TEN INTONATION STUDIES

AND CHORALES
for String Orchestra

Brian Balmages

Instrumentation
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1 - Conductor’s Full Score
16 - Violin
5 - Viola
5 - Violoncello
5 - Double Bass

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P Extra Conductor Score: $5.00
Extra Par ts: $3.00

Reproduction Prohibited
Copyright © 2017 by THE FJH MUSIC COMPANY INC. (ASCAP).
2525 Davie Road, Suite 360, Fort Lauderdale, Florida 33317 - 7424
International Copyright Secured.   All Rights Reserved.   Printed in U.S.A.
WARNING: The music, text, design, and graphics in this publication are
protected by copyright law. Any duplication is an infringement of U.S. copyright law.
2

The Composer
Brian Balmages (b. 1975) is an award-winning composer, conductor, producer,
and performer. The music he has written for winds, brass, and orchestra has been
performed throughout the world with commissions ranging from elementary schools
to professional orchestras. World premieres include prestigious venues such as
Carnegie Hall, the Kennedy Center, and Meyerhoff Symphony Hall. His music was also
performed as part of the 2013 Presidential Inaugural Prayer Service, which was attended
by both President Obama and Vice President Biden. He received his bachelor’s degree
in music from James Madison University and his master’s degree from the University
of Miami in Florida. He is a recipient of the prestigious A. Austin Harding Award from
the American School Band Directors Association and in 2016 was awarded the James
Madison University Distinguished Alumni Award from the School of Visual and Performing
Arts (the first year the award was given). In the same year, he was commissioned by
his other alma mater, the University of Miami, to compose music for the inauguration
of the institution’s 6th president, Dr. Julio Frenk.
As a conductor, Mr. Balmages enjoys regular engagements with all-state and region
bands and orchestras, as well as university and professional ensembles throughout
the world. Notable guest conducting appearances have included the Midwest Clinic,

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Western International Band Clinic, College Band Directors Conference, American School

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Band Directors Association National Conference and others. Additional conducting
appearances have included the Kennedy Center and Meyerhoff Symphony Hall as well

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as engagements in Australia, Canada and Italy. Currently, he is Director of Instrumental
Publications for The FJH Music Company and Assistant Director of Bands and Orchestras
at Towson University.

USING THE INTONATION STUDIES AND CHORALES

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This set of intonation studies and chorales was written as a result of my work with honor orchestras around the country.
Many orchestra directors told me they needed a set of practical exercises like this as they typically must resort to scales in

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rounds or something similar (which are wonderful, but do not expand basic harmonic awareness) to develop these skills.
These exercises are meant to help students hear harmony in a logical and progressive way while allowing them to focus
on intonation. Each chorale is divided into two parts for each section. Basses may opt to play only the lower line if necessary.

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I consider this set of 10 studies to be loosely broken into 4 separate sections. I advise directors to consider playing one
exercise from each section daily as part of the ensemble warm-up. As concert time approaches, this can be scaled back as

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necessary.

Section 1 – Exercises 1-3. These are good warm-up exercises designed to get students thinking about intonation,
scales, and simple finger patterns while using only very basic harmonies. All chords are tuned to open strings. This is
an ideal set of chorales to teach students about the importance of lowering the major 3rd of a chord so it is perfectly
in tune.

Section 2 – Exercises 4-5. These studies introduce more passing tones and melodic content while still keeping finger
patterns very basic, allowing students to focus on the open string harmonies that occur throughout.

Section 3 – Exercises 6-7. These chorales are harmonized to an open string drone (not written, but called for in the music).
While musicality is important in all of these exercises, I view this section as an opportunity to stretch phrasing and
Reproduction Prohibited
musicality a great deal. That said, I also caution directors against conducting a few measures quite fast and the next
few measures quite slow, etc. (often done to get students to watch). I always prefer that everything be in a greater musical
context to prepare students for the music to come. More subtle changes are just as effective in getting students to watch,
but can be extremely musically rewarding at the same time.

