dreams are for sleepers: an anti-fantasia
TRANSCRIPT
Dreams are for Sleepers: An Anti-fantasia
A Dissertation SUBMITTED TO THE FACULTY OF THE
UNIVERSITY OF MINNESOTA BY
William M. Heinze
IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF
DOCTOR OF PHILOSOPHY
Alex Lubet
March 2020
© 2020
William M. Heinze
All Rights Reserved
i
TABLE OF CONTENTS
LIST OF FIGURES ....................................................................................................................................................... II
CHAPTER I. DREAMING ............................................................................................................................................ 1
1.1 COMPOSITIONAL PROCESS ................................................................................................................................................. 1
1.2 MOVEMENT 1 ........................................................................................................................................................................ 6
1.3 MOVEMENT 2 ........................................................................................................................................................................ 8
1.4 MOVEMENT 3 ...................................................................................................................................................................... 11
1.5 MOVEMENT 4 ...................................................................................................................................................................... 16
1.6 INTERPRETATION ............................................................................................................................................................... 19
BIBLIOGRAPHY ........................................................................................................................................................ 22
APPENDIX I. DREAMS ARE FOR SLEEPERS: AN ANTI-FANTASIA ........................................................... 23
ii
List of Figures
Figure 1 Liszt Sonata m.1 ............................................................................................... 1
Figure 2 m.1 ................................................................................................................... 5
Figure 3 mm.6-10 ........................................................................................................... 6
Figure 4 m.6 ................................................................................................................... 7
Figure 5 mm.25-30 ......................................................................................................... 7
Figure 6 mm.57-62 ......................................................................................................... 8
Figure 7 mm. 174-8 ........................................................................................................ 9
Figure 8 The Dream ......................................................................................................10
Figure 9 m.258 ..............................................................................................................12
Figure 10 m.262-265 .....................................................................................................13
Figure 11 mm.259-63 ....................................................................................................14
Figure 12 mm.276-80 ....................................................................................................14
1
Chapter I. Dreaming
Dreams are for Sleepers: An Anti-Fantasia is a piece about recognizing
the dangers of romanticizing our goals and dreams; that constructing these
fantasies is what drives us to pursue them, and their realization is as restricting
as the situations we use them to escape. Abstractly, the piece is about
interrupting the semi-tonal fantasy until it is achieved in a consonant, continuous,
and overly long coda. This achievement should become equally dissatisfying, so
much so that the interruption would be preferred. Dreams is in a four-movement
form: An introduction, a slow romance, a scherzo and a final recapitulation.
1.1 Compositional Process
I began composing this piece in the summer of 2017. It was originally
conceived of as a piano sonata. The piece, which did not have a title, needed to
be substantial. To accomplish this, I looked to other large-scale piano works,
such as the Chopin and Prokofiev sonatas. The primary inspiration was Franz
Liszt’s exhaustive “Sonata in B.” The textural opening of the sonata (see figure
Figure 1 Liszt Sonata m.1
2
1), along with its economical construction made it an ideal starting model for a
large-scale piece.
Dreams are for Sleepers rapidly departed from its Lisztian model. I
abandoned an aesthetics of motivic economy by the beginning of the second
movement. Much of the material is still related in terms of pitch sets however, this
was not some grand architectural choice, but a tool for making enough material
to extend the duration of the piece.
I planned the piece in four movements from the beginning. The four
movements of the piece are arranged in a traditional form. The introduction is
choppy and somewhat fast. The second movement is slow and lyrical. The third
movement is a quick scherzo, and the finale serves as the ground to resolve the
major themes of the previous movements. The title of anti-fantasia was inspired
by Robert Schumann’s Symphony no. 4 in D minor, which he originally called a
“Symphonic Fantasy.” The symphony, which uses borrowed motives and
gestures across movements was conceived as a continuous work with four
distinct sections which mirrored the classical symphony. After its initially poor
reception, Schumann edited the work into its current for with four distinct, but
closely related movements. Schumann further structures the symphony as a
sonata-allegro form within itself. The first movement serves as an exposition to
the fourth movement’s recapitulation. The cyclic nested forms of this fantasia
made symphony were the theoretical scaffolding for this piano concerto made
anti-fantasia.
3
The movements were composed sequentially. I started the second
movement in the fall of 2017, the third in the winter of 2018, and the last
movement was finished in the early spring. After finishing the sonata proper, I
began to arrange the piece for small orchestra. The music is written for a small
ensemble: flute, clarinet, bassoon, piano, and a double string quartet. The
instrumentation mirrors Aaron Copland’s Appalachian Spring ballet. This
instrumentation serves two purposes. First, it makes performances more
accessible. Copland’s piece is frequently programmed by student conductors for
recitals and practices. I’ve played it multiple times. This piece could be
programmed with the ensemble for greater effect. Second, the ensemble offers
a more limited amount of textures while maintaining a lot of different timbres. The
three woodwinds offer their distinctive colors, while the strings provide a neutral
palate. This backdrop puts the pianist at the forefront of the composition.
Dreams are for Sleepers was initially conceived as a piano sonata. The smaller
instrumentation preserves its intimacy, allowed me to fill out textures and make
technical passages easier for the performer, and helped extend the composition
through timbral development.
