AppendixesAppendix A: Standard Keys of the Flute ‘The following list of the keys of a typically equipped Boehm flute references a drawing (Figure 8, below) of the mechanism of the instrament itself. The descriptions apply to instruments usually encountered in France and the United States; warnings are made of certain important variants that would affect the use of the fingering charts given throughout this work, Each key is assigned a finger which alone (save for two exceptions) may handle that key in normal playing. Any fingering requiring the use of a finger on a key to which it is not assigned requires in effect an abnormal hand position. Such fingerings always bear footnotes to this effect and, when used, must be spaced in the musical flow in such a way that the player has time both to get into the required configuration and to get out of it, In particular, it is not possible —except for a few players with exceptionally large fingertips — to open either of the two trill keys and simultaneously close completely any of the numbered keys beside it with one finger, if the flute in question is of the French model. Lefthand mechanism No.1 key Closed by index finger. Beflat thumb key (Thumb lever.) Depression by thumb closes both B=natural thumb key and the plate between No, 1 and No, 2 keys. Benatural thumb key (Thumb key ordinarily in use.) Closed by thumb. No.2 key Perforated on the French model. Depression by middle finger closes No. 2 key and the plate between it and No.1 key. No.3 key, Perforated on the French model, Depression by ring finger closes No. 3 key and the plate immediately below it. Gesharp key Opened by little finger. 40APPENDIX A: STANDARD KEYS OF THE FLUTE 41 Note: The above information regarding the No.3 key and the G-sharp key does not apply to the open Gesharp fingering system, not frequently encountered out- side of Eastern Europe. In that system, the G=sharp key closes the plate im- mediately below the No.3 key. Operation of the No. 3 key does not affect this plate. ighthand mechanism Beflat shake (Lacking on some older piccolos, most alto flutes, all bass flutes.) Depression by knuckle of index finger closes the plate between No.1 and No.2 keys. Note: The shake on some flutes made in Germany, Britain, and the United States before 1920 is called the B-natural thumb key. Other arrangements have been made on special order. No. 4 key Perforated on the French model. Depression by index finger closes No. 4 key, the plate above it, and the plate between No. 1 and No. 2 keys. : D trill key (Lacking on most bass flutes.) Depression by middle finger (less often by index finger) opens the lower of two small plates (not shown in diagram) above No. 1 key. No.5 key Perforated on the French model. Depression by middle finger closes No, 5 key and the plate above No. 4 key, Note; ‘The split E mechanism, an extra-cost option, changes the operation of the No. 3 and No. 5 keys in an effort to improve the somewhat faulty e,=natural of the standard closed G=sharp finger system. Closing the No. 5 key algo closes the plate below the No.3 key without affecting the No. 3 key itself, which is only in~ directly linked to that plate, Note well that this mechanical arrangement alters the actual key configuration of any fingering in which the No, 3 Key is open and the No. 5 Key is closed or on the rim, The data contained here apply only to flutes not equipped with the split E mechanism, so far as such fingerings are concerned. Desharp trill key (Lacking on most bass flutes.) Depression by ring finger (less often by middle finger) opens the upper of two small plates (not shown in diagram) above No.1 key. No. 6 key Perforated on the French model. Depression by ring finger closes No. 6 key and the plate above No. 4 key. D=sharp key Opened by little finger. Held open in most normal fingerings to provide full venting; serves as a point of support when holding the instrument. Cesharp key (Lacking on piccolo.) Closed by little finger. Cenatural key (Lacking on piccolo.) Depression by little finger closes C= natural key and Cxsharp key.42 APPENDIX A: STANDARD KEYS OF THE FLUTE (Optional equipment, available for the most part on concert flutes only.) Closed by little finger and ordinarily independent of other keys. (Sometimes in lefthand mechanism, operated by little finger.) Benatural key No. 1 key —~_| Bestel thumb hey CBD Beratural thumb key (§). No. 2 key No. 3 key G-sharp key (64) B-Flat shake (s) i No. + key D-natural trill key (Dt) No. 5 key Desharp trill key (D# t) Mo. 6 key D-sharp key (D#) Csharp key (C#) Conatural key (Ch) Bematural key (Bh) Figure 8. Standard flute keys.Appendix B: Normal Fingerings ‘The first fingerings given for each pitch are traditional, accepted by all authorities as standard on the closed Gsharp flute or piccolo, up to dy, Above that pitch authorities dif- fer, in large measure because of differences among instruments. Only rarely can a piccolo attain a pitch higher than c,=natural or c,=sharp; some older instruments will not exceed b,=flat, Alto