Winn’s Practical Method of | Popular Music and Ragtime Piano Playing A Better, Quicker, Easier, Surer Way of Learning to Play ‘PianoINTRODUCTION Ragtime is the name given to a characteristic style of ‘musie based upon and developed by the application of ‘simple and complex syneopation and figuration to the various part (voices) of each measure, separately or con bined, thus producing consecutively repeated syncopated harmonies Heavy, or Double Rag, the highest possible form of rag- time, for its development depends upon the doubling of the metre of each measure of a composition and the application of intricate syncopated rhythms and full harmony to melody and accompaniment ‘The comparative arrangements of classical and standard compositions thoroughly demonstrate and explain the art of converting melodies into both Single and Double Ragtime Aside from the technie required, ragtime presents two uunosual problems to the pianist; namely, the ability to harmonize a melody off-hand or sugment the harmony given and to then syneopate the tones thus produced ‘To play a composition aa arranged and vertten for piano isone thing: to couverta melndy into eMective ragtime is auite another AUTHOR'S PREFACE ‘The author intends no apology for the subject of this book. Ragtime, because ofits peculiar rhythm, is universal in ita appeal. No matter how high a degree of musical culture one haa attained, there is ever pretent the with to please and delight hy the rendition of this brilliant and fascinating style of music Asan instance und proof of the popularity of ragtime, it ‘may be authoritatively stated that ninety per cent of the successful popular compositions published today contain fan element of syncopation. The ability to play artistic rag- time is'@ worthy desire on the part of any ambitious pianist ‘This work, the first serious effort of its Kind to appear, undertakes to present and establish « comprehensive system fof rhythms capable of expressing certain well define syncopated rhythmical “patterns,” or “figures,”” and to demonstrate by actual comparison their dircet relationship ‘and application to melody and harmony These rhythms, oF “figures,” fst published in 1901, and from time to time since then, ace entiely original with this ‘method, having been in use by the author in his profes- sional work as pianist and teacher for more than twelve years, Recently they have been copied and exploited by various “schools” and methods, thus further attesting their practical value inthis special field of music ‘The author believes, and by experience knows, that careful study of this method will give to the pianist, whether beginner or advanced pupil, amateur or profes: sional performer, a greater degree of musical appreciation ‘and understanding. than previously possessed, and that the playing of ragtime ean in no way exert the harmful influ: “nee some prejudiced musicians would contend According to Emest Neumann, the well known musical authority, ragtime is no new thing in music, but a device ‘hich Jas heen madé use of by composers from time ine ‘memorial “The work of classical composers teems with examples, says Mr. Neumann in The Music Trades. “The passage. “How Vain Is Man," in Handel's ‘Judas Maceabeus,” is as good ragtime as much of the music that goes by that Similar effects introduced in other instances include Schumann's “Promenade,” “Pia Stretto” and “Von Schlaraffenland;” Beethoven's Pianoforte Sonata, Op. 28 (rst movement); Liszt's Hungarian Rhapsodies, Brahms’ Hungarian Dances, ‘Tschaikowsky’s Fourth and Fifth Symphonies, Gounod's “Faust"* Waltz, Arditi's “Il Bacio” John Philip Sousa, the noted composer and bandmaster, speaking of ragtime, in an interview said :~ “The worst that can Le said against ragtime by those who oppose it is that thas @ bad name"? ‘The method is not a subterfuge for or invasion of any part of thoroughly ethieal musical atieation, Tt may be employed with perfect