III ..

Diatonic Chords

Chords within a given key are called diatonic chords. Major andminor chords are composed of three notes, and the three-note chordsare called triads. The numerical relationship between the notes of thesetriads is 1-3-5. For example, to build a C Major chord, we start on C(1), add the third note in the C Major scale, E, and then the fifth, G.Therefore the notes in a C Major chord are C, E and G.

If we now build chords starting on each note of the C Major scale,here is what we get:

~ § § § § § §

I-Cmajor .11-Ominor.III-Eminor.IV -Fmajor.v- Gmajor.VI-Aminor.VII-Bdiminished.

We need not be concerned with the B diminished chord now, as di-minished chords are hardly used at all in rock music and therefore arenot emphasized in this book.

If you construct triads containing only the notes of the scale uponany major scale, you will get the same pattern of chords. The patternlooks like this:

MajorScaleChords

'1

Major

11 111minor

IV

Major

V

Major

VI VIIminor diminishedmInor

Here is the importance of this formula: Knowing the notes of anymajor scale allows you to construct the basic chords in that key!

Try building the chords of some keys I have already used in this book,such as G, F, A, D and E. See what you come up with; play them;see if they sound "right" or "wrong." Remember, the 11,III and VI chordsare always minor and the I, IV and V chords are always Major, whenyou are working within major keys.

Chord Progression

As I mentioned earlier, some chords seem to "go together" more nat-urally than others. This section will help you to understand the reasonswhy this is so. The basic chord in any key is the "key chord" itself,called the tonic or the I chord. The next most important chord in a keyis the chord which is built on the fifth step of the key; this V chord iscalled the dominant and usually leads back to the I chord (the tonic).This V-I progression is the basis for most music in the Western world.Very often the V chord has a fourth note added to it, this note beingthe fourth note in the major scale. For example, in the key of C Major,the V chord is a G; adding an F note to the G makes it a G7 (the V7chord). The third most important chord in a key is called the sub-dom-inant or the IV chord. Together with the tonic and the dominant, thesub-dominant rounds out the three basic chords in any key. Thousandsof songs have been written using only these three chords.

3~

-... 3'. --.

~~ '~'\

Transposing

Now that you know about scales and keys and diatonic chords, trans-posing becomes a very simple matter. Let's look at the following chordprogression, in the key of G Major.

Gr u ", , , ,

Emin Amin F D7

1.#.#""#, , , ,

1""".#.#1""# "'.#°1"" "".

Notice that the progression begins on the I chord (G), goes to the III(minor), E minor, then to the 11 (minor), A minor. Then it goes to anF Major, which is out of the key of G Major, and then to the V7 chord(D7). Ifwe want to transpose this progression to the key ofE Major, thefirst chord would be an E (the I chord), then a,rC~minor (111),then anF# minor (11),then a D Major, and finally a B7 (the V7 chord). Since therelationship between the G and F chords in the original progression isdown a whole step, we use this same relationship in finding that in thekey of E Major, the chord corresponding to the F Major in the firstprogression is a D Major-one whole step down from E.

In general, when transposing from one key to another, find out whatchord intervals are used in the original progression and then appry thisformula to the new series of chords. If you are writing out the music,remember to notate the proper key signature.

Rolling Stone Ron Wood with Joe Walsh of the Eagles

40

~

..

Basic Chord Progressions

Now that you know how to transpose from one key to another, wewill go over some basic progressions; once you have mastered these inthe given key, you should transpose and play them in other keys.

1- IV- V7 Starts on the I chord of the key (the tonic), goes to thefourth and then to the fifth. For example, G-C-D7.

1- 11- V7 Again, starts on the tonic, moves to the 11chord (whichis a minor chord) and then to the fifth. For example,A-Bmin-E7.

I-VI-II-V7 Tonic, sixth (minor), second (minor) and fifth, such asC-Amin-Dmin-G7.

You can see that the first and second progressions are almost thesame. In general, you can substitute a II chord for a IV chord (and vice-versa) in most progressions. For example, E-A-B7 becomes E-F# min-Bwhen an F# min chord is substituted for the A chord. Here are examplesof thes~ various progressions, and some more in addition. Remember,the Roman numerals above the staff refer to positions, not chords.

I.IV.V7

The quarter-note triplet at the end of this rhythm is played in twobeats: three quarter notes written as a triplet, or two quarter notes.

