walking bass solo book
DESCRIPTION
Walking Bass Solo BookTRANSCRIPT
U;ii
Mel Bay Presents
walkingBass SoloB
by John E. Lawrence
CD CONTENTS
lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll n-t-5thoverMajorTthChords[:461 @ MajorWalkNo.2[:41]
[Zl R*t - 5th over Minor 7th Chords [:35] Ed Major Walk No. 3 [:42]
I g--l n""t - 5th over Dominant ?th Chord [:35] E Root - 5th and Octave over Major 7th Chords [:44]
Fl Root - 5th - Lrading Tone over Major 7th Chords [:43] E Root - 5th and Octave over Minor 7th Chords [:42]
I Sl n""t - 5th - Leading Tone over Minor 7th Chords [:361 E Root - 5th and Octave over Dominant Chords [:42]
I Ol noot - 5th - trading Tone over Dominant 7th Chords [:35] m Slow Blues Bass Line [:49]
Fl noot - 5th - kading Tone over a ii-V-I Progression [:401 E 12 - Bar Blues Bass Line No. I [1:0O]
l 8l Scales for a [-V-I Progression No. I [:4O] @ 12 - Bar Blues Bass Line No. 2 [ :00]
l 9 I Sca les fo ra l l -V - IP rog ress ionNo .2 [ : z l 4 ] @ 12 -Ba rB luesBassL ineNo .3 [ l : 47 ]
F0l Scalesforal l -V-IProgressionNo.3[ :45] E Puf i ingl tAl lTogether[ :19]
FTI uajor walk No. I [:43] @ New Bossa [2:24]
John E. LawrenceThkamine Acoustic
plays Heritage Electric Guitars,Guitars, and GHS Guitar Strings.
@ 2OO.I BY MEL BAY PUBLICATIONS, iNC., PACIFIC, MO 63069.ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I . MADE AND PRINTED IN U.S.A.
No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or t.ansmitted in any formor by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission ol the publisher.
Visit us on the Web at www.melbay.com - E-mail us at [email protected]
ContentsA b o u t t h e A u t h o r . . . . . . 3
Constructing Walking Bass Solos . . . 4
R o o t - s t h . . . . . . . 5
R o o t - S t h - L e a d i n g T o n e . . . . 8
W h a t i s a l l - V - I C h o r d P r o g r e s s i o n ? . . . . . . . . . . 1 1
S c a l e s f o r a l l - V - I P r o g r e s s i o n . . . . . . . . . . 1 3
Cons t ruc t i ngBassL inesOverA l l -V - IP rog ress ion . . . . . . . . 15
T h e M a j o r W a l k . . . . . . 1 8
Root - 5th and Octave . . 19
S l o w B l u e s l i n e . . . . - . 2 2
l Z - B a r B l u e s P r o g r e s s i o n N o . 1 . . . . . . . . . 2 3
I 2 - B a r B l u e s P r o g r e s s i o n N o . 2 . . - . . . - . . 2 5
l2-Bar Blues Progression No. 3 . . . . . . . . . 27
P u t t i n g l t A l l T o g e t h e r . . . . . . 3 0
N e w B o s s a . . . . . 3 2
This book is designed to:1) Teach you how to play chords and bass lines simultaneously2) Give insight into how bass lines are constructed3) Develop the technique for playing chords and basslines through specific exercises4) Teach specific bass solos in the form of walking blues, jazz swing , and bossa nova
John E. Lawrence
John E. Lawrence, a life long resident of Ypsilanti is oneof Michigan's most talented and respected guitarists. John isnow gaining national recognition with the recent contractwith Mel Bay Publications, Inc., one of the country's largestpublishers of instructional materials. Mel Bay has producedfor John a video tape entitled "Jazz Improvisation, WalkingBass Lines, and Chord Melodies," which is available inmusic stores throughout the U.S. The videotape was includedin Mel Bay's most recent "Hot List," which selects thecompany's top picks within its catalogue. Slated to be re-leased in the summer of 2000 are three companion instruc-tional books withcompactdiscs (CD's). Thebooks andCD'scan be used alone or in conjunction with the videotape.John's most recent accomplishments include contracts toendorse Heritage Guitars, Takamine Guitars and GHS Gui-tar Strings and a solo in Mel Bay's "Collectors EditionAnthology of JazzGuitar Solos " which is now published andin music stores everywhere. This collection features solos bythe world's finest jazz guitaist. John has also written twoarticles in Mel Bay's new Internet magazine, one entitled" Practice is the key to musical success" and another entitled"Blues Improvisation" for March and April 2000 issues.They can be found at www.melbay.com under guitar lessons.
