-
Score
Reckless
Eight Percussionists
Dave Hollinden
Commissioned by Phillip J. Mikula and the Victoria Memorial H.S.
Percussion Ensemble for premier performance at P.A.S.I.C. 2004
Approximate duration:
7 minutes
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Instrumentation
1
2
3
4
5
6
7
8
med. tomvery dry
med.
Chinese toms
sm.
woodblock
lg.
practicepad
lo/med.
5 grad. wood blocks
sm.
pic.
metalguiro
rainstick
med./lg.,on foam
trianglemed.
Chinesecymbals
splash
operagong
sm.
log drum
low
Chinese toms
lg.
sm.
log drum
high
softrubber
practicepad
5 temple blocks
shakerloud
suspended
Tibetanprayercymbal triangle
lg., onfoam
lg.
Chinesecymbals
sm.
operagong
med.
low tomflabby
timbales
cowbell/almglocken
very lg.
snare,piccolo
lg.
5 grad. cow bells
sm.
woodguiro stones
Tibetanprayercymbal
on foam
lg.
ridecymbals
med.
windgong
small
bass drum,marching
low
tenordrum
tambourineswithout heads
lg.
sm.
fielddrum
5 grad. brake drums
afuche
slapstick
sm.
highhathigh
med.
crashcymbals
splash
sizzlesm./thin
bass drum,concert
med./sm.
concerttom
very large
bell plates
snare,concert
lg.
5 grad. bell plates
sm.
vibra-slap
flexa-tone
low
highhat
lg.
ridecymbals
med.
tam tamvery sm.
floor tomvery dry
congas
snare,toy
4 grad. bongos
cricketcaller ratchet
sm.
glassjar
sm.
med.
trashcymbals
splash
windgong
med.
bass drum,marching
high
tomlow
lg.
tambourineswith heads
sm.
snare, himarching
4 grad. marching toms
sandpaper ratchet
lg.
ceramicplatesm.
lg.
trashcymbals
sm.
tam tam
sm.
gongdrum
tom toms or roto-toms, graduated
(for scraping)
snare tom toms or roto-toms, graduated
shakerslapstick
lg.
sm., onfoam
gonglg.
crashcymbals
sm.
sizzlelg./thick
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Notation
strikerim
rimshot
deadstroke
short strokes
Guiro, snare scrapes
long scrapes
dome
ord.(edge)
gradual change
Cymbals, gongs, tam tams
grab quickly with hand
grab with hand on specific beat
ord./closed
High-hats
halfopen
open
Performance Notes
The piece should be performed at the designated tempo or
somewhat faster. The stylistic elements will suffer if the tempo is
too slow.
The performance should always be pushing forward and “on top” of
the beat. This is especially true of triplets and subdivisions such
as 4:3 and 5:4, which should be pushed forward with a feeling of
rushing. While accuracy is necessary, there should be no feeling
that the piece is being performed “carefully”.
The indications at letter E (Pull back briefly), letter I (Lose
momentum), and letter J (Pause briefly) refer to slight relaxations
of the feeling of pushing forward. There should be no change in the
tempo.
All flams are “tight” or “popped”, and all grace notes, ruff’s,
etc. are as fast as possible. General Notes on the Instruments I
think of each player as having an extended drum set, with the
notation based on drum set notation. Each player has a snare drum
of some sort on the third space of the staff, a bass drum
instrument of some type on the first space, and a set of
instruments that are notated as a large set of tom toms. In some
cases these instruments are actually tom toms or other drums, while
in other cases they are wood blocks, brake drums, etc. augmented
with various drums and tambourines. Each player also has either an
actual high hat or an instrument that functions as a quasi high-hat
notated on the top line of the staff. Instructions are given for
damping the quasi high hat instruments so that their decay is
similar to a closed high hat. Each player also has two cymbals
along with a gong, tam tam, or sizzle cymbal notated above the
staff. All cymbals, gongs and tam tams should be suspended unless
stated otherwise. Each set-up then is rounded out with two
accessory instruments, including shakers, slap-sticks, guiros, etc.
Some sections of Reckless are overtly in the style of Electronica —
specifically, drum ‘n’ bass. Please keep the sound and style of
this music in mind, especially it’s electronic/synthesized nature,
when choosing timbres and instruments that play key roles in these
sections, particularly the snare and bass drums for Players 1, 6
and 7, all of the quasi high-hat instruments, and Player 8’s snare
for scraping.
