Jeppe Ernst
Cantus (Vol. III) (2024) for ten performers (five female performers and five male performers) Dur. 30′
for Scenatet
SCORE
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Edition·S publications are supported by the Danish Arts Foundation / Edition·S udgivelser er støttet af Statens Kunstfond
Jeppe Ernst
Cantus (Vol. III) (2024) for ten performers
(five female performers and five male performers)
Dur. 30′
INTRODUCTION
Cantus (Vol. III) is a piece written for ten performers (five female performers and five male performers) and is composed for touch and facial muscles. The piece is the third in a collection of eleven pieces, collected in three volumes with the overall title Cantus
In Cantus (Vol. III) the ten performers stand in four lines on four podiums of various heights (the lowest podium nearest the audience, the highest podium furthest away from the audience).
The piece consists of four movements (six minutes each) in which the ten performers stand in the following positions:
Cantus VIII:
Cantus IX:
W1
M1-W2
M2-W3-M3
W4-M4-W5-M5
W1
Cantus X:
Cantus XI:
M1-W2
W4-M4-W5-M5
M2-W3-M3
M2-W3-M3
W4-M4-W5-M5
W1
M1-W2
W4-M4-W5-M5
M2-W3-M3
M1-W2
W1
NOTATION
Facial muscles
Eyebrows
Upper line: eyebrows as high as possible
Middle line: eyebrows in neutral position
Bottom line: eyebrows as low as possible
U pper line: E yebrows as high as possible
M iddle line: E yebrows in neutral position
Eyelids
Lips
Touch
B ottom line: E yebrows as low as possible
Upper line: right eyelid
Bottom line: left eyelid
U pper line: R ight eyelid
B ottom line: L eft eyelid
A note: open eyes
A crescendo: gradually open eyes
A note indicates to open eyes
A crescendo indicates to gradually open eyes
A diminuendo: gradually close eyes
A dmiinuendo indicates to gradually close eyes
A note: move lips
A note indicates to move lips
A crescendo: gradually move lips from neutral position to the indicated position
A crescendo indicates to gradually move lips from neutral position to the indicated position
A diminuendo: gradually move lips from the indicated position to neutral position
A diminuendo indicates to gradually move lips from the indicated position to neutral position
An arrow pointing diagonally upwards to the left: move the left corner of the mouth diagonally upwards to the left.
A n arrow pointing diagonally upwards to the left indicates to move the left corner of the mouth diagonally upwards to the left
A n arrow pointing diagonally upwards to the right indicates to move the right corner of the mouth diagonally upwards to the right
An arrow pointing diagonally upwards to the right: move the right corner of the mouth diagonally upwards to the right.
L ips should be parted and teeth clenched
Lips: should be parted and teeth clenched
A circle indicates to create a big circular shape with the lips.
A circle: create a big circular shape with the lips
Teeth should be spread so no teeth can be seen
Teeths: should be spread so no teeth can be seen
A n arrow pointing upwards indicates to move the upper lip upwards (as much as possible)
A n arrow pointing downwards indicates to move the lower lip downwards (as much as possible)
An arrow pointing upwards: move the upper lip upwards (as much as possible).
An arrow pointing downwards: indicates to move the lower lip downwards (as much as possible).
Teeth should be clenched
Teeth: should be clenched
Three-lined system:
A note in a three lined system: touch the head of the performer on the podium below.
An upwards pointing notehead: Right hand touching the head of the performer on the right-hand side.
A downwards pointing notehead: Left hand touching the head of the performer on the left-hand side.
Upper line: the left side of the head
Middle line: the top of the head
Bottom line: the right side of the head
Two-lined system:
A note in a two lined system: touch the head of the performer on either side (on the same podium).
An upwards pointing notehead: right hand touching the head of the performer on the right-hand side.
A downwards pointing notehead: left hand touching the head of the performer on the left-hand side.
Upper line: ear lobe
Space between upper and bottom line: jawline
Bottom line: chin
U pper line: E ar lobe
S pace between upper and bottom line: J awline
A n upwards pointing notehead: R ight hand touching the head of the performer on the right hand side
U
B ottom line: C hin T
S pace between upper and bottom
A note in a two lined system indicates for the performer to touch the head of the performer on either side (on the same podium)
A downwards pointing notehead: L eft hand touching the head of the performer on the left hand side
A n upwards pointing notehead: R ight hand touching the head of the performer on the right hand side
A note in a two lined system indicates for the performer to touch the head of the performer on either side (on the same podium)
lined system:
A downwards pointing notehead: L eft hand touching the head of the performer on the left hand side
U pper line: E ar lobe
A n upwards pointing notehead: R ight hand touching the head of the performer on the right hand side
S pace between upper and bottom line: J awline
A downwards pointing notehead: L eft hand touching the head of the performer on the left hand side
Three-lined system:
B ottom line: C hin
U pper line: E ar lobe
hree lined system:
hree lined system:
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside of a clenched fist (thumb inside the fist)
U pper line: E ar lobe
S pace between upper and bottom line: J awline
B ottom line: C hin
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside of a clenched fist (thumb inside the fist)
S pace between upper and bottom line: J awline
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside clenched fist (thumb inside the fist)
B ottom line: C hin
A downward-pointing triangular notehead: hit the head of the performer with the underside of a clenched fist (thumb inside the fist).