Mr. Lawrence credits his musical talents first and foremost to God, then to the late Dr. Morris Lawrence (norelation). Dr. Lawrence was an instructor and chair of the Music Department at Washtenaw Community College(WCC). Under the tutelage of Dr. Lawrence, John was challenged and inspired to continuously improve his skillsas a guitarist. Following in the footsteps of his mentor, John became an instructor at WCC where he has taught forover 20 years.
In the realm of performance, Mr. Lawrence served as musical director and lead guitarist for vocalist CarlCarlton, who was the opening act for such famed artists as Smokey Robinson, Chaka Khan, Lionel Richie and theCommodores, Rick James, Teena Marie and Frankie Beverly and Maze.
Among Mr. Lawrence's many accomplishments is a performance at Carnegie Hall. In addition to touringthroughout the United States and performingatlazzFestivals such as: Boston Globe, New Orleans, and MontreauxDetroit, he has performed in Haiti, Surinam, Germany, and the Montreaux Jazz Festival in Switzerland.
John has made television appearances on three nationally syndicated programs: Kelly & Company, PMMagazine and Good Morning America. He has also performed with Atlantic Records recording artists, StraightAhead, a Detroit-based female jazz group.
One of Mr. Lawrence's most memorable occasions was with legendary jazzguitarist, Mr. Kenny Burrell. Mr.Burrell asked John to sit in with him at the famed Baker's Keyboard Lounge in Detroit, Michigan. After theperformance, Kenny commended John on his playing ability.
His sound recordings include, "Merry Christmas from John E. Lawrence," "The Supreme Dream" and a thirdrecording entitled "Old Smooth". A (CD) that is compiled of hits from the 60s 70s and 80s. His latest project entitled"Summer Nights" compiled of original material that fits the adult contemporary smooth jazzformat, was releasedin the summer of 2000. These accomplishments have laid the foundation for an explosive career in today's musicindustry. John E. Lawrence is sure to become a household name. For more information, please contact his web-siteat http://www johnelawrence.com or e-mail him at jel @johnelawrence.com
Learning the Technique of Playing BASS LINES and CHORDS Simultaneously
1) The bass line is played primarily on the 5th and 6th strings.
You will use the 3rd and 4th strings occasionally, but to emulate the bass guitar the bass line should sound aslow as possible.
/) The bass notes are played on the downbeat and the chords on the up beat.
, 3) The chord is played after every other bass note. This gives the chords a separate rhythm from the bassline. It also gives the illusion of a bass and rhythm guitar playing simultaneously.
4) It is not always necessary to play a full chord employing all six strings; sometimes a two or three-string chordwill do.
5) The bass line is played with the thumb instead of with a guitar pick. Using the thumb makes the tone darkerand smoother. The strumming of the chords is done with the fingers.
Constructing Walking Bass Solos
Root to the 5th Bass Line
Therootand 5threfers tothe firstandfifth note of the majorscale basedon thechordyou are playing. Forexample,if you play a D major 7th chord, you can construct a bass line using the first and the fifth note of a D major scale.
Example:
Major scale with the root of the chord on the 6th string
r.ot+ffi roor+ffi
ffi ffi,,offim ,,nfu
Major scale with the root of the chord on the 5th string
rTrflt mfnroo t - . { 'O i | | | roo t -bO | | | |n-rfit rFn-F-]
t-ffil-t rIffi,*.EffiE ,*tfIT-I
In order to simulate a bass guitar sound, play the bass line on the 6th and 5th strings. Given the above scalepattern, we must take the fifth scale tone (as shown in the 4th string) down an octave and play it on the sixth string:
Root on the 5th string
root
,rn /
5th down an octave
4
Root - 5th over Major 7th
3fr'mffi
3fr.F5[nt"l-HilTrrrn
3frfllJTlffi
cM7 cfiurz3frrfrm
H-+tlll-fiffl
4fr.8m 5frI[mL.lJJ.l l i l rtr l
Htfr HffI
Root - 5th over Minor 7th Chords
Cm73f.TilJI
ffi
3fr.qFmuj-tt.lHll+l
Cm73fr.qm
H++lrrrrn
6
Root - 5th over a DominantTth Chord
ffi3fr.Hil
IIIINst l-lttHTrrrn
cilzffiil
lt.FlltHTTTTN
iITmst l-tttHrrTrn
D7
Root - 5th - Leading ToneA leading tone is the note above or below the chord you are going to play.
would be D-flat or E-flat. Note: Plav the leadine tone on beat 4 of the measure.