success in conjunction with any standard method for piano As the name implies, the method aims to furnish teacher and pianist with practical material rather than a theoretical Momd R NoonGENERAL For the melody of a song read the voice part (top staf) or the top note of euch chord in the treble cif of the piano part (middle staff) Play all melody notes and rassing: notes in the treble clef in octaves with the right hand ‘Ascertain the harmonie tone or tones necessary to form a three or four tone chord in the treble (ight herd) Ly dhe nutes uf the treble and base (left hand) f the piano part as written, or by means of *Winn's Prac- tical Method of Keyhoard Harmony for Piano consulting Augment the harmony in treble and bass and gain facility in playing a composition in “straight” time before attempt ing to employ the rhythuss and Discord hass HOW TO CONVERT A FIRST—Play the melody (vuice part) in octaves with the Fight hand, employing stright” bass (alternate octaves snd chords) with the left hand “ SECOND Where convenient, one cr two of the tones of the prevailing harmony in each nicasure of the piano part sas written o as indicated by the employment of Winn’ Pructical Method of Keytuanl Harmony may be added \within the getaves in the treble par, thus producing a chord of wither three ur four tones in the right hand DIRECTIONS The notes employed in a practical application of the shythms depend upon the prevailing meledy und harmony Do not “rag” every melody note; aim to produce variety Give each note its proper count ‘The basa must be kept firm and smooth on the counts L334 Avoid playing too fast march tempo Ragtime should be played in slow For convenence and unifurmity, all arrangements are in 2-4 time MELODY INTO RAGTIME THIRD—The various rhythms and combinations may then be applied as shown and demonstrated in the comparative ‘arrangements of classical and standard melodies FOURTH When facility has been acquired, the Discord bass may be introduecd, and if the melody is adapted to double time each measure may be divided in half und four counts (heats) allowed to each half, This produces the highest possible form of Ragtime and is susceptible of the mast intricate, complex rhythueal and hasmonie treatmentTeachers’ Outline for Instructing Pupils In the Winn Method of Popular Music and Rogtime Piano Playing By RDWARD 1k, WINN Tecan Rook No, 1 el Hand Aloe 1 ade to end ba emai, be hp ed, loyah heel ad cout ard tnt dro. the Wale Seght ese n the Koy of © shown om ane, Tet Mak Se 2 Tf wo comet rad hat naan tac he Well Sieh Bo 1a the Key of by mas of the Chard Finder Chet shes acon pray Book Ne: Id the een of ames ew and expand on 3. Make cean dat te pap droopy undesande, tare to Iecate and cn play the Walls Sraiht Buse he Key ot Ch ‘ae impce costhy temecons) er ly Cee) Richt Hand Alone 4 Af sie a een ble station, hate tp ea sy whe the ay wi sed . oe ed ie tae an date on SI pup cama ed tle atin, rack he sae of C dn wn gong V Levees te Seale UBS, Choe ohh teense Bookie: (arena on page $30 ond the eal dapane oer Fr the rp having litle a ere bonledge ot att rao 2 sd ah Hands Together {5 Fishin died half end, vat il pan lr rapt wed sec tats the por rela ed sy wit at Kal tie ie and ve town on pe 9 7, faphin quater ate and have pun sul and peti, each lad stat td ogee. page 1D sad th Forte beginner pl pact and 7 comuhise Lemon Fecha ity ed oa ba omens Uae tibet Gaal eo) purer ty Su sal 7 cise 8 Sete fr she ‘pl a Popul Sing of single conten in 34 (wll) ae tte inthe Key of Cab slows the era alos au th pat of the vem chasm be amon ed wih chord of Cael, voi the horde ok hey he thence y este hoe wf C(Cpon ner he Wie Sa eh mre ml aha trek fee wae or Ur eon Have the pupil eh a play hth gt and toe the re fa (ota) ofthe tne be taught cy lcting el Tie rien nets sr The tui he ne ns sks a ele achat eat 10s shown in the empl below. muh dei omer ryt ‘nese af se pat feng to be eal he name Ne cp {Se aed to