ
œP œ œ∑
∑
∑
28
∑
œ œ œœ œ œ
œ œ œ
œ œ œœ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œœ œ œ
œ œ œ∑
∑
∑
29
∑
7
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b
b#
#
# ##
# ##
b
b
b
b
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
˙ œ
˙ œ
˙ œ
œ œ œœ œ Œ
œ œ œ
œ œ œ
˙ œ
œ œ œœ œ œ
œ œ œ∑
∑
∑
30
∑
rit.
rit.
œ œ .œ Jœ
œ œ .œ jœ
œ œ œ œ
œ- œ œ-˙ œ œ
œ œ œ œ
œ- œ œ-œ œ .œ jœ
œ œ œ œœ ˙
œ- œ œœ-∑
.æp
.æp
31
.·æp
Susp. Cym.
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙˙Chimes(opt. Bells)
PŒ
œF
Œ Œ
œF
Œ Œœ
32
¿F
Œ Œ
33
33
A tempo
A tempo
.˙P
.˙P
œP œ œ
œP œ œ.˙
Pœ
Pœ œ
œP œ œ.˙
PœP œ œœ
Pœ œ
œP œ œ∑
∑
∑
33
∑
œ œF
œ
œ œF
œ
œ œ œ
œ œ œœ œ
Fœ
œ œ œ
œ œ œ
œ œF œ
œ œ œœ œ œ
œ œ œ∑
∑
∑
34
∑
.˙
.˙
œ œ œ
œ œ œ.˙.˙
œ œ œ
.˙
.˙œ œ œ
œ œ œ∑
∑
∑
35
∑
œ œ œ
œ œ œ
œ œ œ
œ œ œœ œ œ
œ œ œ
œ œ œ
œ œ œ
œ œ œœ œ œ
œ œ œ∑
∑
∑
36
∑
8
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b
b#
#
# ##
# #
#
b
b
b
b
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
..˙
..˙
∑
∑
∑
37
∑
˙ œ
˙ œ
Œ œ œ
.˙˙ œ
Œ œ œ
.˙
˙ œ
˙ œ.˙
.˙
Œ œP
Bells œ
∑
∑
38
∑
.˙
.˙
Œ œ œ
.˙
.˙
Œ œ œ
.˙
.˙
.˙
.˙
.˙Œ œ œ
∑
∑
39
∑
˙ œ
˙ œ
œ œ œ
.˙˙ œ
œ œ œ
.˙
˙ œ
˙ œ.˙
.˙∑
∑
∑
40
∑
.˙
.˙
.˙
œ œ œ.˙
.˙
œ œ œ
.˙
.˙œ œ œ
œ œ œ
∑
∑
∑
41
∑
42
42
(A. Sax.)
Sm. Trgl.
œf
œ œ
œf œ œ
œf œ œ
œfŒ Œ
œf
œ œ
œf
œ œ
œfŒ Œ
œf
œ œ∑
œf œ œœ
fŒ Œ
œfŒ Œ
œf
œ œ
∑
∑
42
Œ ±f
9
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b
b#
#
# ##
# ##
b
b
b
b
..
..
..
..
..
..
..
..
..
..
..
..
..
....
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
œ œ œ
˙ œ
œ œ œŒ œ œœ œ œ
˙ œ
Œ œ œ
œ œ œ∑
˙ œŒ œ œ
Œ œ œœ œ œ
∑
∑
43
Œ ±
œ œn œ œ
.˙
œ œ# œ œ
˙ œœ œ# œ œ
˙ œ
˙ œ
œ œ# œ œ∑
˙ œ˙ œ
˙ œœ œn œ œ
∑
∑
44
Œ ±
˙ œ
˙ œ
˙ œ
œ œ œ˙ œ
œ œ œ
œ œ œ
˙ œPlayŒ ŒŒ
œ œ œ
œ œ œ
œ œ œ.˙
∑
∑
45
— Œ Œ
rit.
rit.