VA

Dta+a2 + 3 + 4 +r"I ~Vr"l V r"I V r"I V E7 r"I V r"I

V7.IV.I

VIID71 + 2 + 3

(+ 4 + vc r"I

41

f ,~-""",-, .

it ... ... "" " "" ..... ... I'" '" '"

I . . --.. .1 .1 S .I S / ... I - -

s s s s s s S I..-- 3 --IS

- - ;" - - - - - - ::. ;) ;) r. - .-3--,It :. :. :. "' - - - -\{ '" "' .. :< ., i .... .. ' :" .,J.: I I , I I

.I I

I '( s s.... s Is s s s s s s

"') V r"I V r"I V r"I V (r"I) V" u . - '- - - .---.....!'!I: ':::ri. . --

,

,41 .I .I - -s s s "

- ---..... - - - - -.. .. ,, :. ., :. :.r ::

It. . I \I ' :' \J- ., '" :J- 1-

S s I

Gf + 2 + 3 + 4 +

1""1 v 1""1 v

---- -----

I-II-V7

The G13chord is a substitution for G7.

mc Croaj7 V C6 C Droin Droin (addE)III G 13

I-II-IV.V7

The B9 chord is a substitution for B7.

S S S

F#min7, ~ ~IX

s S S s s

s s S s s SS S

s S S

~

S ss s S S S S s s

S S S SS ss s s S s s s

42

1\ r\ If-.- .

41 .... S s'" S 8 :/ s , s s --=1 s

S S 1"'1

, 'I- - -.... .. .. .. .v.I J -

V V ,... I V V... "s S 8 S S S S S S S

I.VI.ll.V7

Dt + 2 + 3 +

VI Bbmin" +

VII Bmin'

s s s s 8 S S 8 s S S S S S S S S 8

S S 8 S S 8 S 8 ---S S S S s S S S s S

Emin 7~ Y ~ V ~ Y ~ Y ~ V ~ Y

A9

~ V ~ V VI

S S S S s S S S S S 8 8 SS 88

S S S 8 S S S S S S 8 S S S S S S S

VI.IV.V

V Csus4.\

ID B~sus4 Bb VDmin

,.........

5;::.;;

S

VI.U.v

The A minor 7 and D7 in the last measure of the rhythm are passingchords to bring you from B~ back to G minor.

III Gminy

:>~ ~ V ~

Cmin I F Fsus4 F7 Bb Amin7D7~ V :>

43

"

- -------

Playing Rhythm Guitar"... ~ ~.......

~

If you have really learned the material presented in the precedingpages, you now have enough technical knowledge, theoretical under-standing and facility in playing rhythm styles to be able to play rhythmguitar with other musicians. But what if you get together with a drum-mer, bassist and horn player and they say, "OK, let's do "Get Back"(by the Beatles) in G?" What do you do? How do you begin? This chapterwill focus on the practical aspects of doing it . . . playing rhythm guitar.

Some Points to Consider

When I play rhythm guitar, I try to make what-I am playing

1. Interesting and pleasing to the ear, so it sounds good.2. Relevant to the song, so it sounds right.3. In touch with the other musicians' playing, so we sound together.4. Steady and even with respect to the time of the music, so every-

thing sounds tight.

You may be wondering, "What is an 'interesting' rhythm?", or "Howcan I play 'in touch' with the other players?" Well, there are quite afew musical variables which can be altered to accomplish these ends.You can play either full or partial chords in various positions and in-versions, use upstrokes or downstrokes and combinations of both, playlouder or softer, vary your tone from bass to treble (and vary your tonewithin a song), play in a fluid or choppy style, use various rhythmtechniques (like playing arpeggios or muted bass riffs), use substitutionchords, and play eighth-note, sixteenth-note or triplet patterns. It isyour job as a rhythm guitarist to call upon all of your knowledge andexperiment in order to create the rhythm which sounds best for a par-ticular tune.

Creating the RhythmLet's look at "Get Back", in G Major. You, the bassist and drummer

are all ready to go, plugged in, tuned up, and the drummer counts off"1-2-3-4." Right away you know the tempo (speed) the song will beplayed at, the time signature (1 or common time), and you know thekey (G Major). At this point I will assume that you know the changesto the song. Since "Get Back" is a rock song on the "hard" side, try toget a powerful rhythm sound (see the earlier chapter on Power Chords).First try a quarter-note pattern; this one is a rhythm riff built aroundthe basic changes to the song, G-C-G.

illG (C) G (C) G (C) G (C) v C Csus4 C III G (C) G (C)

44

JJ !!: L. !:--

I- I I I I

." ft Y -'!A. .. . .