lamonae 45 ood 49) med mak OC Suen far Oar, Cord. Chen) dre abr esas rat ling on he cons 128 tor page aA) Tae the pu lay te had oe Fes the ml avy, ple rerrinia8 iO TT cme i se cazsgl UW 1 suman Lea Fwy th it 9 mote pig of nh No at al ¢ of: Popular Song telly ict ato dies ol jap ota se ight aby of he pup sold he prey ach evans tie Ret @ ui sch eas electron” asl ated When sonst ev of GF. Ba Eat aed A coll flo wih end named, Ay each nee cod nite mark on the srt mie dvs sow? te weanre sere mpage, dese te tame elo te Ter aon of the wae Yori he i the mer aes 46d 47s arti the Sandal, rs toe [let 2 pin tdertee (oe Lronal Me} ude ie pe Irie mart ttn he ace oa y's da ere Gn hcl te). Hcg ange sme ot” nin shane nad Ls ‘oF aod teach the pap oda we ip teen el itn red ne Saree pe {roam the Win tied at Bop Nt Iegtheh ofr» compet ence! 2) ate ten he ‘ed pinelr peed ety fete mle ad ia ‘Manner of Marking « Popular Song in Aocurdance with the Winn Method (See Pare 49) gt ott BS, canna ada — Toot ‘Treeet — Fourl 2¢————_ et, ‘wih there were reyLhe pupil 19 urged to complete Instruction Book N04 before taking ip the stu of thle volumes which és 5 Instruction Bock Wo 2 of the Winn Method of Popular Music and Raglime fans Playing. Count 1 Both hands together 21 count € Right hand alone Rhythm NO 2 he % count Count 2 Both hands together , ‘ o> Sun & Right hand alone Ragyiag One Melody Note in a Measure. | t Count 3 Lett hand alone (Right hand tie) i STF & Right hand alone Countibbeagde Count 4 Both hands together eenin ens & Right hond alone Play treble (rigA¢Aand) octave higher than written. Note:. If too diffiouls, the pupil may omit the Narsionie tone used with the oct Bl Chora of S18 Chord of © 121 Chen of 0 22 Chord of 0 “Winn? Bans Debord of @ 2nd Ohnrd of © A Chord of M8 Chord of 0 Ragging Two Melody Notes in a Measure, Bh onora of 6 st Chord of Bt obord of 0 Sed Chord of C ae = comp EYE QE GE jageg add a Nees bad,had iseeyega i ¥ =e = “Winn” Bass, — oS te, “Winn” Bass Ragging Throe Melody Notes in a Measure, Ragging Four Melody Notes in a Measure, 18 Chord of © 32 chord of C 1 Chord uf © BE Chord of O \ a Ue Copyright MONK by téward RMineFlower Song. In Ragtime- Employing Rhythm NOS tand 2, Comparative Rag arrengement demonstrating Rhythms Ne Tand 2 and combinations of both. First play melody part io octaves combined with the bass and then play Rag pact as written combined withthe base. Observe carefully the manner in which the melody notes are syncopated and apply both Rhythms to other melodies Mote:. If ton diffioult the pupit may omit the harmonic tone uted with the octave G.LANGE, Moderato ‘Ars. by EDWARD B.WIRN. Melody | SgOlerdf F sichories P £26 Ohord of F L8Cherd of P Count | My | Urpeggo sign) Indleates thatthe tones ofthe chord are tobe broken upward in rapid succetsio. \ote:. May be omitted if too difficult. Copy reht MEMAIIT 89 Rlword RMennDouble “Winn” Bass, When the majority of the measures of 2 composition contain more than four melody notes each, no mater in what ‘netre(time)the piece is written, whether 2-4 or 4-4, the baes of each measure may be given eight counts instead of four, or each measure may be divided in half and four counts applied to each half. This doubles the number of oe- taves and chords in the bass of each measure. Hence, the name, Double Bass, Apply Double""Winn” Uaxs to other melodies having more than four melody notes in the majority of measures March In Ragtime- Employing Rhythm Not cnopin Araby Bdicard kin rd Ohord of @ ed Chord Slowly. To be Memorized, Melody tt hort of Sed Chordef @ gO ss > F 4 %Note-- Cctuve may be omitted because of inconvenient skip in melody. Copurieht MCMAT by Ktwnrd B. Winn0 Double Straight Bass. Old Folks At Home Play treble (rigat Aund) octave higher than written. FOSTER Reg = = = Com } 3 #9 ES When facility in playing the above and other exercises bas been acquired the harmonic tones may he added! in the right hand, ox explained