1685–1750

The ripieno (string orchestra) Baroque era

only has one violin part Brandenburg Concerto No. 5 in D Major church organist, music director
(normally there would be two). 3rd Movement and composer
answer begins in fugal texture - 3 entries
¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ 
Johann Sebastian Bach
     ¬¬ ¬ ¬¬ ¬ ¬¬ ¬ ¬ ¬ ¬ ¬ ¬
Allegro.

42 
 ¬ ¬ ¬ ¬
Flauto
traverso. subject
> 
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3

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3

 
3

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3

42 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
3 3
Violino
¬ ¬ ¬ ¬ ¬
¬
principate. ¬ 3 3
3

3 3

         
42 The 6 Brandenburg
Violino CONTEXT
di ripieno.
There was a chapel in the castle grounds, but Prince Leopold, Bach’s employer, preferred not to
 2 between
Concertos were written
 1711 and 1720,      
have elaborate church music, so Bach’s duties were mainly confined to secular (non-religious)

4 and in 1721 were
Viola
di ripieno.
music. The prince was an enthusiastic amateur musician and encouraged Bach to write
instrumental music. During this short period of 6 years, Bach composed most of his best known
  2 Ludwig,
 the Margrave of  and soloinstrumental pieces. His compositions
 at thistime included  
dedicated to Christian
chamber the 6
Violoncello.
4 Brandenburg Brandenburg Concertos, the 6 suites for solo cello, the 6 partitas and sonatas for solo violin,
as well as the famous set of 48, preludes and fugues entitled the Well-Tempered Clavier.
  2   
Performances  held in rooms
were  in the castle and would have  been attended by a small 
Violone.
4 Section A = 1 - 78 number of dignitaries. There was a core of eight or nine professional musicians who were
supplemented on occasion by musicians from the town and elsewhere. The music was clearly
    music, rather than orchestral
 music inthe modern sense.    s
42
chamber
u
¬ ¬ ¬
Cembalo > The continuo part = a bass instrument and achordal instrument such as a harpsichord. The keyboard b
concertato.
  2   realise/work  out the harmony/chords
 in the right hand.
 A figured bass (a shorthand 
4
player would
system of numbers under the bass notes) guided the player as to what type of chord to play.
 j
7 e
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5
¬ ¬ ¬ ¬ ¬ c


10

¬ ¬




t
>
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Performing forces and their handling In the Brandenburg Concertos, Bach broke with
Each of the 6 Brandenburg Concertos has different instrumentation, including

tradition in a number of ways:
   
wind instruments and unusual combinations. In contrast, most Baroque concertos    
There is an extended virtuoso (difficult display)
featured either one or two solo violins, a string orchestra and continuo. solo part for harpsichord. This is regarded as the

         
first concerto for keyboard solo in musical history!
Bach probably played the harpsichord
part himself.
Texture starts monophonic, then 2 part imitation when the answer comes
    
in, then 3 part texture on the next subject entry     

 ¬ ¬ ¬ ¬ 
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
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answer
>
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5 6









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The harpsichord plays in two-part counterpoint - both hands working independently

¬ ¬¬¬¬ ¬¬¬¬¬¬ ¬ ¬ ¬ ¬
18 3

>
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬
3

¬ ¬
¬¬¬¬¬ 3

    
Once both hands are playing, the music is in four-part
 the piece isa concerto grosso

counterpoint but with 2 sets of parallel 3rds (harpsichord R + L)
and violin/flute
        
The concertino (solo group) consists of the
combination of flute, violin and harpsichord
         

        
In the Brandenburg Concertos, Bach broke with
tradition in a number of ways: both hands play



trills at the same time.

      ¬¬¬ 
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¬ ¬





¬   ¬ ¬ ¬
 

Mutopia ǀ Typeset using LilyPond by Joshua Koo — Mutopia-2015/09/29-548
The movement a large ternary structure (ABA).It could be thought of as Ritornello form;
ǀProject ǀisPlaced in the public domain by the typesetter — free to distribute, modify, and performǀ
Ritornello means returning idea
 Much of the music is in conjunct (stepwise) style (e.g. bar 2), though there are leaps (e.g.fourths in bar 1).