A note in a three lined system indicates for the performer to touch the head of the performer on the podium below
T hree lined system:
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside of a clenched fist (thumb inside the fist)
A square notehead indicates to touch the head of the performer with the underside of a flat hand (fingers clenched)
A n upwards pointing notehead: R ight hand touching the head of the performer on the right hand side
A downwards pointing notehead: L eft hand touching the head of the performer on the left hand side
A square notehead indicates to touch the head of the performer with the underside of a flat hand (fingers clenched)
A square notehead: touch the head of the performer with the underside of a flat hand (fingers clenched).
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside of a clenched fist (thumb inside the fist)
O nly when touching the left side of the performers head the touch should be with the upper side of a flat hand
A square notehead indicates to touch the head of the performer with the underside of a flat hand (fing clenched)
U pper line: T he left side of the head
O nly when touching the left side of the performers head the touch should be with the upper side of a flat hand
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside of a clenched fist (thumb inside the fist)
M iddle line: T he top of the head
A square notehead indicates to touch the head of the performer with the underside of a flat hand (fingers clenched)
O nly when touching the left side of the performers head the touch should be with the upper side of a f hand
B ottom line: T he right side of the head
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
Touch should be with the upper side of a flat hand. (Only when touching the left side of the performers head.)
A square notehead indicates to touch the head of the performer with the underside of a flat hand (fingers clenched)
O nly when touching the left side of the performers head the touch should be with the upper side of a flat hand
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
O nly when touching the left side of the performers head the touch should be with the upper side of a flat hand
A square notehead indicates to touch the head of the performer with the underside of a flat hand (fingers clenched)
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other)
A note in a two lined system indicates for the performer to touch the head of the performer on either side (on the same podium)
O nly when touching the left side of the performers head touch should be with the upper side of a flat hand
When a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts.
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other) wo lined syst m:
A n upwards pointing notehead: R ight hand touching the head of the performer on the right hand side.
A downwards pointing notehead: L eft hand touching the head of the performer on the left hand side
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
U pper line: E ar lobe
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other) wo lined system:
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first and third finger while making a tremble with the wrist of the hand
A regular notehead with a circle with an arrow above indicates to make a circular movement with the third finger. Right hand: Counter clockwise; Left hand: Clockwise (the hands mirrors each other).
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the th finger. R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other).
S pace between upper and bottom line: J awline
Two lined system:
wo lined system:
B ottom line: C hin hree lined system:
Two lined system:
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first and third finger while making a tremble with the wrist of the hand
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other)
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other)
Two-lined system:
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first and third finger while making a tremble with the wrist of the hand
A regular notehead with a glissando indicates to slide the upper side of the third finger from just below the ear lobe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
A regular notehead with a glissando indicates to slide the upper side of the third finger from just below the ear lobe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first and third finger while making a tremble with the wrist of the hand
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first third finger while making a tremble with the wrist of the hand.
A downwardspointing triangular notehead indicates to hit the head of the performer with the underside of a clenched fist (thumb inside the fist)
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first and third finger while making a tremble with the of the hand
An upwards pointing notehead with a tremolo: touch the ear lobe of the performer with first and third finger while making a tremble with the wrist of the hand.
A regular notehead with a glissando indicates to slide the upper side of the third finger from just below the ear lobe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (making the whole hand tremble)
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (making whole hand tremble)
gular notehead with a glissando indicates to slide the upper side of the third finger from just below the obe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
quare notehead indicates to touch the head of the performer with the underside of a flat hand (fingers nched)
A regular notehead with a glissando indicates to slide the upper side of the third finger from just below the ear lobe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
A regular notehead with a glissando: slide the upper side of the third finger from just below the ear lobe down the jawline to the chin/from the chin up the jawline to just below the ear lobe.
A regular notehead with a glissando indicates to slide the upper side of the third finger from just below ear lobe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (making the whole hand tremble)
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwadsbackwards)
O nly when touching the left side of the performers head the touch should be with the upper side of a flat hand
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (making he whole hand tremble)
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwadsbackwards)
A regular notehead with a trill: make a trill with upper side of the second and third finger (making the whole hand tremble).
