Chorus The line of a perfect circle is nat perfection of the first order. The line of a perfect circle is perfect as a fine. But itis not perfect without limitations, it fs not perfect as an unending line, It is not perfection of the first order, it Is not the perfect line. ‘The perfect straight line is ‘the’ perfect line, Why Because itis the only perfection of the frst order. Likewise its ray, the perfect eternal ray, is perfection of the first order. The perfect eternal ray Is also ‘the’ perfect ray. For only itis as ray 2 perfection of the first order. The cross-figure. ‘The figure which objectifies the concept of this pair of perfections of the first order, is the figure of the perfect right-angledness: or, in other words, the ‘cross-figure. This is the figure that represents a ray-and-line reduced to perfection of the first order. It characterises the relationship becween perfections of the first order as a perfect right-angled relationship, a ‘cross’ relationship. This figure is actually ‘open’. Dancer spoken) In those days Piet Mondriaan sent a messoge that he was in Holland and that he ‘ould not return to Paris. Mrs Honnaert invited him to stay and when one afternoon | came round, he wos sitting with her ot table. He made a strange impression upon _me because of his hesitating way of speaking and the nervous twitching of his ‘mouth. in the summer of 1915 he stayed in Laren and rented o small atelier in the ‘Noolsestreet. Inthe evenings we would go to Hamdorf because Piet loved dancing. Whenever he made a date (preferably with a very young gir) he was noticeably ood-humoured. He danced with a straight back, looking upwards as he made his ‘solved’ doncesteps. The artists in Laren soon begon to cal him the “doncing madonna’! One oftemoon in 29 t was with him in Poris and mez the Hoyacks in his atelier After a while, without saying anything, he put on a smal! gramophone (which stood ‘05 black spot on a smal! white table under a painting of which it seemed to be the extension) and began quietly and sty. with Madame Hoyack, ta step around the atelier. invited him to dine with me as we used zo do in the old days. Walking (on the Boulevard Raspail suddenly | had the feeting that he had shrunk. It was a strange sensotion. In the metro we said goodbye: when we heard the whistle he ‘laced his hand on my arm and embraced me. | saw him slowly walking to the ext, his head sfightly to one side. lost in himself, softary ond alone. That was out lost meeting Chorus —a cross’ relationship. ‘We can prolong it on any side as long as we wish without changing its essential character, and