-
Specific Notes on the instruments: Player 1:
The medium tom tom is intended to serve as a mini-bass drum with
a very dry, dead sound. Use a double-headed drum with double oil
heads tuned very low and heavily damped.
The practice pad should have a crisp, high-pitched, well-defined
sound and should be very loud. Another object with a dry, shallow
sound could be substituted, but I want the timbre to be unusual
rather than sounding like a drum.
The wood blocks should be graduated in size from very large to
piccolo. In some passages it will be necessary to hold a pair of
very hard mallets specifically for the piccolo wood block in
addition to any other mallets or sticks being used.
The guiro should be mounted or placed in such a way that that it
can be played quickly, without needing to be picked up.
The triangle functions as a high-hat. It should lie on material
that damps it such that its decay is similar to a closed high-hat.
It should sound somewhat higher than Player 2’s triangle.
The opera gong should be smaller than Player 2’s opera gong
(approximately 10 inches) and have an ascending pitch. It should be
suspended.
Long and loosely bundled rute is called for when playing the
practice pad. The sticks I used for experimenting with this sound
are made from a piece of bamboo one inch in diameter and 21 inches
long, with approximately two thirds of the length cut into 14 thin
strips.
Player 2:
The practice pad should have a soft rubber or other dead
sounding surface such that it does not produce much sound when
played forcefully. It can be placed on a drum to give it a bit of
resonance. Another object could be substituted, with the idea is
that the player will be wailing on the instrument but not producing
much sound.
The shaker should be very loud and noisy, such as a large metal
can containing coins or bottle caps. The Tibetan prayer cymbal is a
very heavy, thick finger cymbal, approximately 3 inches in
diameter.
It should be suspended. The triangle functions as a high-hat. It
should lie on material that damps it such that its decay is
similar to a closed high-hat. The opera gong should be larger
than Player 1’s opera gong (approximately 12 inches) and have a
descending pitch. It should be suspended. Player 3:
The low tom tom should be tuned very low, and sound flabby. The
five graduated cowbells should span the typical large to small size
range. The very large cowbell
or almglocken should be significantly larger than a typical
large cowbell. The guiro should be mounted or placed in such a way
that it can be played quickly, without needing
to be picked up. The stones should produce a high-pitched,
resonant click when struck together. The Tibetan prayer cymbal is a
very heavy, thick finger cymbal, approximately 3 inches in
diameter.
It functions here as a high-hat. It should lie on material that
damps it such that its decay is similar to a closed high-hat.
Player 4:
The marching bass drum should have a very dry sound and be
larger and tuned significantly lower than player 7’s marching bass
drum.
The high-hat should have a higher pitch than player 5’s
high-hat. The brake drums should lie on foam so as to have a
medium-length decay and a loud sound. The sizzle cymbal should
preferably have rivets, with a very long decay to the sizzle.
Player 5:
The five graduated bell plates should range from a large plate
approximately 12 inches square to a small plate approximately 4
inches square. The two very large bell plates should be quite
large, in the
-
range of 15 to 20 inches per side. All of the bell plates should
lie on foam so as to have a medium-length decay and a loud sound.
Use less hard mallets than those specified if your instruments are
particularly loud.
The vibra-slap should be mounted so that it can be easily struck
with a mallet or the hand. When the flexatone is marked with
tremolo bars, it should be shaken. One other occasions, a
single
stroke with a brass beater is indicated. The high-hat should
have a lower pitch than player 4’s high-hat.
Player 6:
The floor tom is intended to serve as a very dry, dead bass
drum. Use a double-headed drum with double oil heads tuned very low
and heavily damped.
The cricket caller is a high-pitched shaken instrument with a
small, hard resonator that swings between two fixed beaters.
The glass jar functions as a high-hat. It can be any glass jar,
cup, bottle, etc. that produces a high-pitched, crisp, clear glass
sound when struck with wood sticks or other beaters as used in the
piece. If necessary, it should lie on material that damps it such
that its decay is similar to a closed high-hat.
Player 7:
The marching bass drum should have a very dry sound and be
smaller and tuned significantly higher than player 4’s marching
bass drum.
The low tom tom can be any type of concert or marching tom tom
tuned low. The four graduated marching toms can be a set of
marching quads. The small ceramic plate functions as a high-hat. It
should have a very dry, dense sound when struck
with wood sticks or other beaters as used in the piece, with a
quality to the sound that is clearly ceramic as opposed to metal or
wood.
Long and loosely bundled rute is called for when playing the
tambourines. The sticks I used for experimenting with this sound
are made from a piece of bamboo one inch in diameter and 21 inches
long, with approximately two thirds of the length cut into 14 thin
strips.