"(I

I I

.. "" ~

Well, it sounds OK but not really right; therefore your group probablywon't sound together-like a band-if you play this rhythm. There isnothing actually bad about this rhythm; the idea or germ for an inter-esting rhythm is there, but it doesn't quite make it yet-it needs work.What's missing? What's wrong? First, you might notice that this rhythmhas no "bottom" to it. Let's try something in a lower octave, on the bassstrings.

G,., ,., ,., ,., c G

::> ::> ::> ::> ::>

What a difference! Now we've got the basic sound down. But theredoesn't seem to be any energy or drive or life to the rhythm. Let's doubleup on the rhythm, using eighth notes instead of quarter notes, and seehow that sounds.

illG,., V ,.,

c Gv,., V,., V

Look at how much progress has been made by just changing twovariables: the tonality of the chord and the rhythm pattern. Now let'schange two more: use only downstrokes instead of alternating pickingand slap-damp the second and fourth beats of each measure. Also, playthe C chord in the eighth position (it's easier to downstroke it there).

IIIGt + 2 + 3 +4 +,., ,., ,., ,., ,., ,., ,., ,.,

VIIIC G

::>8

::>8

::>S

::>S

::>S

s 8 s s s s s s

45

.......

Gill 1

,.,

c~= -. "'" ,~Now thisi~q9:s r~.Y"'g:reatLAp.d if "Your dr"lmmer pappens to bo ~

playing a "rolling" rhythm, as Ringo RtaI'r does on the record, this nextrhythm pattern will complement his playing. Then you ~can alternatebetween this rhythm and the previous one to further vary your sound.

+ 2,., ,., ,.,

+

,., ,., ,., ( or )'" V ,., ,., V

s s s

.s s s s

Once again, playing great rhythm guitar is not magic! You can seethat by systematic experimentation you can create interesting, solidrhythms.

Nowobviously I can't take you through the changes and rhythms to ~

every rock song you might encounter. What you have learned from thepreceding example ("Get Back") is that getting the "right" rhythm fora song has a lot to do with experimentation. The more you play, andplay with others, the more valuable experience you will gain. The moreexperience you have, the less you will have to experiment in order toget a good rhythm part; you will intuitively know what will sound goodand what won't.

Jamming: Varying YourRhythm Playing Within a Progression

Sometimes you will get together with other musicians and insteadof playing a complete song, you will just "jam" over a series of changes.This kind of playing is lots of fun and can be very instructive, since youcan pick up rhythms and riffs from the other players from listening towhat they are doing. On the other hand, some jams can get very boringif everyone keeps playing the same thing over and over again,

As a rhythm guitarist, you can change your playing subtly to varythe sound even if the bassist and drummer are repetitious in theirplaying. Of course, if the other players change what they are playingto complement your variations, you will be free to experiment evenmore. Let's look at a I-IV-V7 progression in the key ofG major-a verybasic pattern with which you are already familiar.

G

re"", , , ,

c D9

I .I .I .I .I I .I .I " " I .I .I " .I '1"" "" "".

If you were jamming on the above progression, your first rhythmmight be a medium-rock feel based on a syncopated eighth-note pattern,as follows. '

46

-

G

Now look at the first variation below. Play it.

G,., V' ,., y ,., ,., y ,.,

s

';? :1

ss s

VIII Cmaj7 XD7

..

s s s s s s

47

ill ),, . .

III ,. s s ; ; =...1 s =.

s=. -=. =:T

-'T' -2" j{

... v ...I . ..,. -

D Il

S ) S-p

s D s

c ') IV D9 .'I U . . . If- 1"- .. .. ..

, .,. S "111 S ... "111 .. . s sD

.. ..

ft - -'I' 11 .