however far we prolong this figure it never atzains a perimeter, it never becomes ‘closed’ thereby, itis thereby totally and utterly boundless: it excludes all boundaries, Because this figure is born from itself in ‘our conception, it characterizes the concept of perfect opposites of the first order, as a concept of the essential ‘open’, the actual and real ‘unbounded’. Engish translation by Tim Coleman © Copyright 1989 by Boosey & Hawkes Music Publishers Led.Performance Note “The text sung by the four volees discusses the ‘perfect line’. Inthe original book, a ‘cross-fgure’ 1s shown: This Is an example of a ‘perfect straighe line’, according to the metaphysical theories of the author, Dr. Schoenmaekers, who greatly influenced Mondrian’s thoughts. ‘A “boogle-woogie’ piano is placed on the left side at the back of the hall. At rehearsal fig. 29 - or earlier, depending on the size of the hall ~ the dancer begins moving extremely slowly from the plano towards the conductor. She walks backwards, ‘drawing out the laser beam with her outstretched right arm. ‘She should reach the conductor at rehearsal fig. 39 anc, four bars before 40, lowers her arm so that a gigantic laser-T (created by means of small mirrors) suddenly appears above the ‘audience. At that moment, completely unexpectedly, the boogie-woogie piano part begins. The dancer, taking a microphone, starts talking about her memories of Mondrian (see score). ‘The English version of the spoken text may be chosen, though the ‘exotic’ authentic Dutch ‘of the writer, painter and composer is preferred, le Is very importane that the same person ‘makes the T” and speaks the text. Some spotlights should be used during the performance of the dancer/speaker. LA Anmerkung zur Auffihrung Der von den vier Stimmen gesungene Text handelt von der “vollkommenen Linie", im Original Ise cine “Kreuzfigur” abgebildet: Sie ist ein Beispel fir eine “vollkommene gerade Linle” gemal den metaphysischen Theorien des ‘Autors Dr. Schoenmaekers, der Mondrians Gedanken stark becinfluBt hat. Ein “Boogie-Woogle”-Klavier steht hinten links im Saal. Bei der Probenzifier 29 - oder {riiner, je nach SaalgréBe ~ finge die Tnzerin an, sich extrem langsam vorn Klavier auf den. Dirigencen zuzubewegen. Sie geht rickwarts und "zieht” mit ausgestrecktem rechcem Arm den Laserstraht hervor. Sie soll den Dirigenten bei Probenziffer 39 erreichen und lift vier Takte vor 40 den Arm sinken, so daB ein gigantisches Laser-T (erzeugt durch kleine Splegel) plétzlich Uber dem Publikum auftaueht. In diesem Augenblick beginnt véllig unerwartet der Part des Boogic-Woogle- Klaviers. Die