Wallin PHONOTYPE 1 by ScoresOnDemand

OnDemand

Wallin, Rolf Phonotope 1

Score for sale (North America): http://www.halleonard.com/product/viewproduct.do?itemid=14035515 Score for sale (UK, Europe and other territories): http://www.musicroom.com/se/ID_No/00029657/details.html?kbid=1296 Information about the work and materials for hire: http://www.musicsalesclassical.com/composer/work/13431

Score begins on the next page.

Chester Music Limited Part of the Music Sales Group

R O L F WA L L I N :

PHONOTOPE 1 FOR STRING QUARTET AND LIVE ELECTRONICS A biotope is a small ecological area supporting its own distinctive community of plants and animals, the different species dependent on eachother, the soil, the weather conditions etc. in a finely balanced network. A "Phonotope" would then be a musical "area", with sounds taking the place of living creatures, dependent of each other, interacting after certain rules. This piece has no score in the traditional meaning of the word. The part material for the musicians consists mainly of 5 musical "games", with small bits of musical material serving as "playing cards", and with a set of rules for each game. This allows the musicians a freedom of choice within clearly defined limits. There is therefore an element of improvisation, not in the sense of generating musical material, rather the impulsive choise between different possible directions within a given reservoir of musical building blocks . In addition to this game between the musicians, there is a game between the quartet and a computer, running a program made by IRCAM for this specific piece, partly transforming the sounds from the musicians in real time, partly playing precomposed sound files based on recorded sounds from the quartet.

THE FORM The main formal idea is the interaction between 5 very distinct musical materials, sonic "descriptions" of the five elements in traditionlal Chinese thinking: Metal, Water, Wood, Fire, and Earth. The piece consists of 5 large parts. Each of them is dominated by its middle section, the "Game" (or "Coagula", using a term from alchemy, meaning "Coagulate"), focusing on one of the elements. Each part starts with a short computer sound Introduction and ends with a "Relaxation" (or "Solve", in English "Dissolve"). The element in focus in these sections is dependent of the Chinese thoughts of how the elements consume eachother or transform into oneanother. 1. Computer introduction This is a precomposed 4 channel piece of computer music, composed using only heavily processed sounds of a string quartet. The musicians remain silent. Average duration: 1 minute 2. Coagula After each introduction, the four players play from one pair of pages marked "Coagula" following the rules of interaction that are given there. The computer reacts to and processes the sounds from the four players in a way that is tailormade for the "element". Average duration: 3 minutes 3. Solve After the given duration of the "Coagula" section, the computer becomes silent, and the four players go on to the "Solve" part. The performance rules for all the "Solve" parts are as follows: There is no interaction between the players. The page consists of 8 musical fragments. 5 of them are taken from the main element of the Solve part. Each player plays the fragments in freely chosen order. All fragments can be played more than once, and fragments can also be skipped. To the right of each fragment there are two directions that apply to the next chosen fragment: The average dynamic (this has to be modified if the playing style is contradictory to the dynamic), and a number of quarter notes of rest to be counted before playing next fragment. The pulse of the quarter note is counted individually by the players, and slows down from MM=60 (ca.) to MM=30 (ca.) during the Solve section, to ensure (statistically) gradually longer rests. The tempo actually played in the fragments is the elements "own" tempo (marked at the beginning of each fragment, except for "Water", which does not refer to any pulse). On top of the page, there is a fragment from the Coagula section that just has been played. To make a gradual change from the preceding Coagula section, it is recommended that this fragment is played quite frequently in the beginning of the part, and then less and less often during the part. A while after the start of the Solve part, the the computer plays a soft, precomposed passive background sound, which disappears again before the part is finished. Average duration: 1 1/2 minutes Violin 1 must have a clock, to keep track of the starting time of each part. The order of the 5 "triptychs" can be changed, and there must be made a sheet of paper showing the starting time of each part, based on the duration of the parts. The suggested order of the "triptychs" is: 2: Fire WATER Wood 1: Wood METAL Water 3: Earth WOOD Fire 5: Water EARTH Metal 4: Metal FIRE Earth Total duration: 30 minutes.