Section 4 – Exercises 8-10. The final three chorales are not based on open string harmonies. They require a higher level
of awareness as students adjust to each other and tune without the presence of open strings. Harmony plays a richer
function and the chorales as a whole offer the opportunity for a rich, musical experience as part of the ensemble
warm-up.

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 3

In addition to the broader concepts stated previously, each individual study / chorale has a more specific and detailed purpose.

1. Warm-up: Tuning Exercise. Written as a simple listening exercise, students tune to open strings. Directors may choose
how many students to put on the open string part (enough that it is clearly audible). Students should listen carefully to
the harmonies and tune the open fifths and major chords. In addition, special attention should be given to the role of the
3rd in a major chord. This is an excellent exercise to teach students how they need to slightly lower the pitch of the 3rd so
the chord is perfectly in tune. Students should be encouraged to use a full bow, especially in the last 3 measures so as to
sustain through the entire duration of each measure. Students should alternate parts regularly.

2. D Major Scale Intonation Study. This exercise harmonizes a D Major scale with open strings. While it is important to have
students practice both lines, the study is written so all students play an ascending or descending scale. It is important to
take time on each note to truly tune the interval (directors may put a fermata on any, or every, note as needed). Chords are
simple to help students listen carefully to the harmony (focusing only on perfect 4ths, 5ths, and major chords).

3. G Major Scale Intonation Study. Similar to the previous study, this exercise focuses on the key of G Major.
Directors should take the same approach.

4. Minor Scale Intonation Study. This exercise cycles through D minor, A minor, and G minor. As before, everything is

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harmonized to open strings using simple harmonies. This is an ideal way to get students used to a minor modality and
locking in intonation, particularly on minor 3rds within a minor chord. Of particular note are 4th fingers in violin and viola -

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make sure students are stretching enough that these notes are in tune with the open strings sounding in those measures.
Finally, this study introduces major second intervals. While they are treated as passing tones, I strongly encourage directors
to put a fermata on them (e.g. measure 1, beats 2 and 4). This will help develop students’ ears and get them listening past
major and minor chords.

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5. Whole Note Bow Distribution / Intonation Study. This study allows students to focus on bow distribution, particularly
with a whole note. Students should strive for an even, sustained sound on each whole note. The sound should match the
sustain of the moving parts (which have the luxury of 2 bows in each measure). In addition, the moving lines use small
intervals (2nds and 3rds) so students can focus on intonation.

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6. Chorale on a D String Drone. Directors may choose any number of students from any section to sustain an open D string
drone throughout this entire chorale. This helps give students a “home base” to refer to when playing and tuning each chord.

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Directors may even choose to start the drone ahead of the chorale itself so students can get the D tonality in their ears.

7. Chorale on a G String Drone. Similar to the previous chorale, this one makes use of an open G string drone that should
be sustained throughout the chorale. Again, the director may use any number of players as long as the drone is audible.

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This particular chorale also introduces a minor 2nd interval (measure 2, beat 1). As before, I encourage directors to put a

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fermata on this note and tune it in order to expand the types of tonalities students are able to hear. This chorale also
experiments with major to minor harmonic shifts. I do much of this type of writing in my own music, so it was important
to me to write a chorale where students can focus on these types of intervals outside of performance music.

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8. Chorale in E Minor. This chorale also alternates between minor and major throughout. This is the first chorale without a
drone and is also not based on open strings. Directors may need to spend some additional time on this, and the following
chorales, to focus on intonation in the absence of open strings.

9. Minor Modal Chorale. Written primarily in D Dorian (D-E-F-G-A-B-C), the chorale also incorporates secondary harmonies
including B≤ Major, A Major, and G minor (all introducing either the note B≤ or C♯). Directors may need to put fermatas on
certain chords and build slowly so each section can hear how they fit into the chord.