Player 8:
The gong drum available for the commission is a six-foot
diameter, three inch deep instrument with a very low pitch and a
very long, gong-like decay. Striking the drum in the center with
the fist gives an especially low, deep sound with less volume and a
long decay.
If a gong drum is not available, substitute a large concert bass
drum and a large gong struck together, or a large single-headed
bass drum suspended and tuned such that it rings like a gong. When
the instructions call for striking with the fist, use a soft beater
to minimize the attack sound, and strike the drum so as to obtain a
low, deep sound with a long decay. When using a gong and bass drum
together, it’s not necessary to strike the gong on each note. Play
the gong primarily on isolated notes, or on the first and last
notes of a rhythmic figure, so as to add the gong’s metallic timbre
and long decay to the overall sound.
The tom toms or roto toms should be a graduated set of seven
drums that are resonant and somewhat timpani-like in character,
especially in the low range. They should provide a contrasting
sound to the drums used by Players 6 and 7.
Snare scrapes: Turn the snare drum over, or have a second snare
drum that is turned over, so that the snares face up. Use metal
snares and a small drum for a loud, higher-pitched sound.
Experiment with various scrapers such as credit cards, etc., and
use two scrapers for the fast rhythms if desired. The effect should
be similar to scratching with a turntable, or an electronically
distorted instrument.
Snare plucks: With the snare drum turned over, pluck or strum
the snares. Use your fingers or a plastic pick, etc. The effect
should be very loud, like a loud, noisy snap pizzicato.
The shaker should be loud, bright and crisp, such as a metal or
plastic shaker filled with shot. The small gong on foam functions
as a high-hat. It should lie on material such that it is damped
considerably, yet with still some ring to its overtones. The
player should be able to use dead strokes to dampen it further when
called for in the part.
The sizzle cymbal should preferably have rivets, with a very
long decay to the sizzle.
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q = 172 Push forward, on top of the beat Dave Hollinden
Reckless
Copyright © 2004 Dave HollindenAll Rights Reserved
Player 1
Player 2
Player 3
Player 4
Player 5
Player 6
Player 7
Player 8
wood sticksf
f
medium rubber mallets
wood sticks
f
5
1
2
3
4
5
6
7
8
3
wood sticksf
3
3
-
10A
1
2
3
4
5
6
7
8
f
light wood sticks
f
hard acrylic mallets
4
p
5
f
wood sticksff
f
wood sticks 3 3
f
hard mallets
4
p
5
f
15
1
2
3
4
5
6
7
8
3 3 3
2
-
1
2
3
4
5
6
7
8
pp
soft yarn mallets
mf
f
3
3
light metal beatersp
f
4 3 3 3
3
3 ff
3
wood sticks
p
5 5f
sim.
20
1
2
3
4
5
6
7
8
f
wood sticks
f
medium rubber mallets
f
light wood sticks 3
3 3
3
-
25
1
2
3
4
5
6
7
8
f
guiro, metal scraper
3
3
hard malletsf
3
3
3
hard yarn mallets
f
3
f
cricket caller wood sticks 3
3 3
B 301
2
3
4
5
6
7
8
f
ff
4
hard acrylic mallets
ff
4
3
hard acrylic mallets ff
4
ff
ff
f
f
sim. 3 3
p
hard mallets f
p
f
f
4
4
-
35
1
2
3
4
5
6
7
8
wood sticks
f
f
3 3
p
f
5p sub.
f
5 p
f
f
f
scrape p
f
f
wood sticks
f
f
hard yarn mallets
p
f
5
p sub.
f
5
p sub.
f
5
f
p
f
3 3
f
p
f
5
p sub.
f
5
p sub.
f
5
f
40C
1
2
3
4
5
6
7
8
p sub.
f sub.
f
p sub.
f sub.
f
p sub.
f sub.
f
p sub.
f sub.
f
p sub.
f sub.
f
p sub.
f sub.
f
p sub.
f sub.
f
p sub.
f sub.
ff
5
-
45
1
2
3
4
5
6
7
8
sand paper
f
p
mf
50
1
2
3
4
5
6
7
8
3
3
3
3
f
brass mallets wood sticksf
wood sticks
f
3
f
slap stick hard malletsf
6
-
D55
1
2
3
4
5
6
7
8
4
4
wood sticksff
f
stones
ff
3 3
4
hard malletff
4
ff
4
ff
4
f
3
3
ff
1
2
3
4
5
6
7
8
hard mallets
ff
wood sticks
ff
very hard acrylic mallets
7
-
60
1
2
3
4
5
6
7
8
sim.