flutes are also in some measure restricted above 44; bass flutes vary unpredictably, The extreme high-register fingerings are therefore my own, reflecting the suggestions of various players, and include without apology fingerings requiring the French model. Alternate fingerings are also my own, with the help of many others too numerous to cite, ‘Their status as primary fingerings varies and so requires some enumeration (see Figure 9): 1. a,=sharp and apssharp. The three fingerings should be chosen solely on the basis of convenience in context. The second and third fingerings produce identically the same con- figuration, 2. cy=sharp. The parenthetical second fingering may be used to facilitate register crossings and to lower slightly the sharp pitch of the main fingering. The optional D=sharp key is purely for the sake of convenience. 3. fy, ‘The parenthetical second fingering may be used to add refinement to the tone qua~ lity of this note in normal playing. (The normal fingering gives a strangely coarse timbre for reasons as yet unexplained.) 4. fgesharp, This case is very similar to 3. 8. gg*sharp. The parenthetical fingering is used to lower the pitch, which is too sharp on some instruments, but at the expense of somewhat deadened tone quality. Its use is unneces- sary on most B foot instruments. 6. a3. The use of the C=sharp key instead of D=sharp slightly refines the timbre and raises the pitch, which is often slightly flat with the D=sharp key. 4344 APPENDIX B: NORMAL FINGERINGS 1 a, harp. Choose between the first two fingerings on the basis of individual instru~ ments. The first is too flat but gives a timbre more in character with the rest of the in- strument than the second, The third is known as the "Mignon" fingering because of its use at the top of an ascending pianissimo E=flat seventh arpeggio in the Ambroise Thomas opera of that name. It is slightly sharp-pitched and can be played quite softly. 8. bg. ‘The parenthetical fingering is slightly flatter than the usual fingering, which is too high on some flutes; however, the ring finger must cover a key normally under the middle finger of the right hand, cee 9. cg. The parenthetical fingering is available only on B foot flutes and is used to lower the very high pitch of the standard fingering. Closing the No. 5 hole lowers the pitch more than half-holing, which is possible only on the French model. 10, egsharp. Choose the fingering that is best on the particular instrument, It makes no difference on some. 11, dy, ‘The C=natural key improves the note on some flutes, worsens it on others. 12, dyssharp. The second and third fingerings are slightly flatter than the first. Choose the one that is best on the particular instrument. 13, eg. The first fingering is too high; the second corrects the pitch. 14, fy, ‘The first fingering is too flat; the second corrects the pitch and blows more easily. 15, f,:sharp. ‘The first fingering is fairly reliable on B foot flutes only; the second works on about 1 percent of C foot flutes.APPENDIX B: NORMAL FINGERINGS 45 odlooon 12 foook $2 lg eos peso ook gods cog pt do oog + fs oojoooe hea Figure 9. Standard fingerings of the Boehm flute.Appendix C: Trill Fingerings ‘As in Appendix B, the traditional fingerings are given first, followed by variants that for various reasons are desirable and sometimes preferable, I depart from this convention only in the case of the very difficult a,-b, trill, of which the standard fingering is so un- satisfactory as to be virtually useless. ‘The notation used here is the same as elsewhere in this work, except for the additional wiggling character that denotes key movement (a ). Multiple key movements must be made simultaneously; it is of course difficult to synchronize these if they are in opposite hands or in nonadjacent fingers. Such trills must be executed slowly. ‘The ¢,~sharp-d, ~sharp trill must be avoided at all, cost; the reason for this fact should be plainly apparent from the bracketed notes in the chart below. (Figure 10.) The 5-8 and ag-b, trills should not be attempted on piccolo; in fact, any trill with an upper note higher than by=flat will prove unreliable or impossible on piccolo. ‘The bass flute, of course, lacks the D-natural and D=sharp trill keys; this renders the written c)-d,, ca=sharp-dp"sharp, Cg-dy, and cg*sharp-d,-sharp trills impossible. (The downward trills, given later, obviate some other problems on bass flute — such as the written cgrsharp-dy, cg=sharp-dg, and gy*sharp-a, trills.) 46APPENDIX C: TRILL FINGERINGS 47 arian tela bole ota fe Fi4s it " Fe Tger TT pe Daidetl, ge — anes pits Up Rta oO re al Seeley 2 z 7 hentai bey wie ft . 