on Page 21 Instruction Book No. Coperight MOMLE by Record Bian,Rhythm No. 3 Ragging One Melody Note in a Measure ‘The sarious forins of Rhgthars Nos,t.and 2 ag set forth in Instruction Honk No.t haying plod te several melodies, one form each of Rhythms Nas, 3, 4 and § wit! vulfice Play treble (erg? Aandd cotave higher than w fat Chord og rd Chord of 0 ice aadalpegeurage Ft 3 itshar fb 2S = bo Phen of 0 eo Hho 3 Rhythm No.4 Ragging One Melody Note in a Measure Play treble (right Aand) ct higher than written, Vite Uf ton difficult, (he pupil moy ont the harmonin tone aed with the vxtove Le hark of Oo Bet Oho fd Chur of 0 “Winn! Baas Be Ghee of © 2nd Chord of Sed Chord of © Panertehe MOMK 6 Heart 8 WowRhythm No.5 Ragging One Melody Noto in a Measu: Play treble (right hand) octave higher thea written, Soni si tne Notes. If ton diffiontt, the pupil may omit the Aarmonie tone ward with the vetave, Lit Chord of 6 Yd Chord of © {st Chord of O Pad Chord of 0 “Winn” Bass i chord of 2nd Ohand 0f 0 Ind Chand of Lt Ohnt of £ # # —— 3 F = ee 4 £ eg ly bas —S= Effective Combinations. Rhythms Nos {4 and 2 Rhythms Nos. 3 and 4 obra of 0 1 olard 18 ond of 0 a chert fo Rhythms Nos. 4 and 4 Rhythms Nos. 5 and 3 Int Churd of © rd Chord of © 18 Chord of © Sed Chord 0f © Count 1 ete, “Wins? Bane Copgries MOMET ty Reward RianMaryland, My Maryland. In Ragtime . Employing Effective Combinations of Rhythms Nos. 5-3, 3-4 and 5-4 To be Memorized Play treble (righ Aana) octave higher than written. RANDALL, Arn hy Babaard Bhi 18 Ohord of 0 Ist Chord of 0 Lee chord 0 Bil Chord of © - i “Finn” Bese Sd Chord of Sod Chord of C Bt Chord of 0 We ohare nfo “Ist Chordef Pi ft Chord of 0 Heb Chore of 0 40d Chon fo Gnd Chord of © Srd Chord 0 ard Chord nf bet Chord fe fet Ohord of © & the abbreviation for da/ eggno and mesas to return to the sign § and play ta close or point marked Fine Copyright MCMEY by Baward #.H0n” . Discord Bass Dixeoed Hass is of 8 contrapuntal nature and so called decause of the liberal employment ni passink notes hie when introduced in & fundamental chord, produce a discord (dissonance, Good taste and judgment must te relwd ups in deciding when and where to apply Discord Bass. It may be stated, however that it 8 most effective tea used in contrary motion to th melody orwhen the melody part is stationary or moves slowly. Mortorize the different forms and examples of Discord Rass, ascending and descending, and substitute them for the" Wing” Bass inthe rhgthm exerrises and ragtime arrangements previously given. Also emplay them when cancerting a composition into eaytime, Is order to aquire complete mastery of Discord Bass the pupil should transpose the different forms and examples iven lo other keys (sesles, particularly those of G, K Brand £5 the keys mostly used for writing sheet music First Form ‘The First Form of Discord Bass consists of Octave, Chord, Chord, Octave on the counts 1, 2,34 in each measure as fellows EXANPLE A Passing ep nate helew chard tong — ff Chor fC pacying Note halteatep above chord tone oe ati : iad eS — ~ = ad fe —— Pegngye 2 SS $s 288 Ses Ee. ee = See Al ded Chad if 2b ERS ERE HS a a Second Form ‘he Second Form af Discord Bass consists of Octave, Chord, Qetave, Octave on the counts 12 3-4 in each measure 25 follows:- EXAMPLE B Wthord flee Chord fC Lb Chardef Srl hantef Wt Chord f 6 lord YC So ! tenet Belts ie sae Feel Gee EXAMPLE C fa choedeg tt Bad z sont ange. seomadde ah Soe b, cheb ctes 2 eet pg = EXAMPLE D . i £ feed, waa] Hagia Ee ee ne et Chord of Bhd hard of Grd Chard £ $ to $e he St ee SS Cunyriaht MEAN ng Renn B Won‘ Discord Bass iconiove Third Form ‘Ine Thitd Form af Fiiveord Bass consists of a succession of four cansveutive Ortaves up the enunte J. 2. AA anus measure a flows EXAMPLE E bet Char of nd Chord of 0 Son Chord of be thant fe _* et Bae se - eH Ss sre Mt Chard ft But Chord f 2 EXAMPLE F Wet Chord of © 2nd Chord af 2 Bs hnd of 6 Srt Chord fo Isp Chard of 