Root - 5th - Leading Tone over Major 7th
For example a leading tone to DTry these exercises:
ChordscM7
3frTlTflffi
ur.ffiH}TH
3fr.roI t t a t l
trml
cf,tttz3fr.TlITl
ffi'*m
rT.Tfl
Root - 5th - Leading Tone over Minor 7th Chords
3fr.trmu-l-itlHtH
3frmffi
Cm7 CmTlDb3fr.tffiI
LtutlHtfi
r*.ffiFI+H
Dm75frIflJI
ffi
9
Root - 5th - Leading Tone over DominantTth Chords
ffffisr,.[m
tlm| | | l a tfTtltl
3fr.|'r5n
D 7cil7ffi
+rtEffiffi
ru.Fffi
1 0
What is a II-V-I Chord Progression?The II-V-I chord progression is widely used in jazz. If you master the construction of bass lines over a II-V-
Iprogression you will be able to spontaneously createbass lines over jazzstandards by examining the chordchanges.So, what is a II-V-I progression?
Let's look at a C major scale. The C major scale is made up of eight notes that are spaced either a whole-steporahal f -s tepapar t .FromCtoDisawholestep, f romDtoEisawholestep, f romEtoFisahal fs tep, f romFtoG is a whole step, from G to A is a whole step, from A to B is a whole step and from B to C is a half.
Example C Major Scale:
The distance from one note to another is called an interval. The distance from the first note of the major scaleto the second note is an interval of a major second, from the 1st to the 3rd is a major 3rd interval, from the 1st to the4th is a perfect 4th, from the lst to the 5th is a perfect 5th, from the lst to the 6th is a major 6th, from the lst to the7th is a major 7th, and from the lst to the 8th is the interval of a perfect octave.
Example The Scale Intervals:
':l'""i" :lJJ"':lfJ" $shalfstep
majorperfecl
4thmajor
3rd
*j,nff,T,i" T,fl"frTTi
1 l
When the lst note of the C major scale is played along with the 3rd, 5th, and 7th, it forms aCmajT chord. Sincethis chord uses the lst note of the C major scale as its root, it is referred to as the I chord. Therefore the I chord inthe key of C is C major 7.
CmajTMaior 7th --Perfect stn-].FMaior 3rd -+Root I
Based on the whole-step/tralf-step relationships within the C major or "model" scales, we can now proceed tothe second degree of the scale (D) stacking its respective 3rd, 5th, and 7th intervals to build the next chord - D minor7. As this chord is constructed with the second note of the C major scale serving as its root, it is referred to as theII chord.
If we continue to stack th intervals in the same way on each note of the C major scale, we will get a differentchord for each scale degree. With each chord having a corresponding number for every chord name. This holds truein all keys. The I chord is major, the II is minor, the III chord is minor, the IV chord is major, the V chord is dominant,the VI is minor, and the VII chord is a 7b5 or a half diminished. This can also be written as VII..
Example: The 7th chords based on each degree of the C major scale.
A II-V-I chord progression in the key of C consists of: DminT-G7-Cmaj7
Here is a list of II-V-I chordprogressions in all twelve major keys:
I I I V
GbBEADG
CFBbEbAbDb
il
AminTGminTCminTFminTBhminTEbminT
V
G7C7wBb7Eb7Ab7
CmajTFmajTBbmajTEbmajTAbmajTDbmajT
AbminTDbminTGbminTBminTEminTAminT
Db7Gb787E7A7D7
I
GbmajTBmajTEmajTAmajTDmajTGmajT
Note: The seventh of the chords in the II-V-I progressions are understood to mean IJ7-V7-I.
ln this book, I have written all of the II-V-I exercises in the key of G, but it would be very beneficial to learn the II-V-I exercises in all twelve kevs.
t 2
Scales for a II-V-I ProgressionThere are two ways to resolve dominant 7th chords. The dominant 7th that resolves to the I chord, such as the
kind you will find in a II-V7-I progression. The other is the dominant 7th that does not resolve to the I chord directly,as in a blues progression.