4 a frit onthe 8 Plate ageing 2. ft ° $5 Suthele wie hed eee age Ge Che CP hakcaet an aeae Fe aoe reliatie]” ‘ee BLA tay VOLO! hey oT as bie ded) Breyspee gots ent pole) bolbap sll eo) abe) be loedp sel Gx) bolbed —dvlhe gohe) . oye ae ae ae % : Ree eee seh chm ae sete cobe te pon ate ero) sen er Dime ostoue onmaoursjO mon sou Gree on saOd a 0 0 6 0 0 0 © 8 0 0 6 @ o 8 8 $ 8 8 6 6 8 6 8 2o ed Figure 10, Upward trills..48 APPENDIX C: TRILL FINGERINGS belts) yal) ited iste pabeaddgated Afb hall aan bd ¥ooojeck ~— Ww 6 9 0 40 Folate so Fe o 6 8 8 FS Tome pore Orer os] & as tara es oe re + 3 & ae se OS Sou e 0 aes 8 S gatm Jee 8 got 3 De De: De Re Dt Dt De ot 1 ne } Bal Gyre eg npc ate § 202 tal heat 5 Oe hey at Bae J oe ga Tay eeeas es *8 eit: vr r We [difficult “oO or oO gg Ehea" PG ma of ce fare: me fF Ppsuitebe, 0 70 Lroft} 0 [Loud] To Leasihoeh § ¢ Lpoor] Sfrmerdest] @ Mmadeen Shite, AY wit” woe gt © wt anilsie “0 Baw p Con aw baereearrd Bits bey i : 2 meen 8 sens 8 é mM ” oa mm 2 pte) adie) bad ltd Lid 3 kegrers xooolere 7 type vate 1 Chetward, whey Ci eo ars fa poor] Sen 3 a) 3 & ey» 4) Figure 10 (Continued),APPENDIX C: TRILL FINGERINGS 49 ‘The following fingerings (Figure 11) are traditional with the French masters and are given for the sake of completeness, but not without reservations owing to changes in the size of the tone-holes made at the time of the adoption of the modern 440-Hz a. Since in each case the main note is fingered as usual, the only fingering given is that of the auxiliary (downward neighbor) pitch, which is in each case considerably sharper than the same pitch normally fingered. . ‘These fingerings are used in rapid passagework and as turns for upward trills. Only an abridged list is given, since special fingerings for this purpose are not needed elsewhere on the instrument, tag fie Behe eee ke aie = ff ___fy i ie en mast penny ovr) loss Paice eee De sty gives belt resell] Figure 11, Selected downward trills.Appendix D: Fingerings for Quarter Tones Fingerings are given for the quarter tones of the 24-tone scale only; refer to Appendix B for normal fingerings, often helpful in forming a preview of the playability of a pro- jected passage. Quarter tones for which no fingering is given are not playable to the best of my knowledge on flute. Fingerings for plateau system are given wherever possible, but their availability is limited, Not all fingerings given here are workable on piccolo. a TS : u % ce : 3 in. o ° Dt Dt ce Figure 12, Quarter-tone fingerings. 50APPENDIX D: FINGERINGS FOR QUARTER TONES 51 4 te te he he te fo he he te he te te } r = 7 ot = BO 0 de Qe sof ws FOF. ° acolo . . ° . 4 . q . y i 0 ° . . q . a 26H tho Oo 6 £ ce ack 2 0 Pec ciaepeaca: $ oe bk ° o oe we oe ° ° ° 5 * s,s 0o8 f ° ° ° ce DH De me De DE De Bhar) TE EN wal be he te fe te he te te ne he F F . . . ° . m4 ° og ; a * 2 + z > ° ° o ion Dé 2, ry 3 0 . ° ne ° ° o e . a De Dt cH Figure 12 (Continued).Appendix E: Fingerings for 31-Tone Scale Natural pitches given here do not and are not meant to correspond with those in 12-tone temperament, though in some cases a fingering will correspond for lack of a better one. The fingering list given below (Figure 13) is set up so that a, equals the a, of 12-tone temperament, which is also Helmholtz's usage. A certain degree of humoring with the embouchure is needed to bring the pitches into temperament, and the fingering list includes an indiscriminate mixture of normal tones, weak pitches, and simple and complex harmon- ics. Any experienced flutist can instantly distinguish between the fingering types, but for other readers the services of a flutist are indispensable in giving some impressions of what the various pitches sound like. ‘The degree of evenness of the 31-tone scale given below is approximately equivalent to that of a 12-tone chromatic scale executed on a seventeenth or eighteenth-century single- keyed flute, or possibly slightly better than the latter. Just as was the practice of the masters of the Baroque, it is necessary in the case of 31-tone writing to take positive ad- vantage of these unevennesses. Pitches for which no fingering is given are essentially unavailable. These include in particular ¢, flat, b=sharp, d,=double flat, d,=flat, c,=double sharp, e,=double flat, g,"flat, a,*double sharp, and c,=flat. 5253 aa APPENDIX E: FINGERINGS FOR 31-TONE SCALE 7 a Vo Gotten + leu) ad 54 ook + ooloook, ss ofoook sefssod + ovjoook et pocleoss zr elooos bby 31-tone fingerings, Figure 13,54 APPENDIX E: FINGERINGS FOR 31-TONE SCALE 4 a HH i a + ae te Met 2 lig 2 high 3° * et an z De Figure 13 (Continued).Appendix F: Available Multiphonics This list of multiphonics and similar sounds was prepared by running a computer program that printed out a complete list of available fingerings for French model flute equipped with the B foot but no other optional or special keys. ‘These fingerings were then played through and their available multiphonies were rather selectively listed, while the least reliable ones and many duplications were omitted, The materials thus obtained were ordered by pitch and retested —in the process small errors in pitch notation were corrected and many more un- reliable multiphonics and duplications were eliminated. A third pass was made in preparing the descriptions of multiphonics; still more corrections and eliminations were made at this stage. Two Verne Q, Powell