5
5
sim.
ff shaker
sim. 5
5
5
5
5
5
p
ff
sim.
5
5
65
1
2
3
4
5
6
7
8
ff
3
8
-
E Pull back briefly70
1
2
3
4
5
6
7
8
mf
guiro, wood scraper (dull, slow scrape)
f
wood sticks(scrape) mf
mf
guiro, wood scraper (dull, slow scrape)
afuche
mf
3 3
3
flexatone, singlestroke, brass mallet
mf
mf
sand paper
Push forward
75
1
2
3
4
5
6
7
8
f
wood sticks
f
3 3
f
light wood sticks
slap stick
f
hard mallets, articulate sound
f
f
3 3
wood sticks
f
3 3
wood sticks
f
9
-
80
1
2
3
4
5
6
7
8
f
guiro, metal scraper (loud, metallic)
3
f
shaker
slap stick
f
flexatone
f
shake 3 ratchet
ff
ratchet
f
3
slap stick
f
F85
1
2
3
4
5
6
7
8
f
wood sticks
5
f
soft rubber mallets
f
3 3
f
wood sticks
hard acrylic malletsf
3 3
f
hard mallet
hard acrylic mallets
f
f
wood sticks
wood sticksf
5 f
f
wood sticks
5 3 3
10
-
90
1
2
3
4
5
6
7
8
p
light metal beaters
very light metal beaters
f
4
f
vibra-slap hard acrylic malletsp
4
4
p
f
shaker 4 soft mallets
p
1
2
3
4
5
6
7
8
f
f
medium rubber mallets
wood sticks
f
f
f
f
f
p
11
-
95
1
2
3
4
5
6
7
8
4 p sub. f
p sub. 5
f
4 p sub. f
f
p
wood sticks 5f
f
4 p sub. p
5
f
p sub. ff
f
p sub.
f
hard mallets
4
p sub. p
5
f
100 G1
2
3
4
5
6
7
8
p
very light metal beaters
light wood sticks or mallet shafts
f
f
(wood sticks)
rute, long and loosely bundled
ff
scrape snares
ff
12
-
105
1
2
3
4
5
6
7
8
f
p
f
p
f
p
ff
scrape (vary timbre/pitch as desired)
110
1
2
3
4
5
6
7
8
p
very light metal beaters 4f
p
4
f
p
f
4p
f
4
light metalbeaters
f
sim.
pluck snares
3
13
-
1
2
3
4
5
6
7
8
f
p
4f
p
f
4p
H115
1
2
3
4
5
6
7
8
p
4f
f
4p
f
(ord.) 3 3 3
metal beatersf
flick
4 f
sand paper
4
(end scraping) 3 3 3 3
14
-
120
1
2
3
4
5
6
7
8
ff
soft, oversized mallet
long, loosely bundled rute
f
thin wooden dowels,play near edge
f
sim.
125
1
2
3
4
5
6
7
8
light metal beaters
f
light metal beatersf
wood sticks
ff
3
3
15
-
1
2
3
4
5
6
7
8
ff
p
wood sticks
ff
ord.
ff
ord.
ff
130I
1
2
3
4
5
6
7
8
ff
wood sticks, tip, near edge
3
3
sim. 3 3 3 3 3
3 3
3 3 3
ff
3 3 3 3 3
sim. 3 3 3 3 3
ff
3 3
3 3 3
wood sticks, shaftff
sim. 3 3 3 3 3
3 3
16
-
135
140
1
2
3
4
5
6
7
8
4
4
4
ff
3
4
4
4
ff
3 3
4
4
Lose momentum
145
1
2
3
4
5
6
7
8
p
light wood stick p
p
flick stones
mf
3p
light metal beaters
mf
ff
slap stick
light wood sticks
p
soft malletmf
ff
hard acrylic mallets 3
p
medium mallets
4
mf
p
wire brush
mf
wood sticks, tip p
p
flick
heavy mallet
ff
3
thin wooden dowels
p
medium malletmf
17
-
J Pause briefly150
Gain momentum
1
2
3
4
5
6
7
8
rain stick, turn over slowly
mf
l.v.