:. .. .. :. -iL .7

:D

S ,/ S l) S [) f!I )

... -You have varied your rhythm pattern slightly (notice the use of

. sixteenth notes on the last beat of measures 1 and 2) but still managedto keep the same feel. Also, an Emin7has been substituted for a G chord'in the second measure as well as a cmaJ7for a C and a D7 for the D9.In the following example, the further variations include playing a bassriff against the changes, using partial chords in various positions andswitching from up and downstrokes to only downstrokes in the last twomeasures.

v VM IIEminM v M M M

M M ,M M M M M M

s

,""",

'.I ~ ~

s

AminM M M M M M

DM M M M M M M M

The next variation is really just a 4 measure bass riff but. I amintroducing left hand muting in it. This technique is symbolized by anML written directly under the note to be muted. To mute a string withyour left hand, don't press the string all the way down to the fingerboard.Let your finger rest on the string to be muted and press down slightly,just enough so that you get some tone. If you don't press down on thestring at all, the sound will be too dead and you won't be able .to heaJthe pitch of the note. Practice this variation slowly at first until yotget the muting technique down and then increase your speed.

vv

M V M VEmin

M V M V M Y M

:ilL ML

ML ML

)lIR MR

ML ML ML :ilLML :ilL MR MR ML :ilL ML ML

48

" U J.. . .. - -- II r--- J:::;;;;;;;;r

..,.. ..:.. S -.1 -' - -- . . S tT' . :4j . t... T""" "" -4J.

ss::>::>

'.' .. ... I">A , I J

.\ nD A Y

I --Is S -

c IVD

ML ML ML MLML ML

ML ML

Let's get back to playing chords. Here's a funky rhythm over the

same changes (G-C-D9). Try using your own inversions; vary therhythms by yourself but remember to keep your playing steady andeven.

G

VII~

Emin1"'1 VvV y 1"'1 Vv1"'1 1"'11"'1

s s s

Cmaj7 D7-

8 ss

8

s

8

ML

s

MLML

8

s

49

u ,;:;;;;;;;;; I

.. y ...,

.

.

i" 4"" " '" ...u-- '. . .. IML ML ML ML ML ML

ML ML ML MLML ML

'T'

A. .t: .. 'f I . . - -..-.., .

D A A A A I -. .u v "u

u ." -1-1- I- I- I- 1- .. I- i- i-r :a-

i.- - -

,t S S S S S S

- -.....

... ..."- -- I I

no / / /

s::=- I- i 2 .. -

S S S - S S 8

....--.... -... ,- ......

.. .. ...A (A 'rA I I /- ,D - / /, )

-- ~~ -_m~.~-

Here's a chordal riff using 3 different rhythm patterns. Measures 1, and 3 use an even eighth note pattern played with downstrokes only.

. Measure 2 uses a funky rhythm and measure 4 combines a funky rhythm(on the Amin)with a sixteenth note triplet pattern (on the D7). A sixteenthnote triplet = 2 sixteenth notes or 1 eighth note in duration. Again,practice slowly at first and watch your time.

ill G,., ,., ,., ,., ,., ,., ,., ,., Emin v v V,., v

., .' .

VIII C' Am in

D7 .

X'" V,."., V ~,., V,., V

3 3 3

The last example in this section is a very melodic rhythm. You arereally playing a melody within the chords. This is done by using varioussubstitution chords and inversions. The rhythm itself is quite simplebut it may take you some practice to be able to change from one chordto the next without breaking time, so don't let those eighth notes foolyou. This is a difficult rhythm pattern. Notice the following substitutions.

G-Gmaj7_Gmaj6

Emin-Emin7 _Emin9

Amin-A min7-A min9_Fmaj7

D7_Amin7(cmaj6)-D7+5

50~.' ,

..',; .

"J6 t . .. ..-

I' 3..8=: =: =: :: V . ==t-' -.. I,; "":> :> :> :>

- -'T' - - - <AI

J. J.V

'

D ".l ".l j 1

,. iiiiiii

11 U 1 $: ; i_L"""--s: '::Ill.X-.. -4 .. .. -4' -4 .. .. .. r

3" -r --;-. . ... ,

/11 '"...

:x x '<'... 'I Y :'f :'I' .

.'- lA lA fJ;.'v v 'v ,v -g .

iiiiiiiiiiiiiiiii iiiiiiiiiiiiiiiiiiii iiii iiii

..

III G II Gmaj7 III G6 G v Emin9 Emin7....--...

Th .."

~

'--"

-----...~

- - - -

~

Amin9 Amin7 Fmaj7 D7 VII Cmaj7'Cniaj6

(Amin7) X D7+5

When jamming, you can also modulate from one key to another, usingthe same progression. Refer to the chapter on Transposing if you don'tremember how to go from one key to another.