Tanzerin nimme ein Mikrophon zur Hand und fingt an, Uber thre Erinnerungen an Mondrian zu sprechen (siche Partitur). Die englische Fassung des Sprechtextes darf gewahlt werden, doch ist das “exotisch” urspringiche Hollindisch des Dichters, Malers und Komponisten vormuziehen, Es Ist von groBer Wichtigkeit, daB ein und dieselbe Person “das T macht” und den Text spricht. Wahrend der Darbietung der Tinzerin/Sprecherin sollten mehrere Punkcscheinwerfer eingesetzt werden, LA (Obersetzung: Anne Steeb-Mueler)Written with the financial support of the Fonds voor de Scheppende Taonkunst De Stijl was first performed on 9 June 1985, at the Paradiso, Amsterdam, by ‘Kaalslag’. Recording: Elektra Nonesuch 79342, and as part of the complete De Materie on Elektra Nonesuch 79367, by the Schénberg Ensemble with the Asko Ensemble, with members of the Netherlands Chamber Choir and Gertrude Thoma (voice), conducted by Reinbert de Leeuw. Instrumentation 3 Flutes 2 Alto Saxophones in Eb (2nd doubling Baritone in ES) 2 Tenor Saxophones in Bb Baritone Saxophone in Eb 4 Trumpets in C 4 Trombones 4 Women's Voices Female Speaker 2 Pianos (2nd preferably electric) Synthesizer (strings/harp presets) Upright Piano (behind the audience) Percussion (2) 2 Electric Guitars Bass Guitar 12 drum sets: shat, cymbals, 8 ayndrums, snare drum, bass drums vibraphone (including c"),glockenspel (ad i), metal and heavy meal (eg. 4 ear bumpers) 45 gongs ‘The ensemble should be balanced by electronic amplification. ‘Note: Transposing Instruments written in Cin the score, Duration: 25 minutes Conductor's score, vocal and orchestral parts are available on hire.De Stijl 1085 ‘Louis Andriessen (1389) ; 3 i i Hote Flute 2a Alto Saxophones 12 ‘Tenor Saxophone 1 ‘Tener Saxophone 2 Baritone Saxophone Trumpet 12 "Trumpet 24 ‘trombone 1.2 ‘Trombone 3.4 4 Female Voions Piano i Guitar Guitar 2 Base Guitar ‘© Copyright 1996 by Boosey & Hawkes Mueie Publishers Ltd.L238 ASan Le Teer T8an.2 Bar. Sax. ‘pt 12 Tye ‘Tne. 12 Tone. 34 Fou. ¥. Pao. oes. 1 Pere. 2 ht. Bass GutFas A Sen. 12| TSe1 Tse Bar. Sax. pt 12 ‘Tot 34 Tone 12 ‘Thne. 9.4 F legato, sempre senza vibrate Fem v. | ot —— Pao? Synth, Pere. Pere.2' Git. 1 uit. 2 Bass Git23 A Sex. 12 1 Sen ‘TSex2 ‘Bar. Sex. ‘pt 12 Ty34 ‘The. L2 ‘Teme. 34 Pao. Pere. Pore.A Sex. 12. TSen1 TRSec2 Bar. Sax. ape peas Tone, 1.2 Tone, 34 Poo?! Synth. Pore, Pere,2mea ASer 12 Tse Tsan.2 Bar, Sax. Tee ‘Tread Tone. 12 Tone. 34 Poot Fao.2 ‘Synth. Peco. 1 Peve.2 uit. 1 Guit.2 Base Guit,2a A Sa 12 TSm1 Tse2 Bar. Sax. ‘Tee a Tete ‘Tone. 12 ‘Time, 24, Fom.V. Pao. Pao. 2: Pere. Pere. 2 uit. 2 Base Guit,Lag