10. Chorale in C Major. This final chorale exposes students to C Major tonality. Students should focus on the bottom cello
part (using almost entirely open strings). If students struggle with intonation, consider isolating viola bottom line, cello

Reproduction Prohibited
bottom line, and all basses. Once that is in tune, add all instruments that play half notes only (they can rest during measures
with quarter notes). Finally, play as written.
 TEN INTONATION STUDIES AND CHORALES
for String Orchestra
1. Warm-up: Tuning Exercise BRIAN BALMAGES
(ASCAP)

# ≥ ˙
top line use open strings always

& # 44 ˙ ˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙
Violin
˙ ˙ ˙
## 4 ≥
div.

œœ ˙ ˙
4

& 4 ˙ œœ
4

˙ ˙ œœ n œœ
˙ ˙ ˙
≥ ˙ ˙˙ ˙˙ ˙ ˙
B # # 44 ˙
top line use open strings always

˙ ˙ ˙˙ ˙˙

œœ ˙ ˙
Viola div.
≥ œœ ˙
B # # 44 ˙ ˙ œœ n œœ
4 4

˙ ˙ ˙

? # # 4 ˙≥ ˙ ˙˙ ˙˙ ˙ ˙
top line use open strings always

˙ ˙˙ ˙˙
Violoncello
4
? # # 4 ˙≥ ˙
div.
œœ œœ ˙
˙
˙ l
œœ n œœ y ˙ ˙
4

? # # 4 ˙≥
˙
n ˙

˙ ˙
O ˙ ˙
top line use open strings always

4 ˙ ˙ ˙ ˙ ˙
˙ ˙
? # # 4 ˙≥ ˙
Double Bass
˙ ˙ ˙
4

e w ˙ ˙ ˙

# ˙
& # ˙
# # 4œ
˙˙
˙ ˙
v i ˙ ˙
ww ww
ww

e
Vln.

œ œœ ˙ ˙ ˙ w w
& œ
n œ n œœ ˙

B ##
˙

œœ œœ
˙

˙ P n˙
r
˙ ˙
˙ ˙
n˙
˙
˙
w w w

w
4
Vla.
#
B #
4
w w
œ
n˙ ˙ n œ n œœ ˙
? ## ˙ ˙ w w w
w
˙ ˙ ˙
n˙ n˙ ˙
œ ˙˙ ˙ w w
? ## œ n œœ n œœ
˙
Vcl.

n˙ ˙ ˙
Reproduction
˙ ˙ ˙ ˙
Prohibited
? ## w
˙ ˙ w w
w
? ## ˙ ˙ ˙ w w
D.B.

˙ n˙ ˙
Copyright © 2017 The FJH Music Company Inc. (ASCAP).
International Copyright Secured. Made in U.S.A. All Rights Reserved.
WARNING! The music, text, design, and graphics in this publication are protected by copyright law.
ST6429 Any duplication is an infringement of U.S. copyright law.
 5
2. D Major Scale Intonation Study

# ≥ ˙ ˙˙ ˙˙
& # 44 ˙ ˙ ˙
open strings

˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙
## 4 ≥
Vln. open strings

˙˙ ˙ ˙ ˙
& 4 ˙˙ ˙ ˙˙
˙˙
˙˙
˙˙
˙˙ ˙ ˙ ˙ ˙ ˙
≥ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙
B # # 44 ˙ ˙
open strings

˙ ˙˙ ˙˙

˙≥ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙
open strings

˙
Vla.

B # # 44 ˙ ˙˙ ˙˙ ˙ ˙ ˙

˙ ˙ ˙
? # # 4 ˙≥ ˙ ˙ ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙
open strings

˙ ˙ ˙˙ ˙˙
4
≥ ˙ ˙ ˙
? # # 4 ˙˙ ˙ ˙˙ ˙˙ ˙ ˙˙ ˙
Vcl. open strings

˙˙ ˙˙ ˙ ˙ ˙ ˙
4

? # # 4 ˙≥ ˙ ˙ ˙ ˙ ˙ ˙ l y˙
˙ ˙
n
open strings

4 ˙ ˙ ˙ ˙ ˙ ˙
˙
D.B.