PHONOTOPE 1 is commissioned by IRCAM, Paris, and the Ultima Contemporary Music Festival, Oslo, with fundings from Norsk Komponistfond. PHONOTOPE 1 was written for and in collaboration with the Arditti Quartet. The computer program and the sound files were produced at IRCAM. Computer programming: Olivier Pasquet and Rolf Wallin. Premiere: Sunday October 7th 2001 at Lindemansalen, Norges MusikkhĂ¸gskole (the Norwegian State Academy of Music) during the Ultima Festival. The Arditti Quartet, Musical assistant: Olivier Pasquet, Sound engineer: Audun Strype

TAPE INTROUCTION 1: WOOD Duration 0:48

COAGULA 1: METAL Duration 4:39 The music consists of 16 bars, arranged clockwise in a circle. All notes must be performed as natural harmonics. The quarter tones are always the 7th harmonic of the string. In Appendix 1, the 16 bars are represented in a more traditional score. Bar 1 corresponds to the top bar of the right "Metal" page. While the Computer Introduction (element Wood) is playing, Violin 1 indicates with which of the 5 possible bars to begin (the 5 bars marked with a number between 1 and 5 in a circle). After this first bar, the bars are playedconducted by Vn1, in clockwise direction, with 2 â&#x20AC;&#x201C; 10 seconds' pause inbetween. When 3 - 8 bars have been played in this manner, Vn 1 gives a new number sign, and the bars are then played in anti-clockwise direction. Each time Vn1 gives a new number cue, the direction is changed from clockwise to anti-clockwise and vice versa.

SOLVE 1: WATER Duration 1:43

ÂŠ Copyright Chester Music Ltd. 2002

q ≈30

Coagula 1:

METAL

Bœo .

poco rubato

Violin 1

&11 4

Duration: 4:39

‰‰

WOOD

Bœo œ B˙ . ‰ ≈ ‰

Tape introduction:

Bœ ˙o

Duration: 0:48

oo oœ Bœo œo œo œo Bœo œo . ≈ ‰ ‰S

œo .

ooooo

5 &7 4 mp

III

‰

o √mœo œo œo loco œo mœ o Bœo œo œ &7 ‰ I

œo mœo œo . III

‰

m√˙o Œ

ooooooo o oo oo o ooooooooo &5 Œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ Œ 4

pp 7

√ mœo

&6 4

œo œo .

œo

‰ Œ

4 &3 4

mœo o Bœo mœo œo . œ II

≈

5 mp

m√ ˙o Œ p

mœo

&5 4mp 2 -Vn1-

≈

œo œo . œo p

‰

œo . p

œo

≈‰

Solve 1:

WATER Cello Duration: 1:43

mœo œo œo œo œo œo œo œo œo œo œo œo œo œo œo œo ≈ ‰ ≈

Metal q ≈30

Water

gliss œ T œ ( œ œ œT œ

4q ppp

œ ) œT

5q pp

Ÿ~~~~~~~~~ œ B œ œ ?(œ μœ) μœ Bœ μœ œ(nœ μœ) Water

2q mp

Left fingers: very light touch (harmonics when available) rubatissimo

Water

Ÿ~~~~ — sul A bø μø bø ø Bø nø nø Bø B ø nø ø μø nø mø ? ≈

9q p

Left fingers: very light touch

sul G (harmonics when available) Water

rubatissimo

? ø μø ø ø ø mø nø nø ø μø mø ≈

10 q mp

Ÿ~~~~~~~~~~

Water

Bœ

3q mf

Wood q ≈60

œ œ œœ œ œ œ œ ≈œ œ œ ≈‰ œ 6

8q p

. ˘ . .bœBœ Bœbœ. . B. œ. Bœ. . . . œ œ

Transpose chord freely up or down

Fire q =60

?Œ 3

4 -Vc-

≈ ‰

7q pp

TAPE INTROUCTION 2: FIRE Duration 1:39

COAGULA 2: WATER Duration 3:14 The WATER score concists of 3 main parts: – the SOURCEs, located at the four corners – the CENTRAL BASIN in the center – the RIM, 18 bars arranged in a circle around the CENTRAL BASIN. All bars in the WATER score must be performed ppp<"peak dynamic">ppp. Trill tones can be a minor second, a major second or a minor third above the main note, ad lib.. To perform the score (each new section is cued by Vn1): SOURCE: Ca. 50 seconds Many of the 5 bars in each SOURCE corner can be played either in full length or in short version, which is marked with dashed lines above the staff. Before playing the WATER score, choose one of the corners to start with, SOURCE A, B, C or D. On a cue from Vn1, wait up to 4 seconds and play the bar named SOURCE (A, B, C or D). Then, on each new cue from Vn1, wait up to 4 seconds and play another of the the 5 bars in the SOURCE corner. The first time you play a bar, play it in its short version (see explanation above). If you play it a second time, play it in full length. You can also choose not to play on a Vn1 cue, and leave the others to play without you. There must be 4-12 seconds rest from everybody has finished their bar to next Vn1 cue. Peak dynamics ad lib. between pp and mf, occasionally f. RIM: ca. 25 seconds Choose a bar in the RIM which is close to the SOURCE bar you played when the RIM cue was given. Play the bar. After a short rest (up to 3") play the next bar in the RIM, clockwise or anticlockwise at your own choice. Proceed in the same direction, with short rests between the bars, until the CENTER BASIN cue is given by Vn1. Peak dynamics between p and mp. CENTRAL BASIN: ca. 50 seconds Choose a bar in the CENTRAL BASIN which is close to the RIM bar you played when the CENTER BASIN cue was given. Play the bar, wait for the number of secounds indicated at the end of the bar, and play another bar, freely chosen between the bars in the CENTRAL BASIN. Repeat the procedure until Vn1 cues the return to the RIM. RIM: ca. 25 seconds Choose a bar in the RIM which is close to the CENTRAL BASIN bar you played when the RIM cue was given. Play the bar. After a short rest(up to 3") play the next bar in the RIM, clockwise or anticlockwise at your own choice. Proceed in the same direction, with short rests between the bars, until the CENTER BASIN cue is given by Vn1. Peak dynamics between mp and f. SOURCE: Ca. 40 seconds Choose a bar in the SOURCE which is close to the RIM bar you played when the SOURCE cue was given. (You may have ended up in the same corner as when you started, or in another one. ) Follow the instruction of the first SOURCE.

SOLVE 2: WOOD Duration 1:12

Coagula 2:

Tape introduction:

WATER

q =60

FIRE Duration: 1:39

RIM:

poco rubato

1st time

m˙~~~~~~ œmœ œ tr

oooooo ooo

btrœ ~~~mœ &

œœ œ bœ

œ mœ T

œtr ~~~~~~~ œ &

mœ

œ œ T

mœ mœ T

SOURCE B

& 6 -Vn1-

bœ œ œ T mœ mœ œ T

~~~ œ œ ~ œbœ œT

mœ T

˙~~~~ œbœœ œ œbœœ ≈ &

mœ T œ &

— T —

&¥

mœ œ œ T m œ T œ œ

≈

œ œœ œ T

œœ œœ T & œ

— — T

bœ œ T

bœbœbœ T

œ œ mœ mœ œmœ m˙tr ~~~~~~~

tr ~~ ~~~~~tr ~~ tr ~tr ~~~~ & b˙ m>œ m>œ œ . n˙ >

~~ œ ~~~~

mœmœ T trœ~~~~~~ &

ooo

oooo

&œ

oo ooooo ± œ b œ bœ œ m¥

III

btrœ~~~~~~~~~~

—tr ~~~~~~~~~~

~ ~>trœ ~~>tr ~ ~tr ~~~~~~ > bœ œ . n˙ tr

tr ~ ~ tr ~~~~ tr>~~ n> œ . n>˙ ~~ m œ . œ

ooo ooooo

~~~ bœ . ~~ ¥ & tr

o ±ooooo ooooo±oooo tr ~~~~ mœ ~ ~ ~ ¥ &

mtr˙~~. ~~~~~~~ œ œbœ œ

mtrœ ~. ~~~~~ œ œ œ. ~~~~~~ mœ bœ bœbœbœ ≈ tr˙~~ . nœ œ bœ ® bœ œ & œ.

f mp

ooooo ooo

˙~~~~~~~~~

SOURCE A tr

2nd time

mp pp

Duration: 3:14

bœ œ T tr>œ ~. ~~~mtr>˙~ ~ ~ ~ ~ & S T tr

& bœ

~ ~ ~ ~ ~ ~~ ~ ~ ~

11"

Solve 2:

WOOD Viola Duration: 1:12

mœ μœ) Bœ mœ nœ ( B

Water

Wood q ≈60

≈

œŸ~~~~~~~~~~~~

œ ≈ œ

μ œ œm œ

≈≈œ 3

Wood q ≈60

œ.. œœ. œ œœ

3q mp

œœ

≈

Wood q ≈60

5q f

œ œ œ ≈ œœœ

œ œ œ œ œ. œ. œ. œ œ œ. œ œ≈ œ ≈œ ≈œ ≈œ œ œ ≈ . > >œ > > > œœ

6q mp

4q pp

‰

Wood q ≈60

‰

8q pp

œœœœ

œ.