A Sen.12 Tsen1 Bex? Bar. Sax, Teh Le Tp 84 Tone. 1.2 ‘Tone. 4 Fem. ¥. Pood Synth, Pare. 1 Pere,2 Gust. ‘ouit.2 Bae Guit,A Sex, L2 TSex1 TSen2 Bas. Sax, Tyee Tes Tone. 12 ‘Tene. 2.4 vol-strek-te lin, Pood Pao. 2: Pere. Poco. uit. 1 ‘Guit.2 Bass Gait10 A Sex 1.2 Tset Teme Bar Sex, Tee Ted Tone. 4 Fom. ¥, Pro.2 Synth. Pere, Pore.2 Guit.2 Basa Guit.maa A.Sax 12 8a, Tien.2! ‘Bar. Sax, Tee Tyo The. 12, Fem. V. Prot Synth. Pore. 1 Pero, 2 uit. 1 uit, 2 Base Gut,2 FL23 ASe 12. TS T8en2 Bar. Sa, tye ye 34 Tone. 12 Tone. 34 Fom. Pere. Pere. 2 ait.Las A Sox. 12 TSex1 TSax.2 ‘Bar. Sax. ‘pe La ‘te 94 ‘Tome 12 Tone, a4 Pore 1 Pere. 2 Git. 1 Guit.2 ass Gitu #231 A Sex.22| TSent ‘TSen2 Bar Sex. Ty 12 Ty a4 ‘Tne 12 ‘Tone, 24 Fen. ¥. Pro. Synth, evo. Pore. 2) Gait. uit. 2) ase Gult,A Sen La TSan1 Tae Bor. Sax. ‘The ‘Tet 84 The. 12, Thon. 34 Fox, V. Pro, Pere, 1 Pore. uit. 1 euit.2) Bass Quit,16 F233 A Sex, 1.2 Tem TSe22 Bar Sax, Toe 2 Tye as Tone. 12 ‘thne. 3.4 Poo Synth, Pore. Pore 2 uit 1 Gui, 2 ass Guitmas Aan 12 Tmt Teax2 Tp12) Tod ‘The. 12| Tone. 24 Pao. 2. Poe. 1 Pere 2 Gait, 1 Gait 2 Base Gait.18 m2 A Sax. 12 Sox. TSen2 Bar Sax, pee pt ae ‘Tone, 12, Tonn 34 Fem Y. Pao. Synth, Pers. 1 Pere 2 Gait. Guit.2 Basa Guit,L238. ASax 12 TSax.1 Tsan2 Bar. Sax, pee ‘To 34 ‘Fone. 12 ‘Tone. 3.4 Pere. 1 Pere. 2 uit. 1 Git. 2 Bass Guit,A. Ser 12 TSeni 1 Sax.2 Bar. Sa Tp ‘pts Tho. 12| Tene 34 Fon. ¥ Poo. L ere. 1 Pers. 2 uit. uit. Base Gut,m2 A Sox. 1.2! Sax. TSex2 Bar Sax. Tt. 12 Teh 34 Tone. 1.2, ‘Thm. 24 een. Ve Pro. 2. Peco. Pero,2 uit. Guit.2 Base Oui.22 A Son 12 TSan1 TSax2 Bar, Sex. Trea Treas ‘Too 12 ‘Tone. 34 Fem. V. Pao, 1 Pro. 2 Pere 1 Pore 2) Gut. 1 ait. 2 Bass GuiltFL2s. A Sar 12 T8en1 7 8ax.2 Bax. Sex. ‘Tee 1a Tp sd Thre. 12 ‘Tone. 3.4 em. ¥. Pao. Pao 2 Pere. 1 uit. 1 Gut.2 Base Gis.m ASan 12 ‘D8e1 7802 Bar. Sax, Teha4| ‘Tone. 12 Troe. 3.4 Fem. V. Poo. 2. Pare 1 out Rass Gut,ro na Fa. A. Sie. 1.2 Sen. ‘TSun2 Bar. Sax. Tyee Tp ad ‘Tune. 13 The 4 Fem. ¥, Pao, 1 Pno.2 Pere. Pere, 2 uit, 2 Bass Guit,26 rL2a| A Sex. 1.2! TSan 1 TSax 2 Bar Sax, yee ‘pt. as Tne. 1.2 Thro. 3.4 Fem.¥. vere. 1 Pore. 2) uit. uit. 2 Bae Gait,28 A Sar 12 Rse1 7 Sex.2 Bar, Sex. ‘tpt 12 ‘tpt Tone 12 ‘Troe, 84 Fem. ¥, Poo.d Pao.2 Pere. 1 Pere. 2 uit 2 Baas Cut,ns A Soe. 12 TSan1 ‘TSax,2 Bar. Sax. Tie Tot a4 ‘The. 12, Thre. 84 Fon. ¥, Pao 1 Pro. 2 Synth, Pere, 1 ere. 2 uit. cuit, 2 Baca Geit,Flas. ASen 12 TSox1 1 8ex2 Bar. Sax. ‘Tot 12) tye 34 ‘Tne, 12 The, 4 Fem. ¥. Poo. Pao. 2: Pore. 1 Pore, 2 Guit. 1 Bass Guit,30 Fas ASe12 TSax.1 T8ax,2 ar, Sax, Tote Tt at ‘The. 1.2 The, 34 Pro. Poo.2 Symi. Pece.2 Per. uit. 2 Gait. 2 