W hen a tremolo is added the hand is to tremble according to the dynamics that is inidicated above the notehead in a bracket, while the clenched fingers gradually parts
G eneral notation
G eneral notation
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwadsbackwards)
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (making the whole hand tremble)
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (ma the whole hand tremble).
wo lined system:
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwadsbackwards)
G eneral notation
A cross indicates to have hands flat down the side ( I dle position)
A cross indicates to have hands flat down the side ( I dle position)
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands mirrors each other)
G eneral notation
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwadsbackwards)
A regular notehead with a circle with an arrow above: make a circular movement with the third finger. Right hand: counter clockwise; left hand: clockwise (the hands moving synchronously: forwards –backwards).
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the thi finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwad backwards).
A cross indicates to have hands flat down the side ( I dle position)
G eneral notation
GENERAL NOTATION
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position
A n upwards pointing notehead with a tremolo indicates to touch the ear lobe of the performer with first and third finger while making a tremble with the wrist of the hand
G eneral notation
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
A cross indicates to have hands flat down the side ( I dle position)
× A cross indicates to have hands flat down the side (idle position).
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
A cross indicates to have hands flat down the side ( I dle position)
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position
D ynamics: pp = Very soft touch f = H ard touch
A regular notehead with a glissando indicates to slide the upper side of the third finger from just below the ear lobe down the jawline to the chin / from the chin up the jawline to just below the ear lobe
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position
D ynamics: pp = Very soft touch. f = H ard touch
A cross indicates to have hands flat down the side ( I dle position).
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position
➤ An arrow indicates to move hand from idle position to the indicated touch/from the indicated touch to idle position.
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
D ynamics: pp = Very soft touch f = H ard touch
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic
A regular notehead with a trill indicates to make a trill with upper side of the second and third finger (making the whole hand tremble).
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position
A movement from a touch to an idle position is to be performed ‘accelerando’ (gradually faster).
D ynamics: pp = Very soft touch f = H ard touch
D ynamics: pp = Very soft touch f = H ard touch
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic
Dynamics: pp = Very soft touch. f = Hard touch.
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic
A regular notehead with a cicle with an arrow above indicates to make a circular movement with the third finger R ight hand: C ounter clockwise; L eft hand: C lockwise (the hands moving synchronously: forwadsbackwards)
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic
D ynamics: pp = Very soft touch f = H ard touch.
The dynamic of the touch is only to be understood from a visual point of view. This means it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic.
A cross indicates to have hands flat down the side ( I dle position)
Touch: If nothing else is indicated (and if possible) a touch followed by another touch is to be performed legato.
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the phy movement towards and away from the touch (rather than the actual touch) that indicates the dynamic.
A n arrow indicates to move hand from idle position to the indicated touch / from the indicated touch to idle position.
A movement from a touch to idle position is to be performed 'accelerando' (gradually faster)
D ynamics: pp = Very soft touch f = H ard touch
T he dynamics of the touch is only to be understood from a visual point of view T his menas it is the physical movement towards and away from the touch (rather than the actual touch) that indicates the dynamic
Transitions
A regular notehead indicates to make a step in the indicated direction of the arrow
A n upwards pointing notehead: R ight foot
A downwards pointing notehead: L eft foot
A regular notehead: make a step in the indicated direction of the arrow. An upwards pointing notehead: Right foot.
A downwards pointing notehead: Left foot.
A n arrow indicates in which direction the indicated foot is to face
← An arrow indicates in which direction the indicated foot is to face.
- A minus indicates to make a step on the spot (standing in the same place) in the indicated direction of the arrow.
+ A plus indicates to make a step to the podium above or below (indicated in the bracket above the system).
- A minus indicates to make a step on the spot (standing in the same place) in the indicated direction of the arrow + A plus indicates to make a step to the podium above or below (indicated in the bracket above the system) x A cross indicates to make a step to the side (sideways)
× A cross indicates to make a step to the side (sideways).
A step is to be prepared by lifting the indicated foot an eighth note before the step
S tucture
A step is to be prepared by lifting the indicated foot an eighth note before the step.
STRUCTURE
E ach C antus consists of three parts (a, b, c) which are repeated two, three or four times
E ach part can consist of either facial muslces seperately, touch seperately or facial muslces and touch combined
1) F acial muscles
2) Touch
Each Cantus consists of three parts (a, b, c) which are repeated two, three or four times. Each part can consist of either facial muscles separately, touch separately or facial muscles and touch combined.