When playing over a dominant 7th chord in a ii-V-I progression, use the minor scale.
Example: Am7 D7 Gmaj7
I I V I
For the Am7, play notes from the A minor scale. For the D7, play notes from the D minor scale. And for theGmaj7, play notes from the MAJOR WALK.
The Major WalkThe MAJOR WALK consists of the lst note of a major scale to the 3rd then moves chromatically to the 5th note.
The EXTENDED MAJOR WALK continues to the 6th note of the major scale and moves chromatically to the8th note.
Example:a a
r a aa aa o
Major walk Major walk extended
3fr.
t 3
Playing a scale for each chord in the II-V-I Progression
A minor scale
Over the Am7 chord play an A minor scale.
I a l
a r at a
D minor scale
Over the D7 chord play a D minor scale.
G Major walk
Over the GmajT chord play a G major walk.
Note: Play the frst three notes of the scale over the first three beats of the measure, on the fourth beat play the leading tone.
5fr.
t4
Constructing Bass Lines over a II-V-I Progression
Root - 5th - Leading Tone over a II-V-I Progression
D 7ffi
u*.ffin
ffir*ffi
GM7
ffi3frf1Jlil
I t t t r t
Scales for the II-V-I Progression No. I
Am75fr.mfl
ffi
GM7/Dffi
r*ffifl+ffir*m TnnsrH#
f r t
ffiu*Fffi
Scales for the II-V-I Progression No. 2
D 7
ffir*ffi
G M 75fr.fFfl
ffi ffir*m
Am7sfrffflll
ffiffi
raffiFffirrm rffi
rtffi3fr.ffim
I t a o t l
f++++.1t..ru
Am7
Scales for the II-V-I Progression No. 3
D 7 GM7ffi
3rifiII{I t a a t l
GM7/D5frm
ffiffi
r.ffiFFTTNrTTT't t a a t l
5frfiIm
5fr.mffi
ffi-- rmfiJr]]ltlIi
ffir*m
Am7 D 7 GM75fi.m
t-H+HTrrrnffin
r*ffiffi,*m
D 7 GM7 G M 7
Fffiuoffifl
ffi3friIffi
l l a a t I
trTffi,om
t 7
The Major Walk I,2,3
Major Walk No.l
Major Walk No.2
Major Walk No.3
1 8
Root-5th and OctaveThe root, 5th and octave variation is a very useful technique for creating a bass line because it works with major, minor,
and dominant chords. It is appropriate in all styles of music fromJazz to Country, to Rock, Latin, to Classical, etc.
Root-5th and Octave over Major 7th Chords
AM7 G M 73fr.{I]In
H+THffr|F
5fr.milH?t1.1TTTTN
i -t r- l
hL!t-
_--_-----__-5
5fr.mHtfll||ffl1
3m.mH1INr|-r|H
3fr.ml{+++]Frfffi
7 -t lt l\
I 9
hrjj; o
Root-5th and Octave over Minor 7th Chords
Am7
FTTMI i l i l lt i i l i l
Gm7'.frTh
ffi
Am7Am7brr.?.lJttt
FHI+IttnT]
5f..f]TJlffi
i -l 7t l- . r l
20
Root-5th and Octave over DominantTth Chords
3ft.mHtf+lrrffi1
A75n'fTm
ffi3n.m
ffi
it ft l- J
A75frm
ffi3frflTlll
ffi
G 7
I
3fr.mffi
5fr.5fflTlffi
C -
l tt l
2 l
Blues Bass Linesln a Blues Progression, play the MAJOR WALK over the Dominant 7th chords.