flutes, serial numbers 18 and 591, were used in preparing the list. ‘The forr er of these lacks the B foot, but it proved possible to interchange the foot joints of the tw" struments; therefore much testing was done with hybrid instruments. In addition, Thad the use during part of the testing process of a head joint in white gold made by N.D. Lamberson of Oskaloosa, Iowa. Its playing characteristic were profoundly different from those of cither of the Powells, which in turn differed greatly between themselves, but little or no unsettling effect on the production of the various multiphonics was found, much to my surprise. The embouchure chimneys of the three instruments varied in height from a low and free-blowing 0.187 inch (Powell number 18) to a high and very resistant 0.212 inch (N. D. Lamberson head, which was used with Powell number 18), as opposed to the more typical height of 0.195 inch of Powell number 591. Interchanging the B and C foot joints was found to have virtually no effect on the produe- tion of multiphonies not containing pitches of c, or higher. The extremely high pitches — €4 and above —were profoundly affected, however, and many multiphonies containing such extremely high pitches had to be eliminated for this reason. (In general, the B foot im- Proves the extreme high range; some fingerings are changed slightly. However, the overall timbre of the instrument is affected by the B foot — in some cases bettered, in some cases 8566 APPENDIX F: AVAILABLE MULTIPHONICS worsened, depending on the instrument and oni the taste of the player.) ‘The multiphonics were notated using a system of temperament containing 31 pitches, equally spaced, to the octave, the pitches in parentheses denoting enharmonic equivalences} (Figure 14). » With very few exceptions, the simplest enharmonic form relative to C= natural was used regardless of the chords being spelled. Several considerations impelled me to employ the relatively unfamiliar 31-tone scale in preference to the more popular 12. tone, divided as is commonly done into quarter tones making a 24-tone scale. A somewhi io ble bell be Hea sulle? pe catbes te be Oe) bo Figure 14, The 31-tone scale with enharmonic equivalences. sketchy list of these considerations includes the following: (a) No special symbols such half-sharp ( 4), one-and-a-half sharp (#f ), half-flat ( ), or one-and-a-half flat ( bh are needed. Instead the normal accidental symbols are used to their fullest significance, (b) The representation of the major third is greatly improved over that of 12~ or 24-tone equal temperament, and the fifth, though slightly worse than that of the 12-tone, is still quite good. Also, the augmented sixth of the 31-tone is a very close approximation of pure seventh (ratio of 7 to 4), which has no equivalent in the 12- or 24-tone and which oo curs ina number of multiphonics that would otherwise be non-notable, This equivalence also lacking in the otherwise superior 53-tone system. (c) The diesis, or interval be adjacent steps in the 31-tone system, is the highest degree of precision that can be exi of a flute with technology at its present level, The assignment of a flute pitch to one or another slot in the 53-tone system is too minute a task; in other words, flutes are not capable of such a high degree of precision, (d) The degree of precision given by 31-tons| notation is the minimum that would be useful to facilitate the work of those composers use exact numerical ratios rather than temperaments in their work. Lip adjustments wi half a diesis to make a pitch true are almost always reasonable; adjustments of one-hAPPENDIX F: AVAILABLE MULTIPHONICS 57 semitone or even one-quarter semitone in 12-tone may well be unreasonable in context, (e) The surprising discovery was made that the French model flute, with or without the B foot, is capable of a better approximation of a 31-tone scale than of a 24-tone or quarter- tone scale. In general, the higher the register, the narrower the tremolo that can be performed with reasonable certitude without awkward lip movéfnents. This is because of the conflicting overtone series in the alternating tones. The partials get closer together and harder to isolate as one goes into the higher range. This is over and above the fact that the fingerings in the upper range are relatively clumsy because of the amount of key manipulation in- volved, unless simple harmonics are used in their stead. Table 1 gives the usual maximum range of tremolos. . ‘Tremolos wider than a major second involving pitches above g,sharp are generally im- practical, as are lip tremolos of the octave between the lower or fundamental octave and the second register. Table 1 ‘Maximum range of tremolos by register. Lower Pitch Upper Pitch Maximum Safe Interval lower octave Jower octave minor seventh; possibly (b-cy"sharp) (b-cy=sharp) major seventh lower octave second register augmented fourth; (d,-c,=sharp) possibly fifth second register second register perfect fourth second register third register if upper note is