Baas Gult,A Bax. 12 TSaxt TSen2 Ban. Sax, ‘Tet 12 Tot. 84 Teme, 12 ‘Tone. 34 Fem.V. Pas. Pere. 4 Pere. 2 Cult, 1 uit, 2 Base Gust,a2 Fas ASox 12) 180.1 TSax2 Bar. Sar, ‘pe 12 Tye 34 Toe. 12, ‘Tne. 84 Fem. V. Prue. Pro.2 Pere. Pere. 2 Baas Gul33 mas A Sex 12 TSm1 ‘TSa2 Bar. Sax. pa Teas ‘Thaw. 12 The. 34 Fem, V, ere. 1 Pore. 2 Guit.2 aes Guit,45 i a) A Sex. 12 TS TBe.2 Bar. Sax. THe Tp ad ‘Tone, 12 ‘Tone, 34 Fem. ¥, Pao. 2, Pere. 1 Bere, 2' uit. cuit 2 Base Guit,ms A Sax 12 T8an1 ‘T8ex2 Bar. Sax. pt 12 ‘Teese ‘Thue. 12 Thee. 34 Fem. ¥. Pro. 2: Pare. 1 Pore. 2 Gait. ‘Gut. Bass Guat,2a A Sax 12 TSen1 Sex. Bar. Sas, Tye Treas ‘Time, 12 ‘Tone. 34 Pood Fao.2 Pere. 1 Pere 2 Guit.2 Bass Gut,ma ‘A Sox. 12 TSa1 Tm2! ‘Bor: Sex. Tp 12 ‘ye The, 12, ‘Tene. 24 Fem. ¥, Puo.2. Pere. 2 Git. 2 ut. Base Guit,Pao? me Pere. 2 cuit. 1 Gui 2 Peers Bomire bee mm 8 am aoeBar. Sex. 2 ‘Bar Sox. Tone. 12 ‘Toe 94 ‘Synth, uit. Gait 2) Base Guit, XY Bar, Sax. 2 Bor, Sau. 225 Ber, Sax. 2 ‘ar. Sax. 1 ‘The. 12 Tone. 54 Pno.2 Synth, uit. Baas Grit XV moo aBar. Sax. 2 Bar. Sax. 1A Sax 12 TSen1 T8en.2 Bar. Sax. Tee pea Tne 12 Tone. 14 Poot Poo? Pore. 1 Pere 2 uit. (ewig) Gait. 2 Beco Gaitmos A Sax 12 ‘Téen1 Tsan2 Bar. Sax. Tee Treas ‘ono, 12 Tone. 34 Fem. ¥, Pro. Pno.2: Pere. 1 Pere. 2 uit uit, 2 Bass Gut,Fas A.Sax. 12 ‘Tse t ‘TSax2 Bar. Sas. Hee pt. a4 Time. 12 ‘Tho. 34 Fem. ¥, Poot Pao. 2 ‘Syath, Pere. 1 Poce 2 Base Gut.46 Fas A Sax. 12, 7 Sax1 Sen Tp Le Tt a4 ‘Tene, 12 Tone. 34 Fer. V. Poo. Poo. Pere. 1 Pere. 2 Guit.2 Base Guit,2a. ASax, L2 TSen1 T8an2 Bar. Sa pea Tp. 34 Thos. 12 ‘Tone. 3.4 Pro. 2. Pere. Pere. 2 Git, 1 Gait. 2 Base Guitmaa A Sar 12 T8071 TSen.2 ar. Sax, pe 12 Teas Tone. 12) ‘Tone. 34 Pood Synth, 3 bhat + hase drum A sérumsming ad id af 2eymbaloon the head F Cut. Gut 2 Bass Gut,A Sec 12 1 Sen1 ‘7 Sax.2 Bar, Sx, pt Le Tp 4 Thao. L2 Ton.34 Fen. ¥. Poo 2 Synth. gut 1 uit. 2 Bass Gui.A Sax 1.2 TSex 1 7 S0x.2 Bar. Sax. Tee Tot. 34 Tene. 1.2 Tine, 04 Fom. V. Pood Poo.2 Synth, Pore 1 Pars, 2 Git. 1 uit 2 Base Gait.L238 A Sox 12 Sex. 7 8ex2 Bar. Sax. Tea Tot 3.4 ‘Tone. 12, Thee. 34 Pao. Pro.2 ‘Synth. Pore 1 Pere. 2 Gait 2) as Git62 FL23, A Sax. 12 7800.1 Sex Bar. Sax, yee Tet Tons. 12 The. 34 Fem. V. Pro. 2 Synth, Pere. 1 Pore. 2 Guit.2 Base Gull,Aa A Bar. 12 Text Tam2 Bar. Sax, Tp 12 pha ‘Tone. 12 ‘Tone. 24 Pure. ere. 2 Guit.1 Gait. 2 Bass Gu.mas A Sax. 12 TSuc1 TSox.2 Bar, Sax. Tp 1.2 Tp aa Tone. 1.2 Tone. 34 Fem ¥, Pao. Pao. 2. Pere. eve. 2 Base Git,‘Tone. 12, ‘Tone 84 Pao. 2. Biase Git ‘ nas ‘Thaw, 12, Thoe. 4 Base Gut 55 ‘molto marcato e prioBasa Gait, Pao, 2 eee. 1 Pore. 2Pro. 2 Gut. uit 2 Pasa