guiro, metal scrapermf
3
p
light wood sticks
mf
3
mf
hard yarn mallets 3 3
p
p
medium malletsmf
155
1
2
3
4
5
6
7
8
3
light wood sticks
mf
mf
prayer cymbal, light metal beater mf
light wood sticks
3
light metal beaters
mf
3 3
flexatone, single stroke, brass mallet
mf
mf
wood sticks mf
mf
shaker
18
-
K Push forward160
1
2
3
4
5
6
7
8
p
heavy wood sticks
f
heavy wood sticksp
f
heavy wood sticks
p
f
cricket callerf
f
wood sticks
f
heavy wood sticks
p
f
165
1
2
3
4
5
6
7
8
3
3
3
3
heavy wood sticks butt end
f
3
3
3
3
3 3
wood sticks
f
3
3
19
-
170
1
2
3
4
5
6
7
8
hard mallets
f
3
3
3
3
3
butt end of sticks
f
3
3
3
3
L175
1
2
3
4
5
6
7
8
4
medium rubber mallets
f
4
f
guiro, metal scraper
vibra-slap
f
4
3 f
shaker f
heavy wood sticks
20
-
180
1
2
3
4
5
6
7
8
wood sticks
f
metal beater
f
stones
f
4 wood sticks
f
f
afuche 4 4
f
hard acrylic mallets
4
3 3 3 3
4
4
3 3 3 3
4
4
3 3 3 3
4
185
1
2
3
4
5
6
7
8
hard mallet
mf
medium rubber mallet
mf
f
mf
medium yarn malletsf
mf
mf
mf
mf
f
slap stick
21
-
1
2
3
4
5
6
7
8
f
wood sticks
prayer cymbal, metal beater
f
f
5
f
5
f
f
5
f
heavy wood sticksf
190M
1
2
3
4
5
6
7
8
ff
wood sticks
wood stickff
ff
heavy wood sticks
ff
large, heavy beater
ff
ff
22
-
195
1
2
3
4
5
6
7
8
5 guiro, metal scraper
ff
5 p
medium rubber mallets 3 3ff
3 3
ff
ff
3 3
ff ratchet wood sticks
ff
200
1
2
3
4
5
6
7
8
ff
hard mallets
ff
hard acrylic mallets
3 3
wood sticks
p
ff f
light metal beaters
f
hard yarn mallets
f
3 3
23
-
205N
1
2
3
4
5
6
7
8
wood sticksff
light metal beaters
f
f
4
wood sticks
f
vibra-slap
f
acrylic mallet
3 3
4
f ratchet
f
light wood sticks
3 3
210
1
2
3
4
5
6
7
8
soft mallets
pp
f
24
-
215
1
2
3
4
5
6
7
8
knitting needles,scrape
f
3
3
soft mallets
pp
f
soft mallets
pp
f
f
bow
220
1
2
3
4
5
6
7
8
3
3
f
bow
pp
very light metal beaters
f
3
3
pp wood sticks
f
3
3
25
-
225
1
2
3
4
5
6
7
8
3 3
3
p
f
bow bow bow
3
3 3 3 3
3
bow
f
bow bow
light wood sticks
p
3 f
3
p
scrape with coin 3
f
3
3
p
1
2
3
4
5
6
7
8
light metal beaters
p
f
(Match volume of Player 4's high hat.)
26
-
230
1
2
3
4
5
6
7
8
f
wood sticks, shaft sim.
ff
very soft mallets(dull, muffled sound)
ff
scrape snares pluck
O235
1
2
3
4
5
6
7
8
f
light metal beaters 4 4
shaker
f
4 4
f
wood sticks 4 4
f
mallet shafts
wood sticks
f
4
4
light metal beatersf
4 4
27
-
240
1
2
3
4
5
6
7
8
hard mallets
f
3
medium rubber mallets
f
3
33 3 3
f
vibra-slap
3
f
small tam tam beater wood sticksf
3
f
shaker
3 3
3
245
1
2
3
4
5
6
7
8
3
3
3
fff
3
3
f
afuche, match volume of Player 2
f
hard beater
3
3
3
3
28
-
250P
1
2
3
4
5
6
7
8
ff
long, loosely bundled rute
f
wire brushes (tight), orvery light metal beaters
scrape with wire brush
f
f
(The scrapes lead into Player1's strokes on beats 2 and 4.)
sim.
f
hard bass drum mallet
l.v.