0 ee 5 =a £et of pa = = aera Shae a hspiieks | Mt hort fC 2a Chord of 6 Sr Chard of. Bs Chard af 0 t fom! = stesta Se ste: EF) iF EXAMPLE G a ees EXAMPLE I Modulating Exercise. Comparative modulating exercise showing'“Wina” and Discord Bass of the 3rd Chord in each key of the cycle of twelve keys, ia = ry oN it gto By = be fk Pie == i oe ee . wae = oS Over vanities uf Manor Bass founded upon the above thrce forms are possi, but the usual aod most fictive have een shosea ia the foreqeiag #xamples, pert MOAT by Bart BOAmerica Ia Ragtime - Emptoyiog Discord Baas Te be Memorize Old Englist Air Not too fast Arr by Board fe Wis 1 Ohns 0 Mt Chord fo rd chore of 0 Ind Chord of © “Wing? Bees Discord Base-Exarmple A Discord bast7Example E 1 Ohord 0f 0. Sit Chord of © Li Chord of 0 Bi Chord of 0 4 Indicates supplied passing note in treble, as shown on page 30, Instruction Book Not epyright MONEY Wy Klward R.Winn" America (Continued) rd Chord f 0 rd Chord of Srd Chord of © Ged Chord GO 9 it Ohord of © Jet Chord of D Minor fot Chord of © tet Chord of © oa, FO nn mee tte ee Diseard Bass- Example 1 Exercise To be Memorized Sk Chord of © nd Chord of 0 It Chord of 0 Met Chord if © te tt Bae b Pupils may substitue their ov: conception of Discord Bass in the various forms, instead of using that which s given, oe Cupyritht NOMAD by Board B WinnRagtime Essence. To be Memorized ‘That the pupil may better appreciate that effective Ragtime is, after all, nothing more nor less than ‘consecutively repeated syncopated harmonics? the following theme, consisting of sixteen measures and employing but four *kangrs of harmony, is given. “Winn” Bacs is used in the first eight measures; Discord Rass in the test eight nieasens Apply both styles of bass to other melodies. Observe that the melody is not played in octaves as previously but ay pears as the top note of each chord io the right hand, This produces variety and prevents the constant playing of eta io the right hand. Apply this style of treble to other melodies. “Winn” Bass Ira Chord of 6 EDWARD R,WINY. rd Chord of D Sad Chord of Jet Ohord of © Discord Bass stig Bed Chord of D > Srd Chord of 8 . (PS red ConyrieAt MONEY by Rlword WonSingle Straight Bass - With Passing Note Added (Emptoying “Rotting” Bass in Tonths) A Passing Note may be added tothe “Winn” Rass (alternate octaves and chords) befmem counts 2 and 3 and Setween counts 4 and 1. The passing note usually employed is the tone a balf-step (semi-tone) directlv below or above the tone which it precedes. Do not use pasving notes in every measure, Aim to produce variety. Apply passing note to Single Winn” Bass gf other melodies. ‘To be Memorized EDWARD R. WINN. Slowly. Bl Chord of © Bet Chord of Sed Chued of 0 Sok Chard of fe Sd Chord of Sra chord of 0 fet Chord of 0 Sod Chord of 0 Sed Chord of D Sd Ohurd of @ pal fot pie epee fff £££ fee. ehh Fo eg [ia gh ae gg bad Ooperteht MONEY ty kbword B.Rinn,Single Discord Bass Discord Bass may be substituted in ceetain measures when playing Single “Winn” Bass by repeating an count 3 the chord employed on count 2 and placing a passing note on count 4, or a Series of three passing notes may be introduced as follows:- Play first passing note Serween counts 3 and 4, second passing note ox count 4 and third passing note after count 4. This succession of passing notes may consist of diatonic (scale) tones or chromatie tones (consecutive half-steps),or a combination of both, and may ascend or descend, The various forms in Single Discord Bass are shown herewith, Observe carefully the manner in which the passing notes are emplayed and apply to other melodies. To be Memorized EDWARD R. WINN. Sind Chord of A int Chord of D nd Chord of 8 ti - tetas £ tey \ ( o Gan eye fy an Sst Chord of © # Slowly. Sn Ohardof nt Chora ey 0 Ink hor ef © Me Chord of © fe £h fe = is beat gag be Cuoas¢ In chrb of 4 br Ohndeg Cho 3 ir te art Rod »f b Ind Chord fad Cho g 0 a Careape go When