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@melbay.com

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

TTT|N

FMTIC emzSsl F 7

STHtfrmFTNTI

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