? # # 4 ˙≥
4
open strings

˙ ˙ ˙ ˙ ˙
˙ ˙
˙
O ˙ ˙ ˙ ˙ ˙ ˙

3. G Major Scale Intonation Study

e w
#4 ≥
& 4
#4 ≥
˙ ˙ ˙ ˙ ˙ ˙
v i ˙ ˙ ˙˙
˙˙
˙
˙˙
˙
˙˙
˙˙
˙˙

e
Vln.

& 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙
˙
≥
B # 44 ˙
˙

˙
˙

P
˙
r
˙
˙
˙
˙
˙
˙ ˙
˙
˙ ˙
˙
˙˙
˙˙
˙
˙
˙

˙˙
˙
˙
˙
˙
˙˙
˙
˙
˙
Vla. ≥ ˙ ˙
#
B 4 ˙4 ˙ ˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙
˙ ˙ ˙ ˙
˙ ˙
?# 4 ≥ ˙ ˙ ˙ ˙ ˙ ˙˙
˙
˙ ˙˙ ˙˙
˙
˙ ˙˙
4 ˙ ˙ ˙ ˙ ˙
˙ ˙
≥
˙
Vcl.
?# 4 ˙ Reproduction
˙˙ ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙
˙ ˙˙ Prohibited
4 ˙ ˙ ˙ ˙ ˙
˙ ˙
?# 4 ≥ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
4 ˙ ˙ ˙

? # 4 ˙≥
D.B.
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
4 ˙ ˙ ˙

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6
4. Minor Scale Intonation Study
≥ ˙4 ˙
& 44 œ œ œ œ œ œ œ œ
4 0

˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙ ˙˙ ˙˙
Vln.
≥
4 ˙˙ ˙˙ ˙˙ ˙˙
4

& 4 ˙˙ ˙˙ ˙˙ ˙˙ œ œ œ œ
4 0

˙ ˙ ˙ ˙
œ œ bœ œ
≥ ˙4 ˙ œ0 œ œ œ ˙4 ˙ ˙˙ ˙˙ ˙˙ ˙˙
œ
B 44 œ œ œ ˙˙ ˙˙ ˙˙ ˙˙

˙˙≥ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ œ œ œ œ
Vla.
4 ˙ ˙ ˙ ˙
B4 œ œ bœ œ

œ œ œ œ ˙ ˙
? 4 œ≥ œ œ œ ˙ ˙
˙˙ ˙˙ ˙˙ ˙˙
˙˙ ˙˙ ˙˙ ˙˙
4
≥
? 44 ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ œ œ œ œ
Vcl.

˙ ˙ ˙ ˙

? 44 œ≥ œ œ œ ˙ ˙ œ œ œ œœ ˙ ˙
œ œ bœ œ

l y
œ œ œ ˙ ˙ ˙ ˙ ˙
n ˙ ˙ ˙ ˙ ˙
D.B.
? 4 ˙≥
4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ bœ œ O ˙ ˙ œ œ œ œ ˙ ˙

5. Whole Note Bow Distribution / Intonation Study

e w
#4 ≥ ≤
& 4 œ œ œ œ
#4 ≥
œ œ œ œ œ œ œ œ

v i ˙ ˙ w
w
ww ˙ ˙˙ w
w

e
Vln.

& 4 w ww w œ œ œ œ œ œ œ œ ˙ ˙ w
ww
#
B 44
w
≥ œ œ
œ œ
P œ œ œ œ r œ œ œ œ
w
˙ ˙ w
w
ww
˙˙
˙˙
w
w
≥ ww œ œ œ œ œ œ œ
Vla.