3) F acial muscles + touch (the numbers indicated are only relevant for this overivew of the structure and is not to be confused with the numbers occuring in the actual score)
C antus V I I I
a1 - b1 - c2
a1 - b2 - c3
C antus I X
a2 - b2 - c3
a2 - b3 - c1
a1 - b1 - c3
C antus X
a3 - b3 - c1
a3 - b1 - c2
a2 - b2 - c1
a2 - b1 - c3
C antus X I
a1 - b1 - c2
a1 - b2 - c3
1. Facial muscles
2. Touch
3. Facial muscles + touch. (The numbers indicated are only relevant for this overview of the structure and are not to be confused with the numbers indicated in the actual score.)
Cantus VIII
A1 - B1 - C2
A1 - B2 - C3
Cantus IX
A2 - B2 - C3
A2 - B3 - C1
A1 - B1 - C3
Cantus X
A3 - B3 - C1
A3 - B1 - C2
A2 - B2 - C1
A2 - B1 - C3
Cantus XI
A1 - B1 - C2
A1 - B2 - C3
R
4 ( M 1+ W 2)
1 ( L eft hand)
4 ( M 1+ W 2)
1 ( L eft hand)
4 ( M 1+ W 2)
2 ( W 4+ M 4+ W 5+ M 5)
4 ( L eft hand)
( M 1+ W 2)
1 ( L eft hand)
4 ( M 1+ W 2)
2 ( R ight hand)
4 ( R ight hand)
4 ( L eft hand)
5 ( R ight hand)
5 ( L eft hand)
M 5 ( R ight hand)
R
4 ( M 1+ W 2) M 1 ( L eft hand)
W 2 ( R ight hand)
( R ight hand)
( R ight hand)
5 ( L eft hand)
M 5 ( R ight hand)
( R ight hand)
1 ( L eft hand)
2 ( R ight hand)
( R ight hand)
( R ight hand)
( L eft hand)
4 ( L eft hand)
R
4 ( M 1+ W 2)
1 ( L eft hand)
W 2 ( R ight hand)
3 ( W 1)
ight hand
( W 4+ M 4+ W 5+ M 5)
4 ( L eft hand)
1 ( M 2+ W 3+ M 3) W 3 ( R ight hand)
5 ( R ight hand)
yebrows
R
4 ( M 2+ W 3+ M 3)
3 ( R ight hand)
1 ( R ight hand)
( L eft hand)
1 ( M 1+ W 2)
M 2 ( R ight hand)
( R ight hand)
M 3 ( L eft hand) W 4 ( L eft hand)
M 4 ( L eft hand)
5 ( R ight hand)
( R ight hand)
( R ight hand)
( L eft hand)
( L eft hand)
( R ight hand)
( R ight hand)
( L eft hand)
M 3 ( L eft hand)
W 4 ( L eft hand)
M 4 ( L eft hand)
W 5 ( R ight hand)
( R ight hand)
3 ( L eft hand)
4 ( L eft hand)
4 ( L eft hand)
5 ( R ight hand)
5 ( R ight hand)
5 ( R ight hand)
1 ( R ight hand)
1 ( L eft hand)
1 ( M 1+ W 2)
( R ight hand)
4 ( L eft hand)
M 5 ( R ight hand)
3 ( R ight hand)
W 4 ( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
5 ( R ight hand)
5 ( L eft hand)
M 5 ( R ight hand)
2 ( L eft hand)
W 3 ( R ight hand)
3 ( R ight hand)
4 ( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
( R ight hand)
5 ( L eft hand)
M 5 ( R ight hand)
M 2 ( L eft hand)
( R ight hand)
M 3 ( R ight hand)
4 ( L eft hand)
M 5 ( R ight hand)
M 2 ( L eft hand)
3 ( R ight hand)
M
( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
M 5 ( R ight hand)
4 ( L eft hand)
M 5 ( R ight hand)
W 4 ( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
( L eft hand)
M 5 ( R ight hand)
M 2 ( L eft hand)
W 3 ( R ight hand)
( L eft hand)
M 3 ( R ight hand)
M
( L eft hand)
( R ight hand)
W 4 ( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
5 ( R ight hand)
5 ( L eft hand)
M 5 ( R ight hand)
3 ( M 2+ W 3+ M 3)
M 2 ( L eft hand)
W 3 ( R ight hand)
( L eft hand)
3 ( R ight hand)
1 ( L eft hand)
W
( R ight hand)
4 ( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
M 5 ( R ight hand)
W 4 ( L eft hand)
4 ( R ight hand)
4 ( L eft hand)
4 ( L eft hand)
M 4 ( R ight hand)
M 4 ( L eft hand)
5 ( R ight hand)
( R ight hand)
4 ( L eft hand)
M 4 ( R ight hand)
4 ( L eft hand)
5 ( R ight hand)
4 ( L eft hand)
4 ( R ight hand)