Slow Blues Bass LineG 7
r*.ffiG 7F*7
,flffiTlTrn
ffi3fr.m
22
l}-Bar Blues Progression No. 1
l}-Bar Blues Bass Line No.1Transcription byJoe Palmer and
Rudolph Washington
G 7 GTtC
Written by John E. LawrenceCopynght @1998
G7 GT|CG 7
HXffi3F.m trHflSfr.Fmffir*.m ffi3fr.Fffi
GTtC
c 9ffi3frFTffi ffi
3frfflffi ffi3fr.4m
G7ffir*.m
GTtC G 7 GTtC D 7
ffi3fr.ffifiTTMr*.ffi ffi3fr.8m ffi5fr.m
c9 G 7 GTtC
ffi3fr.Hmffiru.m TFMrr.ffi ffi5fr.Fm
23
G 7ffi,*.m
GTtC G 7 G 7 GTtC
ffin3ft[flfl ffi3fr.m ffir*m TtiI
3fr$H-
r f
c 9ffi3fr.Fm
ffim,*.m
c 9ffi3fr.Fm
ffi3fr.Fm HTHr*.m
ffir*.m ffisfr.Fffffl
G 7 D 7 G 7
ffir'.m
24
l2-Bar Blues Progression No. 2
l2-Bar Blues Bass Line No. 2Transcription byJoe Palmer and
Rudolph Washington
Written by John E. LawrenceCopyright @1998
c6 cz1$syG 7
ffia t a t a lrTraTl
GTtC GTIFffi3frFflfl
tlllls*ffiH ffi5frHfrfl3fr.rrarn
[ffiTTTTN
c 1 1
'*ffin-rrn
c9 c9/F c9ilTlTl
snFltH'iffi3frm
RTNrum ffi3frm
E 7F 7ln.m
ffiffit*m '*ffi
Trrrn
oz1f;syD 7ffi5fr.m
25
G 1 3 G/Dffir*m
c7fi5)|+M
3rl{Iflflt l r t t l
G 73fr.fff,m
l-+-l+t-.]t-+-Hfl
HH5fr.m
c 9D 9ffiu*m
c11tF c 9ffi3frm ffir*m ffi3*m
= h- il-l t l
A7F 7G 7ffi,*m rfr.fTTm
Ft-fulTrrrn5frm
ffi
GM7 ezfisyI t t a a l
ffil0frmm
ffi7fi.Fm
ozfisyffiluum
G 1 33fr.m
ffi
26
l2-Bar Blues Progression No. 3
Transcription byJoe Palmer and
Ruldolph Washington
GM7
Written by John E. LawrenceCopyright @1998
Df im11 Dm11 c7 cz05)rfimzGM7/C FtmT BT Em7
HMt*.ffi
'*ffirrrFn
*ffil]-H'fl
'"ffirTTTI
uuffiH+tfl
ffiror.$ffi
cr7ttrln*ffi ffi
t*.ffi7fr.flTiTl
i?i+uffi
tr..[ffi
GM7ffiffi
D 7 Ff,M7FFfl+t
*^EilX t*
E7(f,e)_- tTIm'oflf?ll
Trrrn
D7(f,e)4 1 35frmffi
rirnsrH# r*.ffi
H+TH'offi
ITTTN
cf,effiH
s*.ffirlnn
erH# ffi*m trffi5frffflfl ffin*.ffi
27
c 9 c 1 1 c9 G M 7 Am7 Bm7 Bbmtoi'.ffi
ffi
rrrm'*H# T[mrr'.ffilm'*Hffi sffir*m hffi
ffirnffi
ffi
l h r n u
ETqe)saffiffi
sfr..mflffi
rrrI|lHIH
l0fr.T5rrnt*.ffi
Htffir"ffi
t-ftfll
Am7
GM7 GM7/C
D 1 1
B 7 Em7 Df,m7 Dm7 G7 G7(hs)ffi
tofr.ffiilarffi
frrrn?fr.m
t-t-ttHtrffi
Hlfflerffi
rT.TNuom
|TaTnff+H ffi
ronffi *flffi
cft Bm7 E 7IIm*ffi
TFTAN
HTffir0frtrm
?fr.fffinffi
ffita.Fffi
28
D 7 rf,naz cM7 ez1fisy A 1 3 oz1f,sy5F.lfffft
H#+lrrrrnt-l-tf+t Ff++ttH+tfl Htfugfr.rfiTn lofr.T5Trn
t*ffiH+t+I
u"ffirTTTfl
u*.ffihHfl
cf,ettrM'"H# ffi,*m r*ffi
H-ITHffi
r*.[ffiEqm