dg, (@g-g,"sharp) augmented fourth; otherwise major third third register third register minor thirdA 00S €-l9s qeangeu @p Son wGls dzeys etqnop % 2 oS 9° OLS aer3-31eu °p 924 2296 aes Pp E 2 oot HSS dxeys 2ge 20S davys “a z ose 9° BES daeys-37ey, She T'9ES - ae1s eranop Sp og 2" 98S qeangeu “5 o0€ €-€2s qeanaeu % ze S* HIS daeys z ose tt 80S daeys-zqey bq zee 2° £05 aetz % a 7 oo 66h qeangeu Tq g 61 0° 26h qeangjeu Iq 6 SST a Tet dzeys etqnop Te = fe St 8° 6Lt aei3-31eu Tq & git Sol aetz ‘q 3 oot 2 99% daeys Te a 109% azeys 1 : a 0S 6 2Sh daeys-312y Te a 6 6 6th ae1F_eTanop Ta A ° 0° Ont qeanqeu Te ° 0° Oth qeangeu Ty s & squeQ Aduanbery ywoatd que) Aouenberg yoqtd quewezedway, ouoy-TE quoweredway auol-42 ‘swaasks yoaqd auoy-TE snsx0a u0z-42 Jo setouenbesd @ etary 4 2 a Be Be a7 & 48OT 6 2eg daeys “3 z. g z GOT 0° Log davys-37ey “S B SOT 2: 08 ARTE eTqNOP Je 2 900T 6982 yeangeu °3 By 5 z. O00T ong. yeangeu 5 896 S692 dzeys etqnop “z 2 z 056 2° 19h 3PTE-FTEY = 626 S"2Sh aerz °8 A 2 2 006 or ond daeys “3 a 068 6SEL daeys 23 4 egg 9° 6tL aeTZ etqnop “3 a 2 a sg 6 etl daeys-31eu “3 <= .. €18 Leoh peangeu 2y 2 ‘ B 00g S869 Teangeu "3 4 Lb 1889 dzeys 7 8 : z os 9°eL9 dxeys-3Teu “2 a sen 6 2L9 aetz “5 2 B : e ool £659 Teanjeu So < 169 > 0°gS9 Teangeu 29 8s9 "G49 dzeys atqnop &p z. osg S'0n9 ABTI-F TEU, 619 2 629 aets “eo 2 2 009 €* 22g daeys “p 18S €°Si9 daeys %p 2 z oss S109 daeys-3Tey “Pp 24S 27109 eT eTqnop Ze €0S 4° 886 yeangeu “p squeD Aouanbaag usatd s3ue9, Apuenberg yeatd quoupzeduey, auol-1¢ quowesaduey, euol- 42 (penuzqued) Z eTqeLAVAILABLE MULTIPHONICS 60 APPENDIX F: o0zT T9TT €211 squeg z, 0° 0gg qeangeu Se 008T 9°88 daeys etqnop “8 2 OStt S148 avis “e OTT Aauenbara woata squeg quomezaduiey, 2u0l-1€ *(panuzquog) 2 eTqeL o'0gg qeangeu “e 6° 48 avrg-37e4 %e 9° 0f8 dacys 3 Aouanberg yoata auompreduay, euol~42APPENDIX F; AVAILABLE MULTIPHONICS 61 ‘Those who wish to translate the given 31-tone material to 24-tone or quarter-tone notation should make use of the equivalence table, Table 2, where A=natural equals A=natural. To use the listings as conveniently as possible, reference should be made to a particular pitch in a particular octave register. Typically, this one pitch may be but one of several possibilities for the situation: if so, then the following process should be repeated for the various possibilities until the multiphonic best suited to the situation emerges. Refer to the Index to Multiphonic List. 1, This is an index by pitch, ascending in 31-tone sequence from lowest to highest. Under each pitch heading all multiphonies containing that pitch as an original (not a derived) frequency are listed by number. 2, _ Find the listed multiphonics in the chart in front of the Index. The multiphonies are numbered sequentially, lowest pitches first, 3. Pick a working possibility and look up its number in the Descriptive Notes behind the Index. Please heed all warnings contained therein; failure to do so is to ask for trouble, If the limitations of a particular multiphonic are not appropriate to the de- mands of the situation, then by all means find something else or adapt the situation to the multiphonic. 4, If you are not writing for a player equipped with French model flute with B foot, then the indications "F,"" "B," and "FB" above the fingerings must be taken into ac- count, ‘These notations mean respectively, "French model required, " "B foot re~ quired," and "French model with B foot required." Where possible, I have given plateau fingerings preferentially, even if a French model fingering works better, in cases where multiple fingerings exist. 5, If desired, convert the notation to some form of 12- or 24-tone notation using Table 2 Some phenomena are mentioned as aleatoric fingerings rather than as true multiphonics. In any case, but especially with these, the Descriptive notes should be heeded scrupulously. One last warning must be made —namely, that some of the present test results are not applicable to flutes equipped with the split E mechanism. Specifically, any fingering in which the No. § key is closed or on the rim and the No. 3 key is open can be expected to be~ have differently on a flute with the split E mechanism than on a flute not so equipped. This is not a statement of prejudice against such a device; the fact is simply that this writer did not have such an instrument at his disposal. The split E mechanism is expensive and rather unusual in the United States and France; it is generally applied on closed G-sharp flutes and especially piccolos in eastern Europe,The Multiphonics ~~ 2 3 4 2 43 #e = = i aa 5 FB 6.F 7 F 8 . ae Te red 3 wg = zn Fo #o— Soy — ro 9 10, F xo Se 13°F 14 OF 15 16 F Rs q as =; =} = = = ce & 6364 THE MULTIPHONICS 20 FB 19 17 egefaees “Hilt eoelenos’ “#lk sulk F 24 23 ai eveuen aoe ht 26 25 & ooeanngy “All th IF 32 eoe(ane fl q 30 2g eeefsaod, “all seers ATHE MULTIPHONICS.” 