œ œ .œ Jœ
œ œ .œ jœ
œ œ œ œ
œ œ œ˙ œ œ
œ œ œ œ
œ œ œ
œ œ .œ jœ
œ œ œ œ
œ ˙
œ œ œœ∑
∑
∑
46
∑
47
47
A tempo
A tempo
œP
˙
œP˙
œP ˙
œPŒ Œ
œP
Œ Œ
œP
Œ Œ
œPŒ Œ
œPŒ Œ
œPŒ Œ
œP
Œ Œ
œPŒ Œ
œ ˙P
∑
∑
47
Œ ·P
Bell Tree
.˙
.˙
.˙
.˙œ œ œ
œ œ œ
.˙
œ œ œ
œ œ œ
.˙
.˙∑
∑
∑
48
∑~~~~~~~~~~~~~~
10
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b
b#
#
# ##
# ##
b
b
b
b
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
œ œ œ œ
œ œ œ œ
œ œ œ
.˙œ œ œ
œ œ œ
.˙
œ œ œ œ
œ œ œ
.˙
.˙Œ œ œ œ
∑
∑
49
Œ ±Trgl.
.˙F
.FœF œ œ
.Fœ
Fœ œ
œF
œ œ
.˙F
.F
œF œ œ
.˙F
.F
.F∑
∑
50
∑
œ œ œ œœ œ œ œ
œ œ œ œ
œ œ œœ œ œ
œ œ œ
œ œ œ
œ œ œ œœ œ œœ œ œ
œ œ œ
∑
∑
∑
51
Œ ±
.˙
.˙
.˙
œ œ œ.˙
.˙
œ œ œ
.˙
.˙œ œ œ
œ œ œ∑
∑
∑
52
∑
œ œ œ
œ œ œ
œ œ œ
œ œ œœ œ œœ œ œ
œ œ œ
œ œ œ
œ œ œœ œ œ
œ œ œ∑
∑
∑
53
Œ ±
œ œ œ œ
œ œ œ œ
œ œ œ œ
˙ œœ œ œ
˙ œ
˙ œ
œ œ œ œ
œ œ œ˙( ) œœ( )
˙( ) œœ( )∑
.æp
.æpŒ Œ œ
54
.·æSusp. Cym.
p
11
29550S
Previe
w Only
Legal Use R
equires P
urchase
&
&
&
&
&
&
&
&
&?
?
&?
ã
ã
b
b#
#
# ##
# #
#
b
b
b
b
..
..
..
..
..
..
..
..
..
..
..
..
..
....
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Ob.
Tpt.
Tbn./Bar./Bsn.
Fl.
Cl.
B. Cl.
A. Sax.
T. Sax.
Bar. Sax.
Hn.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Timp.
˙ œ
˙ œ
˙ œ
œ œ œœ œ œ
œ œ œ
œ œ œ
˙ œ
œ œ œœ œ œ
œœ( ) œ œ˙F
œ
œF
Œ Œœ
FŒ Œœ
55
¿F Œ Œ
œf
œ œ
œf
œ œ
˙f œ
œf œ œœf
œ œ
œf œ œ
œf œ œ
fœ
œf œ œœf
œ œ
œf
œ œœf
˙
∑
∑
56
∑
rit.
rit.
1.œ œ .œ Jœ
œ œ .œ jœ
œ œ œ œ
œ œ œ˙ œ œ
œ œ œ œ
œ œ œ1.
œ œ .œ jœ
œ œ œ œœ ˙
œ œ œœ( )
∑
∑
∑
57
∑
rit.
rit.
2.œ œ .œ Jœ
œ œ .œ jœ
œ œ œ œ
œ- œ œ-˙ œ œ
œ œ œ œ
œ- œ œ-2.
œ œ .œ jœ
œ œ œ œœ ˙
œ- œ œœ-( )
∑
∑
∑
58
∑
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙
.˙Chimes(opt. Bells)
f∑
∑
59
.·fBell Tree
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œ
œ Œ Œœ Œ Œ
∑
∑
60
∑~~~~~~~~~~~~~~~~~~~
12
29550S
Previe
w Only
Legal Use R
equires P
urchase