œœ—

2q p

Earth q =54

Metal q ≈30

o o o o o o &‰ œ ≈œ ≈œ ≈œ œ≈ œ

8 -Vla-

10 q mf

B ‰. μ œ œ œ œ ˙. mœ œ œ œ ˙ .

7q p

TAPE INTRODUCTION 3: EARTH Duration 1:09

COAGULA 3: WOOD Duration 2:14 Playing style: Sempre moltissimo flautando, generally molto sul tasto. Always with one finger on one string, or (occasionally) on 2 strings in parallell (constant physical distance between fingers, making the musical interval change with finger position on string). Bow change ad lib. (preferably not synchronized with melodic rhythm, mainly long strokes, ) MAIN MATERIAL: Tempo rubato. Free choice of phrases, free duration of rest between phrases. Play whole phrase or just portion of phrase, free start/end point. To the right of each phrase there is a dynamic curve. This curve is to be applied on the next phrase played. The dynamic span of the curve is free. The curve "><" can thus be performed for example as f > mp < ffor mp > ppp < mp. The curve of the first phrase played is free. The music should not be continuous, but rather come as passages of 3 to 15 seconds duration, and with 2 - 6 seconds of pause between. Violin 1 stops the passage when he/she feels for it, one of the other musicians starts it ad lib. It is extremely important to have a big variety of durations, both of sound and of rest. When one starts a new passage, the others should not join immediately, but individually within 5 seconds. It is also possible not to respond and remain silent. When Violin 1 cues silence, the others should not stop at once, rather individually within 5 seconds. INSERTS: One time each during the "Wood" movement, Violin 2 and Viola can give a sign to the others, indicating that everybody plays the respective "Insert" on page 11. In order to make a gradual change from main material to insert material and back again, the musicians continue playing the old material for some seconds, according to the instruction "Wait x seconds".

SOLVE 3: FIRE Duration 1:00

Coagula 3:

WOOD Violin 1

INSERT 1 (Vn2 cue): Wait 2 sec. Glissando speed maj2 - min3 per second Sempre molto sul tasto PITCH:

start pitch

lowest/highest possible end pitch

(mœ œ)

PITCH: Vn2 Wait 2 sec.

œ gliss U RHYTHM: 1" — 3" .. œ œ(œ) .. œ ≈ > >> ﬂ sulla corda mf

p. a p. cresc.

Play repeated glissandi, first on one string, later parallell on two strings, from the indicated start pitch(es) to a freely chosen point between the indicated end pitches. The "Rhythm" notation indicates a bowing with long notes of varying duration,separated by one or two short notes during the glissanso, and ending with a short note at the end pitch.

INSERT 2 (Vla cue): Wait 4 sec.

q ≈ 60

mœ mœ

lowest/highest possible end pitches

bœ mœœ) ( œ

gliss

SAME RHYTHM

ff After 10-30 seconds: Vn2 gives cue. Wait 2 seconds and go back to Main material

Play any number of notes in succession, then jump to any note and play any number of notes in succession.

.. œ œ ≈ œ ≈ œ œ œ œ ≈ ≈ œ œ. ≈ œ. ≈ œ. ≈ œ. ≈ œ œ œ. ≈ œ œ ≈ œ œ œ œ ≈ œ ≈ ≈ .. œ. >œ œ. . > œ >œ >œ >œ >œ > œ . > œ. >œ > œ. > œ Vn1 cue: light upbeat: subito p. heavy upbeat: subito f. Vla cue a*): play on A string Vla cue b*): play on C string *) Choose two different cues