65 FB 1B) ooxjece w eedjeoed i ae uw eeeQood we eeclonen wall “iH 44 36 wel ——— Be 40 be 42 tbo coos F 43 38 B 46 % ae == Es eeclooeu ail eee[so8 wall 45° FB 33 = zZ 4166 THE MULTIPHONICS SO 51 B J2 FF ~ fi Qevelace‘THE MULTIPHONICS, 67 S Se Ale gonelheo > ic al 69 OF 70 F gars 24 - ae we % z= 8 ce ce 73 «=*F 74 FF 75 F 7 F ae ° ho qe be Te bo F the: “a as 8 us ag ° Z me S z= 8 we 2 He 8 ce ch ch 7 &F 19 OF 80 F te . Ban B sh, HE 4% He 868 THE MULTIPHONICS 81 oF 82 «#*F 83 : te. : dade wee z= 8 De 94 FF onl as bas tro B wee == 3 = 8 &, oe ° = ib 2 -at hile n e gTHE MULTIPHONICS .69 oat 100 B 102 F 104 F az org gS za a 3 ch 106 F 108 #0 4% Pret bb: Zz __ z= = De 109 F 110 F 111 OF 112 7 a. oe 2 ved gS “eMh ie he am 8 Sa 2 m= % r= 8 8 2 Z 8 De ch ch De70 THE MULTIPHONICSTHE MULTIPHONICS - 71 129 F 132 F neg #2. $ B= 2 & 133 F 134 F 135 F 136 FF 2!) ° 098 we ae 4s ag*k. ate he 58 "Bee tia Bet et i =p mi Dt De 137 F 138 F 139 F 140 F 3 ro Ag 4 xo Bot aa ot aa bea =o ° zo oO me me $ zs m= 8 Dt De ch 142 F Sg al bor ae Lrovjere72 THE MULTIPHONICS 145 F 146 F 147 149 F a 4 td nee wad nz 8 pa ee 8 Bz 8 a1 me 3 ze 8 = ct ch ee Ch 150 F Te me S . Te 8 ct 154 F +40. Ge wa 8 SS 8 a ee 158 B 159 F Te wets : g 5 9: ars wv li £ z a _ 2 eoojene fl a = F fl Qevejoee THE MULTIPHONICS 73 re = 8 ns te S > te 1g 12 WB as uz} m= 8 m= 3 Dt ct 166 F OF 167 F 168 F o ») we Tg hs 4a ty 2-53 225 a= 33, 2 & oe 110 F 17l F ee a ; a BS : wk SNE m= 8 =} He 8 >t & 174 F 115 F the AB ar a= 3 See § De (Ft)74 THE MULTIPHONICS 177 F 178 19 F 12 48 ne 42 48 sz 2 a =F m3 es R= 2 c dh 181 183 F 184 F 2) 4) teks : ae $3 neg oe ; = 3 8 8 weg 135 F 186 -F 187 F 138 F wah Ye", 3y HE 3 Bog ia ce —— &y 199 F 190 F te aE52 atk me 8 Be 3 == 3 8THE MULTIPHONICS 75 193 F 194 F oe ele o) 4) ee ENE MENA. Be & g gs == ¢ = we © 2, & & 2 & 5 : zg zz we 8 8 cy eli Q ®76 THE MULTIPHONICS 209 F 210 F a ae "Z . == 3 213 F 21t F te tg az_ 2 ; HF 217 F 218 F 219 FB 220 F < oe be te ote ‘3.8 5.3 ae ag “hee z= 2 = 3 a 8 & St —— $e 221 F 222 F 223 F 224 F ets e oa is’ 432 12g as Soe z= me 8 w= 8 Ba De DF ch &THE MULTIPHONICS 77 229 F 225 F 226 F v2 w2Z- oot 231 F 232 F te Tg ma TS wae wz yee g pate) $ ae 2 Be De Hs & wt josey own gy *78 THE MULTIPHONICS 24a F 243 F 244 F wo Ge he ° F5ue) ue 2 a3 z= 8 ee Bef Dt ch ch 245 OF 247 F 248 F Te e 2% #3 va 38 S48 8 3 z= 3 xe 2 pt ce ce ce 249. -F 252 aes ¥o%e we F 233 3 e z= 3 a 256 F Jag beatho & BE 3 == stTHE MULTIPHONICS 79 257 F 258 F 259 -F 260 F 2 rots gets b2 @- FS 9ct O =F we 8 8 Se Set 3 g *g0 THE MULTIPHONICS 27s F 276 ° te #e'8 hams Fe =—rve se) B= 8 ch DE 279 F 230 a "3 3 ey se ce y 232 F 223 F bho 4g ° seo te = z Be ce oy 295 286 288 a) 6) Tete tote ho 8 8 ved 8 ed 4g H=3 8 33 gota) 8 ‘DE De De DeTHE MULTIPHONICS 81 29] F 296 F bho ze =i De 297 F 29 299 FB 300 ° bo . : tho ltl8 ao § he 3 ns 3 trates ta 3 ms ta = — 8 & &y Soy 302 F 304 bo § tbo Hm 3 cea &82 THE MULTIPHONICS 305 F 306 307 F 308 F ro 8 xe 3 Poi am Bon FE Zw BR =_ 3 ch cy ce 309 F 310 FB 311 F 312 b se 3 rox aH rag = F- = Fe SE Bow = q ay De ~ Se ch chBy cH 313 F 314 F 315 F 316 yo 58 wa 59 uo 83 so8g = Bes w= == 3 e —s s e Dt 318 F 319 320 F woe creas. re 19 ba = dbo @ a Ea oo ze % & — &‘THE MULTIPHONICS 83 Ine ovossjene 5 ae we & sd 7” li Ineo 329° «=F 330 OF 331 F 332 FB 333) F 334 F 336 F b vate 3 ae ze eZ He 3 ° —— #84 THE MULTIPHONICS Yoosjooec 8 Zooolo = 3430«*F 344 iis 345 F 346 F ° 3 s g ° cH 349 -*F 350 F : (ba)THE MULTIPHONICS 85 F 360 e 52 st gee z ve F283 3 z= § 3 ve ot Be ce 361 362 F 363 364 F 3786 THE MULTIPHONICS 371 F : $3 de 8 De ce 375 F 376 F bo Ko ae . wes sate g ae g wa 8 8 : De cH F 382 F 383 x2 0 he yotee) & ae ¥erolee 08 ¥oocleee‘THE MULTIPHONICS 87 399 FF iS 2 z= oe = 6 De 339 w oO Ss a bobe Leeslore il Lessese = 393 en BoD[Re, ° roofaee — Qecofaee88 THE MULTIPHONICS 401 F 402 *F 403 F q Me te if a 3 aa 3 = a % a —— a =——e —— g ce De 405 F 406 FB 402 FB a) b) 4h ie he a $i uz 2 a 3 ne m= gy =o 2 e =. Dé C# ChB CyBq 410 F 411 F ° 4) . ° . s Se 3 & ic wm 8 a d& == & 44 F Fo 415 ab) Bi ude'g a 3 o g De BeTHE MULTIPHONICS 89 417 F 418 F 419 420 o) 2b) i 3 hz 3° te 8 2 2% ms zm wm 8 HES 3 == 3 =s ==6 — &, Be Dt ch 421 F 422 F F 423 F 424 2 4b) wo 3g wets Mg ms te 8 g oo ch pt 4ae F 12 =e == 8 Dt 429 430 F 431 oe Ke ar 2 8 a8, 12 Be ms saetg TREE z= 3 Die ch De cy90 ‘ THE MULTIPHONICS 1 433 Fo 434 Fo 435 F 436 2 2 = b) 38 Te be meh, ‘Sct ta "Re £ ce? Soe 227 5 =) 4.2 pe Ch pe De" we ch 437 F 438 F 439. F 440 eel ‘2 “2 8 2 3 “2b, m8 ay FE es = 3 3 3 == s cH cy 441 F 442 F 443 F 444 6 ve ig eng. 445 F 446 F 447 FO 48 qe :THE MULTIPHONICS 91 449 -F 450 F 451 F Goon a ae) _ YheD, o he Me "Boe 58 "Zoe iow wee z 2 3. % == 3 — i a) a De ch ot ie 455 F 2 » g 4s ekg Soe 9 3 Boe 2 ° * ° % =s ys e 9 ge Q 2 459 F 459 F 4oGo £5 12 Bee g Zz weg BE g é é ce De 461 F 46a F 463 464 bo. woe w3 | EE nag az 3 we Bee $ B= = 3 $ yg *92. THE MULTIPHONICS +67 F 42Go hz Soe ee aN +8 i ooojoeo ¥ * wack N eS fi e00[8SoTHE MULTIPHONICS 93 483 a) b) Tote son #0 BS wero OF =8 3 pe Ct 425 F 486 F rs §3 To To 8g we 3 ae ae 5 si aoe g ct94 THE MULTIPHONICS 499 FBOF 499 F S00 F x * fits Yoccoloce 503 F 50t FF °) 5g 0 eS ae ee wee gw ° é 3 Dt 505 F F 507 F 50g F F