¬  ¬ ¬ ¬
2
26
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The A section in D major begins in fugal style
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major - these sections can be spotted wherever  ¬




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scalic runs

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The texture is polyphonic/contrapuntal = several independent melodic strands
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   ¬ ¬   Concertos, Bach broke with
 tradition in


 In the Brandenburg
 ¬ ¬ ¬
a number of ways:difficult solo music is found in the rapid

  ¬ ¬ ¬ ¬ ¬   
scalic runs in both right and left hands
 ¬¬¬ ¬¬ ¬ 
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63

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5 4 5
2
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71
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6 6 5 6
Section B = (bars 79 – 232) 5

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬¬¬ ¬¬ ¬ ¬ ¬¬

79


 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬ ¬ ¬¬¬ ¬¬ 
(cantabile)

¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬
¬ ¬ ¬ ¬ ¬

¬
piano
     Baroque flute was
The  very   
The B section begins at bar 79 in the relative different from today’s

  
minor key (B minor), with a new theme (in the
flute), which has many similarities to the main one
 
instrument. It was made of
wood, had finger    
holes and just one metal key.
 ¬¬
  ¬       ¬ 
 ¬  ¬ ¬  ¬  ¬ ¬  ¬  

  ¬    It is important to note
 that the mechanical
 action of the harpsichord
  variations in dynamics;
prevented  
this is why
there are no dynamic markings for the harpsichord in the original score.

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬



  ¬ 
(piano)
       ¬¬ ¬ ¬
 ¬  ¬  ¬  ¬  ¬  ¬  ¬ 
6
outlines Bminor triad
The bass line for the new middle section theme has a tonic pedal on B.
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬
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piano
87

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(cantabile)
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Solo
¬ ¬ ¬ ¬
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(piano)
    
¬  ¬  ¬  ¬  ¬ 
6 6 7 6 5
4
 5

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
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¬ ¬ ¬ ¬ ¬ ¬ ¬
95


¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
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¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬  ¬  ¬ ¬ ¬ ¬ ¬
piano
 ¬ ¬
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Solo

¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬
forte
 ¬
   ¬ ¬ ¬ ¬    
pianissimo
¬   

¬ ¬ ¬ ¬

   ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
(pianissimo)

¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬       
 ¬ ¬ ¬
      ¬       

(pianissimo) ¬ ¬ ¬
 
 ¬ ¬ ¬ ¬ ¬ ¬ ¬
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    ¬¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ (cantabile)
  
¬  ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬    
¬ ¬ ¬
6 6 6 7 6 5 6
4

 ¬ ¬ ¬ ¬ ¬  
¬ ¬¬¬¬

¬
¬¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬   ¬ ¬ ¬ ¬ ¬
103

¬

 
forte

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ 
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forte

     
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forte
         ¬ ¬   ¬ ¬ 
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 (forte)
             
¬ ¬ ¬ ¬
             
¬ ¬ ¬ ¬
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¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬  ¬ ¬ ¬ ¬
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111
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¬ ¬¬¬¬¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬¬
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¬ ¬

 6
¬  ¬ ¬  ¬ ¬
  ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬

119

 ¬ ¬ ¬ ¬
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬ ¬ ¬ ¬

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬

        

        

         

         


¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬¬ 
¬ ¬ ¬
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 ¬ ¬ ¬¬¬ ¬
127

¬
 ¬
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   ¬ ¬ 9 -¬8 suspension

(forte)
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¬
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(forte)


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6 5 6 6 6 6 6 6 6 6 6
9 8 9 8 9 8

¬ ¬  ¬are ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
 ¬ ¬ ¬ ¬ ¬ ¬  ¬sequence
¬   ¬ ¬ ¬ ¬ ¬playing ¬in¬unison
¬ ¬
¬ bar¬137
 -¬both
¬ ¬ ¬solo¬ instruments ¬¬¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
135
rising at

 ¬ ¬ ¬¬¬ ¬ ¬
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬

¬ ¬ ¬

¬ ¬ ¬ ¬ ¬¬¬ ¬
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6 5 6 5 6 5 6 5 6 5 6 5 6
9 8
 The second theme returns in bar 148, this time in the

 ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
dominant (A major) in the ripieno 7

¬ ¬¬ ¬¬
142
¬ ¬ ¬ ¬ ¬ ¬¬¬ ¬¬




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¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬ ¬¬


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piano

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¬ ¬ ¬ ¬  ¬ ¬¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬
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¬






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cantabile

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¬ ¬ ¬ ¬  ¬  ¬



¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ (piano)

¬ ¬

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¬ ¬ ¬ ¬    


¬ ¬
¬ (piano)
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
 ¬  ¬
(piano)
 