After 20-30 seconds: Gives cue to go on., and go back to Main material

13 -Vn1-

TAPE INTRODUCTION 4: METAL Duration 1:22

COAGULA 4: FIRE Duration 3:52 Playing style: The sound should be dominated by noise rather than pitch. This is achieved by playing col legno or semi col legno, or with the hairs, but more motion "down into the string" than across the string, producing a sound with more noise than pitch. All tremoloes are played saltando, both the short ones (ordinary bouncing bow, either with hair, wood, or a mix), and the long ones (with the hair, pressing the bow down into the string while moving it slightly across, resulting in a continuously bouncing tremolo). The first 5 separate lines of page 14 are never to be played from beginning to end. One can start at the first beat of any bar on this page, or with the leading notes indicated by the dashed horisontal line before the barline. One can end with the first note of the same bar or of any succeeding bar on the same line, or with the notes indicated by the dashed horisontal line after this barline. The length of a phrase can therefore vary from less than two quarter notes up to almost one whole line. The rising arrows followed by a downwards arrow (one quarter note later) indicate that the player conducts an upbeat and a downbeat. The other players, if they are not already playing, can react upon this cue by starting playing starts at any valid starting point (see above) in any of the first 5 lines, so that the downbeat coincides with the conducted downbeat. The last two lines of the page contain five short phrases that can be played as a reaction on a cue from one of the others, just as explained above. The difference is that there is no indication for cueing the others. These phrases are therefore "dead ends", not leading to a new start from any of the others. The phrases function more as a heavier accentuation of the downbeat. FORM: The music should not be continuous, but rather come as passages of 4 to 20 seconds duration, and with 2 - 10 seconds of pause between. It is extremely important to have a large variety of durations, both of sound and of rest. Each passage can be started in one of two ways: 1)Violin 1 gives an active upbeat to the others. All four players start , in the dynamic suggested by Vn1's cue, with or without an upbeat, playing the downbeat together. The very first passage of "FIRE" should be started like this,exactly after the 1 minute and 22 seconds of the tape introduction. Although Vn. 1 decides the initial dynamic of the passage, the players are free to choose dynamics after that. 2) Without playing, Violin 1 gives a cue to one of the other players. This player starts at any valid starting point in any of the first 5 lines. This players' cue(s) start(s) the chain reaction of entrances described above. It is also possible for a player not to respond and remain silent during the whole passage . Violin 1 cuts when he/she wants. When Violin 1 cues silence, the others should stop within 4 seconds, not at once. INSERTS: One time each during the "Fire" movement, Violin 2, Viola, and Cello can choose not to obey Violin 1's cue for silence, but rather to go into their respective "Insert" on page 8. The others must then follow into the insert, following the rules given here. In Appendix 2, the Violin 2, Viola, and Cello Inserts are represented in a more traditional score.

SOLVE 4: EARTH Duration 2:04

13 -Vn1-

Coagula 4:

FIRE Violin 1

MAIN MATERIAL

q =60

Duration: 3:52

Dynamics: Plus/minus one dynamic level ad lib.

b>œ .

Tape introduction:

METAL

œ. Bœ. >œ œ .

Duration: 1:22

&Œ

5 8

> .μœ Bœ 3 4

>œ

œ. μœ. μœ mœ. m>œ 3μ>œ mœ ≈ mœ. S μœ. μœ. . > 2 4 mœœ. p mf

œ. œ. μœ mœ m˘œ ≈ ‰ œ. > > mf

>. œ μœ.Bœ. >œ B>œ >œ >œ Bœ œ. μœ. >œ > œ. > bœ. œ. B>œ œ n>œ œ . . . œ ≈ ‰ B œ 3 2 ≈ œ μœ & œ. œ. 4 μœœ > . μ>œœ>œœ 4 μœœ > ﬂ 4:3 mf

&‰

Bœ. >œ

Bœ. œ. n>œ mœ. >œ 5 S 8

≈

B>œ œ. bœ. B>œ œ. œ.

> .> .œ B>œ œ œ œ . Bœ. ˘œ μœ œ ≈ 3

B>œ œ. œ. >œ œ.

bœ.

>œ . >bœ œBœ μœ Bœ œ ® bœμœ.

3 ˘œ œ. >œ Bœ. >œ œ Bœ. . > > > œ . m>œ. . μœ μœ. mœ. >œ nœ. B>œ mœ μœ Bœ nœ Bœ nœ œ >œ . B μœ bœ B œ . ‰ ≈ ≈ 2 5 2 œ . & μœ . œ. œ 4 8 4 > . . 3 3 3 5 3

. ˘ . .bœBœ Bœbœ. . . Bœ. . . . .œBœ œ

Transpose chord freely up or down

&Œ 3

5:3

( . . . . ) 6

martellato

‰..