Gui. Pro. uit. cuit. 2 Baws Guit, Base Gut,TSex.2 Bar. Sax, Teta ‘pt 3A Tone. 12 Tene 54 Fem. V, Synth. Pere. 1 Pore, 2 Git. 1 Gust. Bass Guit,A Sec 1.2 T Sant TSen2 Tota ‘Tome. 12 Tone, 3.4 Pood Pao. 2. Pore. 1 Pore.2 Gait t Gult.2 ass Gutmize A Sax 12 7801 TSen2 Bar. Sax. ‘Tyee Tp 84 Tone. 12 Tone. 34 Pood Pro.2. Synth, Pore. 1 Pore 2 count 2 Base GuitASox.12| Sent Tae 2 Bas, Sa. 4 Tyee Teh as ‘Tone. 84 Fem. V, Pood Pao. 2) Synth, Pere. 1 ere. 2) Gui. Goit.2 Base Guit,#23 A Sax. 12 TSex1 TSen2 Bor. Sax. ‘ph 12 Tyr st ‘Tone. 12 Tone. 34 Synth, Pore. 1 Pere. 2 uit. 2 ‘Bass Gut,23 A Sex 12 a1 Tsan.2 Bar. Sax. fo a2 Tp.) Thee. 12 ‘Tone. 34 Fam. ¥, Pood Syath. Pore. 1 Pere. 2 uit. 2) Base Gust,FL2s, A Sax 12 TS 7 8ae2 Bar. Sex, Tyee pt 94 ‘Thee. 12| Tone. 84 Poa Synth, ate F dees Ce ¥ ete drum, noo a ib Pere. 2 Git 2 Gait. 2 Base Gut.#23 A Sax 12 TS Teena Bar, Sax, ‘Tot.12 pt. 84 Tone, 12 Tone. 4 Prod Pore. 1 Pere. 2 Gait, 1 uit, 2 ‘ase Gut,66 Gait. Bass Gult,wpe plano Tkwam er be vieht van Plet ° Mondrian, ‘Hon-dri-aan " sent a messageParijs teragkon’ english renturn (0 Paris ‘pr. piano, a Voie “wroeg hem te lo geen english Han-nacrt*)' in-vit - od him t0 stay ‘pr. piano, \ Voice ‘in nen wa, ‘zat bij bij haar aan ta-fel "Hj maak-to een merk-waar-di- ge in-druk op me (english T came round, fhe wos sit-tingwith her” at ta-ble." He made a strenge ‘ope. piano door ijn aur-re-len=de "ma-nior vaa ‘spre-ken (english pea, zn hoofle-nige-rins op - (english) ‘embraced mo,” [eau him slow-ly walking to the exit, his head slightly 4 4 i 4 “aij ge-bogen,’ in echzelf terug gotrok- ken, oen-raam., english) tone side," lastin him self eoletery and olone, That wos our last" meeting,™ m23 A Sax 12 TSax 1 Tse Bar. Sax. Th Le Tea Tone. 12 "Thea 34 Fem, V, Pao. 2 Pore. 1 Pere. 2 Gait. Gait. 2 Bats Guit,FL2a A Sax 12 TSa1 Tex. Bar, Sax. Tp 1.2 ‘pt aa ‘Tene, L2 Tene. 4 Fea. ¥, Pood Poo? Pere. 2 uit. 1 uit. Base Gait | Feta sas ‘46 was A Sex 12 TSant Tem 2 Bar. Sax. yee yea ‘Tone. 12 Tone. 34 Fem ¥, Poo. Pore. 1 Pere. 2 Git. Git. Bass GutFL2a A Sax. 12 TSext Se 2 Bar. Sax, ‘te Le Teas Tone. 12 ‘Tone. 34 Fea. ¥, Poo. Seth, Pore. 1 Pere. Gait. uit. 2 Bass Gait,A Bee 12 TS T5a2 Bar. Sax, ‘ty 1a Tye 34) ‘The, 12 ‘Tone. 34 2S esotioime Ho ¥ Wi) kunnen hear trek-kon | déor-trokeken naar al - Pro. Pao. 2. Pere 1 Pere. 2 Gut. uit. 2 ‘Base Gut,A Sex 12 Tse TSe2 Bar. Sax, Tp pha ‘Tone. 3.4 Synth, re. Pere.2 uit. cuit. Base Guilt,A Sex. 12! Tsax1 7Sax.2 Bar, Sex, Tp Le peas ‘Tone. 12 ‘Thre. 34 Fem. V. Pro. Syrah. Pere. 1 Pere. 2 Guit. 1 Guit.2 Base Guit,82 A.Sax 12 Se 1 Tee? Bar Sex. ‘pea Toh at ‘Tooe 12 The, 