¬ ¬ ¬ ¬
¬ ¬
¬

4 6 6 6 5 6 6 7  6 6 6 6 5
2 5 4 5 4 4

 
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬    ¬ ¬ ¬
150

¬ 
 
   ¬ ¬ ¬
(piano)

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬  ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ 
¬¬ ¬ 
piano

 ¬ ¬ ¬
Fragments of the theme
  
¬ ¬ ¬¬¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬¬¬ ¬


from the A section make
  frequent appearances 
¬ ¬ ¬
piano

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piano
          
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f orte
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158

¬¬¬


 ¬
occasional ornaments, with trills in the harpsichord
¬¬¬¬¬ ¬    ¬ ¬ ¬ ¬ ¬ ¬    
¬¬¬ ¬
part and solo parts; appoggiaturas in the ripieno part

 ¬
¬ ¬ ¬ ¬ ¬ ¬    ¬ ¬ ¬ ¬ ¬ ¬     
¬¬¬ ¬
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 ¬ ¬ ¬ ¬ ¬ ¬    ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬

   



          

          

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 8
167
         
Tonality

 The
 music is in D major.      
This key is used for most of the two A sections.
The B section modulates to the dominant (A major) and
 
relative minor (B minor).       
The music is diatonic.
         

          

          

 ¬ 
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
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 ¬    ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  
176

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185



piano

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194 ¬  ¬ ¬   ¬  ¬  ¬ ¬  ¬¬ ¬ ¬ ¬

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202

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210

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10
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¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
218


 ¬ ¬ ¬¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬ ¬ ¬
3 3

   ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬


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¬ ¬ ¬ ¬ ¬¬ ¬ ¬ ¬ ¬ ¬ ¬
 ¬ 
¬ ¬  ¬ ¬ ¬ 
accomp.
¬
¬¬ ¬ ¬ ¬ ¬
 
¬ ¬ ¬  ¬
tasto solo
  ¬¬ ¬ ¬¬ ¬¬
¬ ¬ ¬ ¬ ¬ ¬¬ ¬ ¬ ¬ ¬ ¬
 6 6 6 7 6 5
4

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  A (bars 233 – end)

¬ ¬ ¬ 
226
Section




 ¬ ¬ ¬  ¬ ¬
¬ ¬   ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
3 3

 



Harmony       
The harmony uses the standard chords of
 ¬ ¬ ¬ ¬ ¬ ¬ 

A repeat of the opening A section,
the time (i.e. predominantly chords I, IV and
  use of II and  VI), including   ¬
  ¬ ¬ ¬ ¬ ¬   
beginning with an extra D major
V, with occasional

chord in the continuo to establish


the return to the tonic key.

dominant sevenths in various inversions.
   functional.    ¬ ¬  ¬ ¬  ¬ ¬   ¬  
¬ ¬
The harmony is
The harmony uses mainly root position
 inversion
and first  chords.    ¬ ¬  ¬ ¬  ¬ ¬   ¬  
Perfect cadences announce the ends of ¬ ¬
sections. Suspensions are used

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬ ¬ 
¬ ¬
occasionally  ¬ (i.e.
¬ ¬ ¬9–8  ¬ ¬  ¬ ¬ ¬ ¬ at¬ bar
 ¬ ¬ suspension ¬ ¬ ¬ ¬ ¬
¬ ¬ 130).
¬¬
¬¬  

  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬  ¬ ¬  ¬ ¬  ¬ ¬  
¬¬
¬  
¬ ¬

 ¬ ¬ ¬ ¬ ¬ ¬ ¬   ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
  ¬
¬ ¬ ¬ ¬
235

 ¬ ¬ ¬ ¬ ¬ ¬
  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
3

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3

  ¬
3

¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ 3



3 3
3 3

         

         

          

          

  ¬ ¬
       ¬


        ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ 
 ¬
7 5
5
6

 ¬
 ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
11

244

¬

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
3

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬



        

        

         

         

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬    
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬¬¬¬¬ ¬ ¬  ¬¬
 ¬ ¬

  ¬ ¬  ¬ ¬  ¬ ¬ ¬ ¬¬¬
¬ ¬ ¬ ¬ ¬

 ¬ ¬ ¬ ¬
¬¬¬¬ ¬¬ ¬ ¬ ¬ ¬
252 3

 ¬ ¬ ¬ ¬
 ¬ ¬ ¬ ¬ ¬
¬¬¬ ¬¬ 3

 
Tempo, metre     
and rhythm
The metre is 2/4 –two beats to the bar –but the music could also be notated in 6/8
  It is essentially
compound time.  
a Baroque gigue (a dance in compound
 
duple time).
 It uses triplets and dotted rhythm throughout.
   The dottedquaver-semiquaver
 
grouping  first bar) would
(as in the  have been 
performed in triplet rhythm –so the dotted quaver would be two-thirds of a beat, and the
  semiquaver would be one-third
 of a beat.
   