œœ œœ ≈ ‰ ﬂ ﬂ

Œ ff mf

ff mf

14 -Vn1-

mœœœœ œœ T ‰ >2 – 6 notes

( )(Bartók) pizz. ‰ >œ gliss. ad lib.

saltando

Max pressure

. . . . . . . . ˘œ . . ≈ ‰ . .

œ .œ .œ .œ .

saltando

œ≈‰ ﬂ

f mf

œœ >.

f mf

œ œ. œ. .

œ .

‰

Coagula 4:

FIRE Violin 1

& œœ

INSERT 1 (Vn2 cue): Pairs: Vn1/Vla — Vc/Vn2 Pairs: Vn1/Vla — Vc/Vn2 Vn2

m>œœœœ œœ œœ T

0,5" — 4"

.. mœœœœœœœœ T Œ >

.. Œ

Max pressure

2—6X

m>œœœœœœœœ T Max pressure fff

m>œœœœœœœœ T fff Max pressure

0,5" — 4"

new pitches UChoose Œ and return to B

Rebelling Pair

fff

Following Pair

‰

ppp

Choose new individual tempo for each repetition

e =120-156 B Starting Pair

U ‰

mp ppp

ppp

Short upbeat

Vn1

U ‰

mœœœœœœœœ T > mp

ppp

Choose a minor second within this range. Slow gliss. ad lib., max Maj2 up /down.

U œ œ œ œ m>œ œ œ œ T Œ Max pressure

Œ 0,5" — 4"

()

fff

Last time

Your follower will no longer obey you

D Starting Pair

0,5" — 4"

.. mœœœœœœœœ T >

mœœ œ

.. mœœ œœ œœ œœ T mœœ œ œ œ gliss >

Max pressure

fff

p sul pont.

Max pressure

Your follower will no longer obey you

Following Pair

.. Œ 0,5" — 4"

INSERT 2 (Vla cue): col legno saltando

Vla > & œ

˘ ss œ ( )œ ®

∑

Vn1

m>œœ œœ œœ œœ T mœœ œglissœ œ

.. ‰

m>œœœœœœœœ T Max pressure fff

fff

molto rubato Vn1 pizz.

œ œ mœ œ Bœ

Max pressure

μœ œ μ œ œ œ œ B œ μ œ œ B œ mœ

INSERT 3 (Vc cue):

Return individually to Main material

sul pont.

mœœ œ

μœ

μ˙

μœ

μœ œ &

œ >œ μœ μœ œ. . . . œ ≈ œ œ 4 ≈ .Bœ. œ. œ. ≈ n>œ 4 >œ > œ. μ>œ œ m>œ . œ mœ Bœ. f mp p p mf mf Vn1

3 œ>œ μœ. . μœ. μœ. œ. œ.Bœ ≈ œ. œ.Bœ ≈ & œ œ œ Bœ œ. œ B œ œ œ œ > μ œ .> . . . > mp f . >œ œ mf p 3

œœ œ. œ. μœ. . μ. œ. T œ œ. œ. . œ. œ. T œ Bœ. gliss . Return individually Bœ. to Main material 15 -Vn1-

Solve 5:

METAL Viola Duration: 2:04

Earth q =54

Bow pressure: Bowing point on string: Between one octove over high pressure, achieving note and sul pont. a constant subharmonic Occasional unexpected "dropouts" due to the halting of the bow

B‰

Metal q ≈30

o œ

&‰

U s mμœœ

o ≈ œ

ss U ‰ œœ

U ‰

o ≈ œ

U ‰

œœ

7q ppp

mœo o o ≈ œ mœ œo o œo . œ & I

Metal q ≈30

o o o ≈ œ œ ≈ œ

5q pp

III

œo .

III

‰

4q mp

Metal q ≈30

o œ &

III

o oœ mœ mœo o œo œ .

œo œo . œo œo

III

œo

8q p

Metal q ≈30 IV

&˙ o

6q mp

Metal q ≈30 II

mœo

œo S

Wood q ≈60

œ œ œ.. œ . œ œ B

œœ

œo

III

œo .

≈

10 q p

Earth q =54

B ≈ œ mœ Bœ ≈ μœ nœ nœ. >œ œ. œ μœ μœ mœ μœ

20 -Vla-

2q mf

3q pp