4 Fem. Ve Pao. Synth, Pore. 2 Guitt uit. Bass Gult,ASac 12 Sat Tsmx2 Bir. Sax, Tye 12 Tee as ‘Tine. 12 Tne. 34 ve ee “| Pere. 1 Pere. 2 Coit. Gait. 2 Base Guit,A Sex 12 7.8621 TSex.2 Bar. Sex. ere Ty 94 Thoe. 12 Tone. 34 Syaeh. Pere. 1 Pore. 2 uit, 1 Gut. 2 Base Gait.A Sox. 1.2 ‘Sat Tpax2 Bar, Sax. pee Tot 34 ‘Tone 12 ‘Tone. 8.4 Fem, ¥, Pro. Poo. 2 Pere 1 Pere. 2 Guit.1 uit, 2 Bass Gut,ASox 12 ‘Reet Tsax.2 Bar. Sax, pt 12 Tp ad ‘Toa 12 Tone. 84 Fea. ¥. wl “ | Pere. 2 Gal eo cuit. uit. 2 Bass Gait *) Ros drummaing a Ub. (bas drum, éhat and era FFes A Sen 12 TSe1 TSa2! ‘Bar, Sax. Tp 12 ‘pt 34) ‘Tne. 12| ‘Tone. 84 Fom.V. Guit.2 Guit.2 Bass Gut,2a AS 12 TSen 1 ‘T8ex.2 Bar. Sax, Tyee yaa Thao. 12 Tone. 34 Fem V. Gait. 2 Baas Guit,F238, A Sen. 12 Tt TSen2 Bax. Sax. (Tt Le Tot a4 ‘tone. 12 Tone. 34 Pere. uit. 1 Gut. Base GatCpa) __ ib —_—_—_—_... mas Sax 12, Sax 1 Ria Bar. Sax. ‘Tee ‘pt 94 Tene. 12 Tone 34 Fem.¥, Pao. 1 Poo, 2 Pere. 1 ere 2 ‘uit. uit. 2 Bass Guat,ASux 12! TSax 1 TSax 2 Bor. Sax, Tye. 12| Tp ad Thne. 12 The. 4 Fem V, Prod Poo. 2: Pere. 1 Pere. 2 uit. Gait. 2 Bass Guit,A Ber 12 751 TSen2 Bar. Sax. mt Treas ‘Tho. 12 Tone, 84 Poo. 2, Pore. t Pore. uit. Guit.2 Bass QuitHL2a A Sax 12 TSe1 Tem 2 Bar Sax. ‘Tpt. 12 Teas Tene, L2 ‘Tone. 34 Fem. Foot Pro. Pere. 2 cuit 1 uit. Base Got,Flas A Sax. 12 TSen 1 ‘Sax2 Bar, Sax pte Tp 34 ‘The, 12| ‘Tene. 24 om. ¥. . , rea] = ik Poo. Pere. 1 Pore. 2 uit, 3 Guit.2 Bs CultA Bax 12 neat TSex2 Bar. Sax. ph 12 Tot. a4 an ope teat nf. sempre ‘Tone. 12 tenet wp sempre Pore. 1 Gust. uit. 2 Bese Guit,96 ‘Tone. 12 Tone. 3.4 Bass Gait Pro. 2: Synth. Pere. 2 Gut une Bass Guitmas Aan. L2 ‘RSet TBax2 Bar. Sax. ‘pe 12. Twas The. 12| Tons. 3.4 Pao. 1 Pro. 2 Pore. Pere. 2 Git. 1 uit. 2 Bass GuitASen 12 T Sent TSen.2 Bar. Sax, Tt 12 Tp a4 ‘The. 4 Pao. 2. Pere. 1 eve. cult.2 ass Gulmea A Sax 12 Tied TSen.2 Bar. Sax. ‘Tye 12 mp 94) Tine. 12| ‘The. 94 Pare 1 Pore. 2 Bass Cult,100 wL23, A. San, 12 Sent ex. 2 Bar. Sax. pe 12 Tye as Thao. 34 Pro.2 ere. 1 Per. 2 Git. cuit. ‘Bass Guit,i 201 A Bax 12 TSent T Sax. Bar. Six, pea Tp ad "Thne, 12 ‘Tone. 34 Pao. - on Pere. 1 Pore.2 uit. 1 Gut. 2 Bass Guit,ro tripletot 102 voi ; a ete A Sax 12 ‘TRomd 1 Sac 2 Bar. Sax ‘Teme 34 Pere. Pore. 2 Base Guit,Fas ASor 12 T8ex1 Sex. Bar. Sax. ‘tp pt 94 ‘Tone. 12 Pro. Foo? Pere. 2 uit 1 Gait. 2 Bass Gait04 #28 A San 12 Sant 1 Sen.2 Bor. Sax Tee Tye a4 Thao. 12 ‘Tone. 3.4 Poot Pao.2 Synth. Pere. 2 uit. 1 uit. 2 Base Gult,m2 ASax 12 Sax. 1 TSex.2 Bar Sex. Tp 12 Tot 34 ‘Thoe. 1.2| ‘The. 24 Pore. 1 Pore. 2 Gait. Guile 2 Base Guit,AT S507 ‘oui Andoiesse, Astterdam, 1985 Api 6 ae)