a) b) SS) a5 4 see xe 8 wee Be oe Beg gs zee g a == 8 8 De ch 510 F Sil F S12 F note ho ho 8 13 Bee tS we— 0 wee We- & g zo =e ° os =——oTHE MULTIPHONICS 95 513 F S14 F F il Se eal 516 F OF S17 F bbe 521 FF sat F o) 4) swe tg 38 Rea96 THE MULTIPHONICS 530 F J3L F $32 F ‘25h, wath, hand, REZ BED Wee =p = StTHE MULTIPHONICS 97 S47 F 548 F I59 F 3, i a 2 i eolas98 THE MULTIPHONICS S7L F 572 FB be te BS 4g so | 22_ 8 we 5 cz a == 8 == 8 ch ChBh $75 F 576 F S ys 3 —— = o! 2 ee me 23 § eg a= 8 of 6 ° 8, DE cH DtTHE MULTIPHONICS “99 S80 F sbateno, ree Oia ts 582 F 583 -F set F « 2 qo bho is 8 ete Reg EB, ee oF 4g weg a8 == 8 8 — se) : De c# S o x ~ ~ o x X 7 Q 3 8 a) 6) the #2%Go Fo v ve 8 an % ‘2 #2. Soe aa & Olas ia a 8 ==3 ==3 8 s & ch ch De 599 FB 590 F Sol F 2 #25 he bo Go yae'§ #2 bee obec ms aa 8 me 5 5 ==6 ch Bh cH ce .100 THE MULTIPHONICS 593 F SHt F SIS F 596 F bb-o to Re z #2 #2 Go 2%° ° 3, a wa 8 wz 3 za By zag ae 8 °° e ° ° De - De 597 599 F 599 F 600 F %heTFo ‘x2 Fo T8 Fo Ue az 8 428 am 8 mf a= 9 a= § #2= 3 aa 3 oO e ge ° ch c# DES | 601 F 602 F 603 604 ao #250 #2 Go ° a Wz 3 #8 : ho 8 ae F = % ei 34 é ° s 8 3 ch ch DF 605 607 F 609 F tho #2To 42 Go "Ss : l 38 as 3 = 9 ze & Bor g DE & &a ae 7” 609 610 F se ouetT #2 #2. Weg = AEB ae 5 5 =F ©} ck be 613 F fe 9 —— —=& 617 F #F bee es ==3 621 F 622 623 F tbo i) RG ae == 8 Em 3 mT De ch De THE MULTIPHONICS 101102 THE MULTIPHONICS 625 F 626 F 627 F 628 so #2 bs “ee He") TE na ms mg Bee = 8 =——s =e —ee e ch DF 630 F 631 F xe 8 z= 9 =z 633 F 635 "8, wet mF SS Bow amie oe 637 F 639 FF bb ote We a a Bee a= gee pe oeTHE MULTIPHONICS "103 642 F oe "be ae ==& ch 645 F 646 F ¥o ah, 2B eg a= 3 = 3 649 650 F 651 F OF 652 F a) b) Bens #249 #849 4g =F mes z= 3 5 3 8 8 3 ch ch ce ce 653 F 655 F HE te #2 Ge = 8 = 2 ae a3 ° 3104 THE MULTIPHONICS 668 Ie & Ea g &THE MULTIPHONICS 105 673 F 674 F 675 F 6% F +) remo § wo 8 3 caro 10 z ° i) os c# 677 FFF 679 F 679 a) a oo 0 2 og Ma 5 Whe § 2g Whee 2 Be Scr BRB FOF FH] »—* a 8 8 moss =e Db ch Ch Ch 631 F 692 F 683 F te 6 tS 9 Fe wane & wake % wane 3 are g te ie +o— gu e of Ms oy & pe 695 F 636 697 63g FOF eb) > whe ae Sox ve Soe See FE Bon, B= 9 we 8 F g | 38 Dt De ch106 THE MULTIPHONICS 699 690 691 tha 9 2 9 : Wa Soe *hBEHT ce Soe ze wo 5 3 $ 8 De lO, te 0 ¥e 8 w— 0 4 == es De 704 F ° xe 9 Ect Se Sct 8 ae Oo 3 ° 2 =o ¥ &THE MULTIPHONICS 107 709 F 710 F 711 71a F bbe cue vz 8 ie 3g we 3 ae 77 ue 719 eae 720 F vO as bbe108 THE MULTIPHONICS 725 F 726 F FF vay was fF F a) » oO ob) ot Soe h Gon got 3% 9 aTHE MULTIPHONICS ‘109 739 =F 70 OF xo oe ¥a ¥g 2" 2s By BS en 7 oy 5 at jose a xe Ine # jonslo s gy * or *110 THE MULTIPHONICS } a) AIF 765 F 766 F 767 F 768 F ving HENS ee mm ¢g Ba Zou TE gow a Got == s == % ==6 =o ch De DeTHE MULTIPHONICS 111 169 770 F 771 FF 774 776 . me 8 Hae Sou =e ch 779 «=F 790 F wb ae xe B . mm 8 ——o Ce & 791 F 783 F 2 Fe ders112 THE MULTIPHONICS 7385 796 FO OF 787 F 798 F ob) 799 FOF 300 F a) b) Ge Ty MSTe SS Bee $ SS et x oe Ao =z a DE DE DeTHE MULTIPHONICS 113 806 F 807 F114 THE MULTIPHONICS B17 e1e 919 F 910 F ‘S05 Oo Te e25eG 826 ~F 827 828 F 52 Te “2 Te 3 «2 Bow *2_8 g g, B= Bon ° g 8 De ch 930 932 Te #o Te MS See te Boe iin = gu, =s = De ckTHE MULTIPHONICS 115 ue 242 Hotta ¥2 Te we Moe wz 3 Soe Dt 846 OF 948 OF 5 Woy iS See mela =o S HES Bot, =o oO —— 4, DE DF pe116 THE MULTIPHONICS 0 3 Mile Gasplone ry ST é i ogojoee $ De 958 2 6) Pa “28 8 are DE Be ese te fs Ss a Sort. DHTHE MULTIPHONICS 117 5 OF 866 F 867 368 2 » : ‘2B. w $3 gon. Fe “Soe. FE De Ber 2. == @ —— a c# cH 269 F 970 F a71 F bb. mesg eg NEY eo g e— Zon BE Bee Boat ch cH 973 ~F 975 F re #2 NZ Se pe 4 BE Soe. Re Bon =o = 6 De a7 378 379 990 F we Wg te Fg we 3 were lg 2 sce 23 = $3 = 3 ca FS Son, B= On. ca De De oe &118 THE MULTIPHONICS 823 F 894 Z'y us Yg Beg, 5 Bm a& ce 997 F BER F a) 6) a te BL ae Bore eS Soe eee ve aTHE MULTIPHONICS 119 IRF 299 900° aaa 'B ve 1S ne“120 THE MULTIPHONICS 913 FTHE MULTIPHONICS 121 930 F 931 F 932 Ho F a Teg Zee . yee’ & is) tt Fe, i Ba Qn 7 ae a c: 933 F 934 936 F we '2 Go ne 4g xe ete, is aa Ho Sot ot oO ° o be ct122 THE MULTIPHONICS‘THE MULTIPHONICS 123 F 962 F 963 F bbe ee ee wo a = an Bet BE Bn g = 6 =—se 2 * y cs Q BS124 THE MULTIPHONICS 977 ~«~F 979 F be To 42 ect si By, 6 3 DH, 982 be : #2 De, $ De 9385 F 986 F " Ht, Ho Be, HERE “Boe, 8 SS 2 DH 990 9FL F 1D 2 ey = foe De Se 2THE MULTIPHONICS 125THE MULTIPHONICS 127 1025 F 102% 1027 F . we og128 THE MULTIPHONICS 1041 F 1042 FB 1043 1044 a tote ages, Zon 3 Br —=— Eth = on — $e ch 1046 F 1047 F 1043 F tbe 2%. Te fe 3 wee = 's 2b. Eb Eben Ch ch De 1049 1050 F 1051 F 1052 FB he be ve tg Te bel 1053 1054 1055 F 42 ne F, te #2 fy eat 8 33 F= For. Ee On Fo Son =——o =——e — se ch Ch‘THE MULTIPHONICS 129 1059 F 1060 F 2 Fo + is £ be = Oo, z= Br 3 =e De De 1063 F 1064 F 4a Tg i Te130 THE MULTIPHONICS 1073 F 1074 F 1075 F 1076 F 4a bbe #25 h, oa "§ a "2 Fe St HE Bot 8 == + Dt 1078 F 1079 F #2. Fo *2 Fo oz 3 ‘oo VE Sc# 9 =o z= gem coon ad Sot, De ce 1og1 F loka 1083 1034 f2T. ° 62S x& 8 a ae Sort, Spee, Dt 108e F 