The harpsichord part in particular has many semiquaver runs.
 
  ¬    ¬¬ ¬¬ ¬¬
¬¬ ¬ ¬¬ ¬¬  ¬¬ ¬ ¬
¬¬ ¬ ¬¬ ¬¬ ¬¬ ¬¬  ¬¬ ¬¬  ¬¬ ¬¬ ¬¬ ¬¬  ¬¬  ¬¬ ¬¬ ¬¬ ¬¬ ¬¬  ¬¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬





¬
  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬

 ¬  ¬ ¬ ¬¬¬ ¬¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬¬ ¬ ¬ ¬ ¬ ¬  
259

¬ ¬¬¬ ¬

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬ ¬ ¬¬¬ ¬¬¬ ¬¬¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬





 ¬ ¬ ¬ ¬ ¬¬¬¬ ¬¬¬ ¬¬¬ ¬

    ¬ ¬



¬ ¬ ¬ ¬ ¬ ¬  ¬ ¬
    ¬¬¬ ¬ ¬ ¬ ¬¬¬ ¬¬ ¬

¬





        ¬ ¬ ¬ ¬
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¬ ¬ ¬






        ¬ ¬ ¬ ¬
  ¬ ¬ ¬ ¬
¬ ¬ ¬






 ¬ ¬ ¬¬  ¬ ¬  ¬ ¬ 
 ¬¬ ¬¬ 
accomp.



 
  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬    
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬


¬ ¬ ¬ ¬ ¬ ¬





6 6 6 5 6 6 5 6 6
5 5 4 3
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬ ¬¬ ¬ ¬¬¬ ¬
¬ ¬ ¬¬ ¬
¬ ¬
12
 ¬ ¬ ¬ ¬
¬ ¬
267

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬¬ ¬¬ ¬ ¬¬¬ ¬
¬ ¬ ¬¬ ¬
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¬
6 6 6
5 5

 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬

275









 
 ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬



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 ¬ ¬ ¬ ¬ ¬
¬¬¬¬¬¬¬¬ ¬ ¬¬¬¬¬¬¬¬¬ ¬ ¬¬¬¬ ¬ ¬¬¬¬ ¬ ¬¬¬¬¬¬¬¬¬ ¬
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 ¬ ¬ ¬ ¬ ¬¬¬ ¬¬¬ ¬¬¬¬¬

¬ ¬ ¬ ¬ ¬¬¬¬¬¬ ¬
281




 ¬ ¬ ¬ ¬ ¬
3

¬ ¬¬ ¬ ¬¬ ¬¬¬ ¬ ¬ ¬ ¬ ¬¬¬¬¬¬ ¬

   
¬  ¬ ¬  ¬¬¬¬
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 ¬ ¬ ¬ ¬
13
289
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
 ¬ ¬ ¬ ¬
3

¬ ¬ ¬ ¬ ¬
3

 ¬ ¬ ¬
3 3 3

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬

  
¬ ¬ ¬ ¬ ¬ ¬ ¬   ¬ ¬ ¬





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 ¬  ¬ ¬  ¬ ¬ ¬ ¬ ¬¬¬¬ ¬¬ ¬ ¬¬¬¬¬
¬ ¬¬ ¬ ¬¬¬ ¬
295

¬




¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
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¬ ¬ ¬   ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬  ¬  ¬
¬ ¬ ¬ ¬ ¬ ¬
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¬

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¬ ¬ ¬ ¬ ¬ 
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 accomp.  ( )
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  ¬     ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬   ¬ ¬ ¬ ¬ ¬ ¬ (  )
¬ ¬ ¬ ¬ ¬  ¬ ¬ ¬  

¬
6 6 6 7 5
5 4 5

¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
2
303
 ¬ ¬ ¬ ¬ ¬ ¬ ¬ 


¬ 
3
 ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬
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 ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬¬ ¬ ¬ ¬ ¬ ¬¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
accomp.

 ¬ ¬
¬ ¬ ¬¬ ¬ ¬ ¬ ¬¬ ¬ ¬
   ¬ ¬ ¬  ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬ ¬
¬ ¬ ¬ ¬ ¬ ¬ ¬ 




¬
6 6 5 6
5