In the next chapter I will give you some ideas for rhythm patternsyou can play for various kinds of tunes. Five categories will be covered:Rock and Roll, Hard Rock, Light Rock-Rock Ballad, Rhythm and Blues-Funk, and Disco. These categories are by no means mutually exclusive.For example, you might go to a "disco" feel in the bridge or middle ofa rocker to lend variety to your rhythm sound. You should try mixingup the following rhythm patterns, remembering that your ear is thefinal judge of which rhythm makes it and which does not.

.; ..."I

51

>~~~,:;.; ~\~:r ~

11 1.L -4 1'" t.. .. 3'" H". .... - 4 -="

III -:;t-

.,

... .. . s - I-'" - - - - ......-...... ......-......

:. :. :!.

A:. :. :.

.....

Ii{ --- .

I:Ii vV

I S

.

Rock_Rhythms

Rock and Roll

Think of songs by artists such as Elvis Presley, Chuck Berry, theBeatles, the Beach Boys, Steve Miller, etc. The essence of these kindsof rhythms is a chugging, almost bouncy feeL Early Rock and Roll, suchas the kind of music associated with Little Richard and Fats Domino,was not as syncopated (accented) as is today's popular music.

IIA,., v ,., v ,., v ,., v q-,) v ,., v

IV Db V D

s s

~ ;;

D VII Bmin7Dsus4 ---... lE

~ L.

2 2

s s

. -

EI,.,

(11) (IV) v,., ,.,

Ma Ma Ma Ma Ma MK MK MK----- ~K MK MK MR lIa--

MK

52 ..

,

~~ --- -- - -. -

~ ~..~ ~.

"--' MR Ma MR Ma Ma Ma

---

MR MR Ma MR MR MB

vVA

M'B MR MR Ma4MR

s s s s

Ma Ma Ma

s S 2

MR MR MR MR M~ ::>

Ma MR MR Ma MR M~ MR

"

MR s s

53

MR MR MR Ma MB MB Ma MR-'" II Ma Ma MR Ma MR Ma

EV V V V V V

s s s s s I r s

VII BIV C#min7

VA7...

J-rt ... T ..." T ..." ..."

I8 S

Ma MR Ma Ma MB Ma JIIa Ma s

If s SMa JIIa Ma Ma Ma Ma Ma Ma, ,

S

lE B7#9

. .Hard Rock

Now think of songs by artists such as the Rolling Stones, Rod Stewart,Peter Frampton,Bad Company, FleetwoodMac, the Who, etc. Use powerchord settings on your guitar and amp when practicing these rhythms.

IlA

F# .

IV C# minI

111Cmin 11 Bmin III G

~

E::> ::>

VII r'1. V r'1 V r'\ V ~ V etc.::> ::>

E7sus4::> ::> ::> ::>

---------------- ---------------------------- ----------------.~ ~ 6U:r 6!:U ULr ULr tU:r ~

~

,.-.....

~~-~;

-- '.

~" "

54 11 m.... . ... .

'. . .\ . i' -------

r'1 r'1 !"'I r"iAutt I'.. I'.. '" I'..

III :4 :4 =4

I- ., ., ... ... ... ....

\/ .I 'I

,..

c 2 a + a VIBb IF

cVUII"'I

VI Bb IF Fsus4 F mG7V 1"'1

.

f!}

,..~'f>c\.t>

~ff;y'...' .

~ 55,~

,J' . ...

- ..... ..' 1"'1 1"'1- 1"'1

.10

.. --iIr. -;;; ... . --.... .. --..1-.. .. ...

....' .. lrI. -. ... - ' 3 ,:!". s s

' .. t .. ..

.......- ......- ......--.... -

'::.. .n J:, J " !,n ;.: :" )<

--- L.J ----L..j' ---- ----...

-.. Il: _ .

"'. . I' . .. .. .

Ill ,.' s "lr . Ir S :!. - ... ...' ...

,-.. .----- ---'I' ...... - .. .. .