1087 FB 42 Fo A 132 bce : FR Sot, =* cHek1097 ae Ria & exo|see * ogo|ove & one! y a $ Spat, n jseer 7 2 & e ¥ * THE MULTIPHONICS 131 1090 F xe g xe Bot FE Son” =———0 Dt 1094 1095 2b 128 SE Qe. = Oe 8 2. Dt Dt132 THE MULTIPHONICS 1105= o. = Iniae 8 aot [eso FARO] $ 1130 F THE MULTIPHONICS’ 133, 1156134 THE MULTIPHONICS 1137 (F) 1138 1139 F te Bg te 88 48g Fg 8 mo 3 = vo x= S == Sov == Boe Born Dt Ce 141 1142 we °8 #28 : = Sct a 4 3 o = ees Bt = Sen‘THE MULTIPHONICS 135 s Q = S sS ™ bo Popokaee i. De136 THE MULTIPHONICS z So gor Soe ce ce 1180 F M2» eZ Soe 2 Sonn DtTHE MULTIPHONICS 1137 1129 F 1190 F 1191 1192 F be wig ee : be in Bes ° be at 1193 F 1194 1195 1196 F138 THE MULTIPHONICS gejssd = + ¥ aTHE MULTIPHONICS 139 1018 1219 FB 4220 F moun’ Bene Sou, Boe, — oO. = s Dt cH oe 1227 F 1228 Woe the ee me us 4g g ° Sren oat, 8 DE Ch 1230 1231 1232 a) b) Heowun 8 => = dae,140 THE MULTIPHONICS 1234 F 1236 F bbe Fo Vio ow uz 8 FZ Sct az : == Sen Bote DB + 1237 F 1238 F 1239 F 1240 F #2 THe #2 3 +28 de "2 in ¢g nsZ oe Soe ===toort = See, ce Dt ce‘THE MULTIPHONICS 141 1250 F 1251 F 1252 F 3%, eh. 2%142 THE MULTIPHONICS 1266 F ig 3g mo oan De 1269 1270 1271 F 1272 FOF a) 4) #2 Fo Te Bot 8 a rete Zeus c# De 1290 F be te Go ba Bot SotTHE MULTIPHONICS 143 1283 F 1294 FB ho He 7% xBee 1293 aot ke F ° ° ig *3 the g g 7 z © Behe, Sone Sor144 THE MULTIPHONICSTHE MULTIPHONICS 145 1314 CF) 1315 F 1316 F te ‘a "3 be Fo 8 g146 THE MULTIPHONICS 1330 F 1331 F 1332 + 6 Safi Hw, HS * ms ms Bob Sort, == Bee chee De 1333 F 1334 1335 1336 F .2 Go (ee) 36 sh cH 1340 F xo #2 4g eS Zor, pote a 1341 F 1342 F 1344 F be 2 wa 8 Sore oh, Dt DtTHE MULTIPHONICS 147 1345 F 1H6 F 1347 1349148 THE MULTIPHONICSTHE MULTIPHONICS 149 1377 Sot Sov De 1381 F Le Te Bot 1394 F 1395 1396 F 13¢7 F 1333 F 1339 F 1392150 THE MULTIPHONICS 1402 FB 1403 F 1404 F a xo. OF & mle" zie g ay x= Gi. = Be eee ltt bet, chBk De 1405 F 1406 F 6S Fo VhBeenta 9 A= == Bom,THE MULTIPHONICS 151 1409 1410 F 1411 F 1412 1421 F 1422 F 1433 F 1424 be bo NABI Gy 4152 THE MULTIPHONICS 142% 1428 F wr a. foie *, * ae == Be, uv a 2 > 1434 Spt eeeTHE MULTIPHONICS 153 1445 F 1446 F be uolg #2 °8 Bot Zz Bot, Ph, Sore Oot, De Dt 1449 F 1450 F 1451 =F154 THE MULTIPHONICS 1458 1405 1466 F aegis 2 ae, 1469 1470 (F) tno a Sot bE c#1495 F THE MULTIPHONICS 155 fie 3 RS enajeee * st 2156 THE MULTIPHONICS 1491 1492 F 1493 1494 1495 1496 F . : nates He & wdalyTHE MULTIPHONICS 157 1502 F se hg 1516 F158 THE MULTIPHONICS 1521 F may = 152% be us Te Qooa|yee‘THE MULTIPHONICS 159 int F 1545 F 1546 F 1547 F ‘2 Te we & — 2 ==é ——t ce 1548 F “1551 : Lib ose no 8 wes : Gt160 THE MULTIPHONICS 1564 F 1565 F 1506 F 1567THE MULTIPHONICS 161 1568 F 1569 1576 F 1577 F 1578 F 1579 FB Te te 8 2 SBE 8 De 15gl F 1592 FB 1593 F Te the Ge $2 Ge see z © 8 2162 THE MULTIPHONICS 1se¢ F IRS F 1586 F 158 1593 F jnee o oe een De ck 1596 F 1597 F +e Te xede 213 2 iis 26% aa gst 3 =z 3 $ De ptTHE MULTIPHONICS 163 1600 F 1602 F 1603, 1604 F 160s F 1608 F 1609 F toil vh2 Te ne 8 ==e 8 8 De 1612 5 \ 1613 F 1014 F 1615 F 4) \ Te : Hos ‘se Te g $ ne 8 “eB g g 8 & 8 6 3 3 ce ct164 THE MULTIPHONICS 1616 F 1617 F Ho Te e ae B 3 3 3 162? F Fe ae sce 1605 F 1626 F ° Bot 2B e gw wo c# ce 1699 F 1630 F 1631 al Bie Daneloee‘THE MULTIPHONICS 165 1633 F 1635 bey De nz pies = =o) 3 =s ck De 1636 F 1637 1639 F 1639 F 1642 € 1643 F hots be he veo 48 eB #52 223 = ¢ o ie 8 Hee 3 3 DE ch 1645 F M7 FoF a) ) io Ge 42 %e be as 8 us Bez a c =! bd 2 a 5 ae166 THE MULTIPHONICS 1648 F FB 1649 1650 1651 a) b) tel F 1662 F be § uke‘THE MULTIPHONICS 167 1666 1667 F 72 Te : " 4z 8 bee Set =o 8 = 3 1668 F 1669 F 1670 F 1671 F 1672 F 1673 F 1674 F 1675 F tes we G t ze ts "3 ve Bee is 2 bE Soe : 8 2 D4 De168 THE MULTIPHONICS 1680 F 1681 F 1682 F 2) b) 1688 1689 F 1690 F bo § Z s To s & ° : é DFTHE MULTIPHONICS 169 1704 F 1705 1706 2 12 Te See a3 3 "Ws 3 = =F == t,, == == 8 8 ch De Dt De 170p F 1709! a cre & = s 8 ——)2 De De170 THE MULTIPHONICS 1712 F 1713 1714 ho bet 42% a WE Soe BE See a 8 ° ° ad Dt ce 1720 F 1721 F 1722 F 17.23 F o 5 ; 3 role 8 abe. § WEE Sct g g Oot 3 g 3 chTHE MULTIPHONICS 171 1728 1730 F 1731 F #2 : =: g 3 WE Bot ise 2 ° Z 2 8 = 8 =e ch 1732 F 1733 F 1734 F #2 3 #3 3 ge g Z 3 cH 1737 F 1738 F the 42Go 4B 3 +23 zg eae e ==3 = s ch 1740 F 141 F 174d F 1743 ®) Wb) : xe w3"g 0 BG, 7 . 3 g 3% DE DE ChTHE MULTIPHONICS 174 F 1745 F 1746 F Y#2Fo 2 we 8 3 3 ° 8 ae S — Dt 1748 F 1749 *8 Tio ° PbOitexts e Soe g a 8 Sach 1754 1755 F Tob Ba, xeetag ooajaeo 2 -n a = osnjeso on ° = ° Qe‘THE MULTIPHONICS 173 1761 1762 F 1763 F xg bbs F B33 a ee = a an ce) gS gf = he =& — se 1704 F ° 3 3 ge ce 1768 F 1769 F 1770 F 1771 @) he 6 a) : fairy xz 8 xB Sex Sct xz $ o Z ° Bort, Bort 8 (Bk) 1772 F 1773 1774 F 1775 *FTHE MULTIPHONICS 1776 F 1777 F 1778 F 17179 ho a x8 Fo #2 Fo ° 2 SZ Sce ne & Nag 3 a aE == Bort $ gt ce c# De ooR|aeo 1785 w x = x mn 1787 F 1788 OF 1739 F 1790 1791 F be wae ghey D Sot OH DETHE MULTIPHONICS °175 1792 F 1793 wake Ag Je Es ee & Z 8, Bort, OF, Dat 1796 F 1797 (@) 1900 F 1901 FTHE MULTIPHONICS