facility in playing the above exercise has been acquired the harmonic tones may be added in the right hand, as explained on page Instruction Book No.1 ‘> indicates that the tone or tones over which this sign is placed are to be prolonged beyond their norma duration. PoparteM MEMXY by Keward B Winnat Double Discord Bass, Employing Double Bass, as explained on page 9 is shown herewith the last eight measure of the same melody given on the previous page. The following style of bass, together with the application of the Rhythms and their com: binations to fell harmony in the treble, as explained on page Instruction Book No 1, produces the most effective form of ragtime, Apply all the formas of Discord bass (as given on pages 1 and 15 to other melodies having more than four melody aotes in the majority of measures, thus producing Double Discord Bass. To br Memorized EDWARD R. WINN, la Cherdof 0 Chord of © Sed Chord of A rd Chord of A je fF # Sirk Chord of D Sid Chord of D Bel Chord of D Minor —— Lat Choe of D Minar i Bai hood af 2d Chard of C Bt Oherd of € and Chora of D 7 z wee ptt ttt te tht Grd Chae of 6 Sed Choc f bt Chord of C Le Chind of 0 CanyTiAhl NOMAD by Reward BianWinn's Rag. Employing Various Rhythms and Discord Bass To be Memorized EDWARN #.WINN Grd Chord of Ard Chord of © Be chord of € herds 6 Sed Chord of © 9rd Chord of © Ld Chord of © a2 £ i St Chord of C Sr Chord of Ie third if © ‘loom i od # $e 4 Fantop oR pete ofe 0Syncopated (Ragged) Bass To be Memorized EDWARD R.WINN Bet Chord of © rd Chord of © eens bet Chord of ind Chord if Sed Chord of 0 et Chord of 6 aed herd of 2 fel Ohord of D Minor Sed Chord of © Sind Chard of © bi Chord of © Sed Chord of 0 rd Churd of 0 bit Chord if @ ont bee bie = ‘s b Te SA Chndel Dt Cordes Data MBrM | Mybherd Sw chrd 9 0 (ee peresbqajtere seri |t Conyright MOKA by Baeard 2 Winn2nd Chard | et Ohord g ohrélie herd nd Chord of 0 Loa 3 i 1 2nd Chord of 0 Pigeon tu chor | 0d Ord Sd Ohord of & Ist Ohord of © ve 3 sls. Ist Chord of Sra Chord uf © 18 Chord of C Convright MCMAP by Riward B.Wi0nLove's Old Sweet Song. (Coatiaued) Lk Chord 0 et Chord © rd Chord of Bnd Chand of Ltt Chard of Ami fo ord of Amie — ae lout y RE SE ‘ft Ind Che of rd Chad of Sr herd J 0rd Chord of 0 SS i A Icout } 3 RS EF vA Sa Sd Chord of 6 Ind Chord of & Sind Ohord of Card Chord of 0 Wet Churd of © Iet Chord ef Ind Chord of F f= ay =| ax It Chuntof te Chord of sarcantage Mfhinel — MCS a ord ago ant Clard ff Card f 0 ta Charts =e ee comb es La hy tet a ae b he Ae a ei § 2 of iv \ % Effective synaopation may also be produced when playing in waite metre by advancing the ote or notes on the sir count (eat) ofa menture « half count (ighth note) into the previous meayure and binding with « tie, Use thie device constantly.Teacher’s Testimonial of Graduation Winn Method Teachers exhibiting in their stall she Teacher's Diploma ised by the Winn School nf Popular Musie of New York are rsaon= mended to the favarable consideration of the ub § t ol theo in Popsiar Music as having stivioctorily fel teribed for the Teachers’ Co Ruwtime. Motion Piste and Vandcville Plane Plaving and. having stained « degree of excellence in the Wins Methods fur Piano, fave heen awarded thie Tesimonist of Graduscion, by Edvard R, Winn. the criginatee of the ‘Wing Methods for ly authorized representative ine ee An Awacd of Mesitsire Wald ashen, jeued by the Wing Schael of Popular Music will be presemted by Winn Method te span completion of Sete wes £6 purl ws Book Noo Lin resetical examination atthe re time in 4 satisfactory manner the pote 2806 Tete selectel by the teacher, ema of both Pupil’s Testimonial and Certificate of Graduation Method of Ragtime Piano Playing in 2 sateoc ill be peeseted by the Wing Methed teacher with a handiome Testimonial es 2 Certificate of Graduations site x16 inches. ined by Winn School of Populee Manic. an evidence of the attainment of commendable technica) und srtnte prficiensy