I .,- 1'-D - -'--r s ----- s )

---- - -

..~"'~;

Light Rock - Rock Ballad

The characteristic rhythm in songs by the Eagles, Paul Simon, CaroleKing, Linda Ronstadt and others is an eighth-note feel, usually withthe second and fourth beats of every measure slap-damped. Tunes withheavier country influence in this large pop field usually incorporate analternating bass rhythm. These rhythms are fairly simple but verysolid. Try copying the rhythm guitar parts off of the record to somepopular songs.

,., V A

V

,., V " V

VIlE

BE

I

2

C

VIII ,.,V ,., V~"') V ,., V ...-.....

,IIIG ,., V ,.,

s s8 8-----...-.....

8 s8 s B

56

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

"- . .. : :: .. ... -.- -,

I' .. . 8 ----- S SW'

sj--- r s s

.....-...... ---... - ,.... -...: -:.. .. .. .. .. ...cl. . ' ,

----,v--- .v ,v '.... -,s D---- s s s ;' s s

.V Dmin G7

...-.....Dmin G7

...-...

s 8 s 8 8 8

c F------- c VIII G7

KW( ~([ad

57

.-J

"t. .. .-;.- IlL .. .. . L

I'I.

8 S 8 8 If s 81

.....--..... ----.....; 'T' .. .. ...- -- I I I I

y,-'D

!OI " R

*" !: t.'

" . '..

.. s V s V s I s /

n n ----..... -'" '=' '=' ',-- --- w- - .. .. .. .:. ' ---' .v ,v

'f Of '" // , n .J '{

S S S 8 /

..

(Z "'~ i 0 o\~\

Rhythmoond Blues-Funk

SongsbySarnand Dave, Otis Redding, Booker T. and the MG's, Stuff,the Isley Brothers, Marvin Gaye, Earth, Wind and Fire , and the AverageWhite Band provide good illustrations of this next category. The rhythmsfor R & B material are usually highly syncopated mixtures of eighthand sixteenth notes. The first one here combines a few different rhythmpatterns. A lot of "funk" rhythms are built around riffs, as in the secondexample below. Try making up your own rhythm riffs to popular songsyou already know.

Dmaj7 2 8 + 8 3 8 + 8 4

V r"! r"! V r"! r"! V r"! V r"! V

m Gmaj7

(("l:>\v"V-1.o ",°, A

G

58

v

8 8 8

888

888

888

r"!

+Amin7 28+838+8

8 8 8----...-... . - -

'.!

8 8 888

III C# 9+828+838+848+8

Vr"!Vr"!Vr"! Vr"!V1r"! V

S 8

..-~

S 8 s s 8

r"! r"!r"! V r"!

S

*Mute the A string with your thumb when playing this version of G Major 7.

--

A U .. r"! .. .. u. .. .. .£.- --

=: =: =: =: :: :;. =: :: ::--. --.

eo eo.., . . ..,AI.- :.no

w w W

VAmin

D71"'1

ITv

2 a

1"'1

+ a 3

V (1"'1)

+ .,.,

a

V

+

1"'1a

1"'1 V

:;.

59

A .. -.- 1'- - == -- L- ..

tI .. I rS . . . . . . .... 8 S S S 8

. .'T' . t :..

. 1;. '.J ... ... .. .., ' .or LJ'S S S S = S S -

Disco>

Disco rhythms are almost all sixteenth note patterns played in a veryrepetitive style. Here is your "basic disco" rhythm, as made popular bya very big recording star.

vF,., ,., y ,., ,., y,., ,., y ,., ,., y Fmaj7 :> ::>

s s s s

Fmaj6 :> ::> :> ::>

s s s s

F :> ::> VI F7 ::> ::>

s s s

Bb ::> ::> ::> ::>

s s s s

60

-

" .. R-". ..... .... .. .. .... .... ...... ..... - - - - - - .... -

s s s s-

.... -

D

A , . ... .. .. ...... .... .. .. .. ..... .... .... - .... ...... .... -- .... - -

s s s s

....-n

A .. ..... .... ..... .... I - - - ,--1411 I..... .... - .... - - i....- I -

s s s --

.... -....n - i.- - -

A L !- L @- !-L &.

!-

411S S S S

-It.

I1i

r

:> :> 0 Bbmin :> ~

s s s s

VF X D7 :> :>

s s

61

~

It.. !- -!-!- !- !- !-

,I-

s s s s

,.T }\

::).

D

:> :>

j.!=.

8 8- ! :!j\ ........ ... ,R- ,R- R-+ f- f- --+--

411 - - - s ss s

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