rnH#
I hr iltj
c 1 1 ebmtFWr*m mm'u$H ffi3fr.m
?frflfffl|-|HnTFTTN
stffiffftflTrrm
6frflTiitffi
I hr nfj- r
E7f,e D7(f,e)t+-t-l-H Lllttt
-^ t-l-tl-l.t LLLLIJ"ofifffl erHfl# ffi ?frrym urffiror.FttfH Ufifl rFrr-l
bfr.m sr.mHrfr Hf#
29
PuttingIt All TogetherTranscription byJoe Palmer and
Rudolph WashingtonI
EbMT| | t a a a
ffib l r . l a l I | |
ebusleb BbmTITTIII
6fr.lf5FH�TTTN
u"ffi[rrTn
Written by John E. LawrenceCopyright @1998
l t l
Eb11 Eb7b5)
'"ffiTrrrn
nbrvrz t lAbMTIEbmLLLrl]
or.l-JltH
AbmT obg D 1 1TFTFN
4fr.{ItrXI a t t ln-rrn
[Tmn*.m ffi4fr.Fm ilTmsrH#
i t h r f tl r l - / l
EIMT6fi.mn
Fl-l?l1�TFTN
IEbMT
6frmmffannmrrn
cbnt B 7gnfffu
LLLITU
H+Hzn.ffi
rrrffl
cbnt B 7
abtu"ffi
rrrrn
A7
'uffiTrrrn
u"ffiTTTTN
ebt
Fm7 Br11
'*HtrHFFI-FH
TTTTN2fr.mL|ltttl
rnffiffi
'fr.lTiflffi
30
ebuz BbmT Bbmlebm
6fr.tf5FflTrrrn
gm*fmefutrI-IrN
otHSlTrrrn
FI-T5|trrmori.l-ltHl
u"ffiT�TTN
- f hr t_Tr
xbutTTTSFTTTTN|T-ffl
[fr"mn"n-m
n-ffn un ffH
Gbmzsfr.m
Ht+tlrrFl-n
B 76FrflJTl
ffi'"ffi
rrrrnar"ffifi
FFt-tflrrrrn
Gm7 ab^7 Fm7 abtrorffi
ffigtrlfu sfr.dm
Hltfl H+fi1rrTTn rrrrnu*ffi
FTFTN
IE'MT
I t t t a a
ttrInor,.l-JttH
3 1
New BossaThe last exercise utilizes the Root, 5th, Octave,and l.eading Tone in order to create an exciting Bossa Nova rhythm.
Note: If a chord has a raised or lowered 5th,you must raise or lower the 5th in your bass line as well.
Transcription byJoe Palmer and
Rudolph WashingtonAm7
New BossaWritten by John E. Lawrence
Copyright @1998
E 7Am7tmr*.mTIITIr*m
Am7
ltV
Am7 E 7qm
uu.m
Bm7(f5)
ffit*.mttrIil
ZAHH
emzfisy[mr*.m ffirfr.m ffi?fr.Fm
Am7/EI t+++t
zn l-tlfHt i l t l
Am7 Am7 Bm7(P5) E 7
ffir*m flltTtt*.m ffir*.m ffi'fr.Fm
HV
Am7/EH+?flzrHl#
Am7 Am7 emz$sy E 7 E 1 1
ffirfr.mflTmu*.m H+Htfrm ffi?fr.Fm ?rr.FfH
R lV
32
f
Abntffimru.m ffi*mfl ffirr'.m ffi3fr.m#
FMTIC FM7
Am7
amz$sy E 71fr.trm
H++].lfl'||fl
ffirom
Abm Gm7
tlmzrH#
Am7 AmTlE
TTTTN7frHH
c 7m*.m TtI-n*.m nfr.m r*.m ffi3fr.m
FMTIC amzSsyffi7frfi+H sffi?fr.ffm
E 7ma
sfr.Fl?tHTTTTN
rfr.runH?INrrrrF
33
T[Tlr*.m TNTI3fi.HH
FMTIC FM7 FMTIC emzbs) F7 E7Trm
sfr.FlliHTrrrn
1fr.fIIEFITTNTrrrn
[msr.l-t?fflrrmn
STHtomttrA
AfrHHtrIH1fr.Fm
[mr*.mc7rcb
ffi3fr.[m 2fr.mt+tHl
FMTIC FM7 ETqs)flIH7fr.Fm,offi
TTTTN
rfi.mH?fltmrrn
ilmm.l-t?tH
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