ff
strike with fist in center, deep sound with long decay
(use fleshy edge of fist near little finger, as if pounding on a
door)
255
1
2
3
4
5
6
7
8
29
-
260
1
2
3
4
5
6
7
8
ant. cym., light metal beater
f
p
light metal beaters f
p
f
f
light metal beater ord. scrape
large, soft mallet(dull, muffled sound)
f
1
2
3
4
5
6
7
8
p
f
p
f
p
f
ord. scrape
30
-
265Q
1
2
3
4
5
6
7
8
4
f
light metal beaters
p
f
stonesf
sim.
light wood sticksf
f
medium mallet
f
270
1
2
3
4
5
6
7
8
(rute)f
hard malletsf
medium yarn malletsf
f
f
wood sticks
31
-
275
1
2
3
4
5
6
7
8
guiro, metal scraper
f
f
soft rubber mallets
shakerf
guiro, metal scraper
f
slap stick
f
vibra-slap
f
cricket callerf
3
f
p
hard mallets
3
f
p
f
3
280
1
2
3
4
5
6
7
8
3 3 3
3 3 3
3 3 3
hard yarn mallets
f
4
3 3 3
hard yarn mallets
f
4
3 3 3
3 3 3
3 3 3
f
32
-
285
1
2
3
4
5
6
7
8
f
wood sticks
3
3
f
wood sticks 3
3
f
wood sticks 3
3
4
3 3
4
3 3
wood sticks
f
3
3
R290
1
2
3
4
5
6
7
8
f
p
f
f
f
f
hard acrylic mallets
f
wood sticks
f
ratchet
f
33
-
295
1
2
3
4
5
6
7
8
f
soft rubber mallets
4
hard acrylic mallets
4
wood sticks
f
hard mallets
4
300
1
2
3
4
5
6
7
8
hard mallets
f
light metal beater
f
wood sticks
flexatone,shake
f
f cricket caller
f
f
slap stick
wood sticks
f
34
-
305
1
2
3
4
5
6
7
8
wood sticks
f
3
prayer cymbal
3
3
hard acrylic mallet
brass beaterf
wood sticks
3
S310
1
2
3
4
5
6
7
8
medium rubber mallets
mf
3
mf
medium yarn mallets
mf
light wood sticks
mf
wood stick
mf
flick hard yarn malletsmf
3
mf
3
3
mf
shaker 3
35
-
315
1
2
3
4
5
6
7
8
3
4
guiro, metal scraper
mf
mf
afuche 4
metal beaters
mf
3
mf
4
thin wooden dowels
mf
medium mallets
mf
320
1
2
3
4
5
6
7
8
4
shakermf
3
light wood sticks
mf
4
hard yarn malletsmf
3 wood sticks
mf
36
-
T325
1
2
3
4
5
6
7
8
medium rubber mallets
f
p
f
3
f
brass beater 3
f
3
p
f
3
light wood sticks
f
1
2
3
4
5
6
7
8
f
wood sticks (plus hard mallets for piccolo wood block)
f
wood sticks
37
-
330
1
2
3
4
5
6
7
8
ff
very hard acrylic mallets 4 4
ff
very hard acrylic mallets 4 4
335
1
2
3
4
5
6
7
8
3
3
5
5
38
-
340
1
2
3
4
5
6
7
8
3
3
3
3 3
U1
2
3
4
5
6
7
8
4
4
4
3
3
39
-
345
1
2
3
4
5
6
7
8
4
4
4
4 4
4 4
350
1
2
3
4
5
6
7
8
3
3
3
3
3
40
-
V 355
1
2
3
4
5
6
7
8
ff
4 3 3
ff
sim. 4 3 33 3 3
ff
sim. 4 3 33 3 3
ff
4
3 33 3 3
ff
4
3 33 3 3
ff
4
3 3 3 3 3
ff
4
3 3 3 3 3
ff
4
3 33 3 3
360
1
2
3
4
5
6
7
8
3 4 4
4
3
4 4 ord. 4 3 3 3 3 3 3 3 33
3
4 4 ord. 4
3 3 3 3 3 3 3 3 3
3 4
4 4 3 3 3 3 3 3 3 3 3
3 4
4 4 3 3 3 3 3 3 3 3 3
3
4 4
4
3 3 3 3 3 3 3 3 3
3
4 4 4 3 3 3 3 3 3 3 3 3
3
4 4
4
3 3 3 3 3 3 3 3 3
41
-
365
1
2
3
4
5
6
7
8
4 5
4 5
fff
4 5
4 5
4 5
4
5
4
5
4
5
370
1
2
3
4
5
6
7
8
ff
ff
3
ff
ff
3
ff
hard beater
very hard acrylic mallets
ff
3
ff
ff
hard malletf
l.v.
42