B # 44 ww ww œ ˙ œ œ w
ww
≥ œ œ œ œ œ œ œ œ
?# 4 œ œ œ œ ˙ ˙ ww
w
w
˙
˙ ww
4 ˙
˙
? # 4 w≥ ww œ œ œ œ œ œ œ œ ˙ ˙
Vcl.

Reproduction
w Prohibited w
4 w w ww
˙ ˙ ˙ ˙ ˙
? # 4 ˙≥ ˙ ˙ ˙ w w ˙ w
4

? # 4 w≥
D.B.

w w ˙ ˙ ˙
4 w ˙ ˙ ˙ w

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 7
6. Chorale on a D String Drone (select players should drone on open D throughtout)

## 4 ≥ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ w
& 4 œ œ œ ˙ œ œ ˙
≥
## 4 4
Vln.

& 4 ˙ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ w
˙ ˙ œ œ ˙
≥ œ œ ˙ œ œ œ œ
B # # 44 ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ w
˙ ˙ œ œ ˙
Vla.
≥ œ œ œ œ
B # # 44 ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ w
˙ ˙ ˙ ˙ ˙
≥ œ ˙ œ œ ˙ ˙ ˙ œ œ ˙ œ œ ˙ ˙ ˙ ˙ ˙
? ## 4 œ ˙ ˙ w
4

? # # 44 œ≥ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙
Vcl.
œ œ ˙ œ œ ˙ œ œ ˙ w

≥
? # # 44 ˙
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ l˙y ˙ ˙ ˙ w
n
D.B.
? # # 4 ˙≥
4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
O˙ ˙ ˙ ˙ ˙ ˙ w

e w
7. Chorale on a G String Drone (select players should drone on open G throughtout)

#4 ≥
& 4 œ œ œ
#4 ≥
œ
œ œ ˙

v i
œ œ œ œ ˙ ˙ œ œ b˙ bœ œ ˙ ˙ ˙ w

e
Vln.

& 4 œ œ œ œ ˙ œ œ œ œ ˙ ˙ œ œ ˙ œ œ ˙ b˙
˙
≥
B # 44 ˙ œ œ
P r
œ œ ˙ œ œ œ œ ˙ ˙ œ œ ˙ bœ œ ˙ ˙
˙

˙
w
ww

≥
Vla.

B # 44 ˙ œ œ œ œ ˙ œ œ œ œ ˙ ˙ œœ œœ ˙˙ œ œ ˙ ˙ b˙ w
œ œ œ ˙
?# 4 ≥ œ œ œ œ œ œ ˙ ˙
œ œ b˙ bœ œ ˙ ˙ ˙ Nw
4 œ
Vcl. ≥
?# 4 ˙ œ œ œ œ ˙
Reproduction bœ œ ˙
œœ œœ œ œ ˙˙ ˙ Prohibited
˙˙ ˙˙ ˙ ww
4 ˙ ˙
œ œ ˙
˙ œ œ ˙ œ œ œ œ ˙ ˙ ˙
? # 4 ˙≥ ˙ ˙ ˙ ˙ ˙ w
4

? # 4 ˙≥
D.B.
˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
4 w

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8
8. Chorale in E Minor

#4 ≥ œ œ ˙ œ œ œ œ
& 4 œ œ ˙ œ œ #˙ œ œ ˙ ˙ ˙ w
#4 ≥
Vln.

& 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ œ œ
œ œ ˙ œ ˙ #œ w
≥
# 4
B 4 œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ ˙ w
œ œ ˙
≥
Vla.

B # 44
œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ ˙ œ œ ˙ ˙ w

? # 4 œ≥ œ ˙ œ œ #˙ œ œ ˙ œ œ ˙ œ œ œ œ ˙ ˙ w
4

? # 4 œ≥ œ ˙
Vcl.

˙ œ œ ˙ w
4

? # 44 œ≥ œ ˙
œ œ ˙

œ œ ˙
œ œ
˙
œ œ ˙

œ œ ˙ l y ˙

˙
˙

˙
œ œ ˙ œ œ
n w
D.B.
? # 4 œ≥ œ ˙
4 œ œ ˙ œ œ ˙
œ œ ˙
O
œ œ ˙ ˙ ˙
w

9. Minor Modal Chorale

e w
4 ≥
&4 œ œ œ œ
≥
4

˙ ˙ ˙

v i
œ Nœ ˙ ˙ ˙ œ bœ œ œ œ œ w
4
w

e
Vln.
4
&4 ˙ œ œ ˙ ˙ b˙ ˙
4

˙ ˙ ˙ ˙ œ œ ˙ ˙ N˙
≥
B 44 ˙ ˙
P
˙ ˙ r ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ w
#w
w

≥
Vla.

B 44 ˙ œ œ ˙ ˙ N˙ œ œ ˙ ˙ b˙ ˙ ˙ ˙ w w
˙ œ Nœ ˙ œ bœ ˙ N˙ #w
? 4 œ≥ œ œ œ ˙ ˙ ˙ ˙ œ œ œ œ
4

? 4 ˙≥ ˙
Vcl.

4 œ œ œ œ
Reproduction
˙ ˙˙ ˙˙ œ b˙ ˙ ˙ ˙
˙ œ Prohibited w w
œ œ b˙ ˙
? 4 ˙≥ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ w w
4

? 4 ˙≥
D.B.

4 ˙ œ œ œ œ ˙ ˙ ˙ œ œ b˙ ˙ ˙ ˙ w w

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 9

˙ œ Nœ
4

& œ œ œ œ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ ˙ #˙ w
Vln.

& ˙ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b˙ ˙ w

B ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ w
Vla.

B ˙ ˙ ˙ N˙ œ œ ˙ œ œ
œ œ ˙ ˙ ˙ ˙ ˙ ˙ w
˙ ˙ ˙ œ œ ˙ ˙ œ œ
? œ œ œ œ ˙ ˙ ˙ ˙ ˙
w
˙˙
Vcl.
? ˙ ˙ œ œ œ œ ˙˙ ˙˙ œ œ ˙˙ ˙˙

œ œ l y
œ œ ˙ ˙ ˙

˙
w
w
? ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙
n
œ œ ˙ ˙
D.B.
? ˙ ˙ œ œ œ œ
˙ ˙
˙ œ œ ˙
O
˙ œ œ ˙
˙ ˙ w

10. Chorale in C Major

e w
&4 4 ≥
œ œ œ
≥
œ ˙ ˙ œ œ œ œ
v i 4

˙ ˙ œ œ œ
œ
4
˙ ˙ ˙ ˙ w

e
Vln.

&4 4 œ ˙ ˙ ˙ ˙
œ œ œ œ ˙ œ œ œ w
˙
≥
˙

B 44 œ œ œ œ
P
˙
˙ r
˙
˙
œ œ

˙ ˙ ˙ ˙ œ œ œ œ
˙4 ˙ ˙ ˙ w

≥
Vla.

B 44 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w

≥ ˙
?4 œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ w
4

?4 ≥
Vcl.

4 ˙
˙
Reproduction
˙˙ ˙ ˙
˙ ˙ ˙˙ ˙˙ ˙ ˙ Prohibited
˙˙ ˙˙ ˙ ˙
˙ ˙ ˙ ˙ w
w
˙≥ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
?4 ˙
4
D.B.
≥
?4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w
4 ˙ ˙ ˙ ˙

ST6429
 l y
n
O
e w
v i
r e
P
Reproduction Prohibited
 l y
n
O
e w
v i
r e
P
Reproduction Prohibited
 l y
n
O
e w
v i
r e
P
Reproduction Prohibited
ST6429