Since the piece was composed with a singular concept, “Interruption,”
much of it was not planned in a narrative sense. Instead I composed largely
through a reliance on the formal structures I had picked up as a musician and
general intuition. The piece frequently brings back themes from older
movements, uses tonal harmony and chromatic modulations, and contains long
melodic lines. I associate these tropes with romantic music, and the title of anti-
4
fantasia is meant to imply that the piece is aware of these norms. To me, the
piece was as much an exercise in writing a large-scale cyclic piece as it was a
thesis. For example, the driving concept of the third movement was “scherzo”
before there was a full narrative. In this sense, the scherzo is also a movement
about scherzi, and the Anti-fantasia is a piece about fantasias. This paper will
explain and describe the compositional structures I wrote and then use them to
develop and explain the fantasy and its deconstruction.
Chief in the creation of a piece about interruption is the understanding that
one of the most powerful tools in composition is where the composer puts the
cadences. Choosing the moments where the audience expects a cadence which
is interrupted, finds a cadence when the interruption should have occurred, and
waits for a cadence that never arrives guided my composition process.
Throughout the discussion of the musical elements below, I list the moments
where cadence and interruption intersect and how they influence the audiences
understanding of the music
The movements are not closely related melodically, but they are tied
together by the two major characters of the piece: The Interruption and the
Dream. The two continually disrupt, echo, subvert and support one another
throughout the piece. The dichotomy between the two themes forms the impetus
of the piece. While the dream is meant to invoke the fantastic dreams of the
music, the interruption remains consistently present, always grounding the music
in its clusters.
5
The interruption is the first gesture of the piece (see figure 1.) It is a cluster
of whole tones on top of a perfect fifth approached from two grace notes an
octave apart. At the beginning, the interruption is meant to be playful, simple, and
slightly confusing. As the opening of the piece, it asks the question, “Is that all
there is?” It prevents cadences, it punctuates rhythms in the more melodic
moments of the piece, it anticipates itself, in that it interjects when it is expected
or shortly before. This is not to imply that it is random, but that the interruption is
aware that it is deliberately disruptive.
In contrast, the dream is meant to be lyrical. Whereas the interruption is
marked by its cluster of whole tones, the dream most commonly occurs in
octaves. The dream is typically in a compound meter. The specific melody of the
dream is unique to each movement, but in every case, it serves as the thing to be
interrupted. Metrically and melodically, the interruption gesture prevents the
completion of the flow of the music.
Together, the dream and the dream are continually unfulfilled. In every
movement but the last, the cluster adds dissonance, disrupts metric flow, and
alters the texture of the piece. In the last movement, the dream exists without the
Figure 2 m.1
6
interruption and dream becomes a continuous consuming fantasy. The anti-
fantasia is the interruption of this dream.
1.2 Movement 1
The first movement serves as the introduction and first half the exposition
to the piece. As previously stated, it begins with the interruption motive. After a
pause, the motive is repeated. This repetition of a single staccato cluster gives
way to the first held pitch of the piece—a G-sharp—which is where the clarinet
begins the dream (see figure 2).
In this movement, the dream is constructed from the top three pitch-
classes of the interruption, E, F-sharp, and G-sharp. The pitch-set contains the
first three notes of an ascending major scale, which forms the basis for much of
the melodic material in the movement. Where the cluster is short and choppy, the
dream is smooth. Triplets are the smallest rhythmical unit and the meter is
slightly ambiguous. It exists between a duple and a triple. Since this movement is
largely intended to introduce the interruption, the dream is largely fragmented.
Figure 3 mm.6-10
7
Also included is a textural element found in the strings (see figure 3). This
element, which is a transitional motive for the first movement fills the other pitch-
classes of the motive, B, A, and D. This motive imitates and slows down the
grace notes of the interruption.
The movement forms the primary theme group of the large-scale quasi-
sonata, but it is internally structured with a loose concerto-form in mind. The
exposition (mm.1-63) is in two halves where the piano and orchestra switch
roles. In the first half, the piano presents the interruptions, backgrounds and
texture while the orchestra introduces and elaborates upon the dream. In the
second half, the piano maintains the interruption, while repeating the initial
melody. This is clearest at the end of each section (see figure 5). In the first half,
Figure 4 m.6
Figure 5 mm.25-30
8
the ensemble plays a stormy extension of the dream theme while the piano
supplies the interruption in the background (mm. 25-35.) In the second half, the
piano covers both the interruption and the dream on its own (see figure 6).
The loose development section of the movement relies heavily on
fragmentation and repetition. The ending of the piece involves a repeated
compound figure, and as such, the triplet motive and dream melody are repeated
frequently. These overlaying melodies build into the final statement of the piece,
a frenetic set of chords in the base along with an agitated version of the melody
in the piano. The melody itself is interspersed with the interruption.
This final development of the dream slowly breaks down to a dampened
cluster in the lower range of the piano. The final interruptions hold the F-sharp
from the cluster, rather than the initial G-sharp. The final bars restate the motives
and transition into the next movement.
1.3 Movement 2
The second movement functions as the slow adagio of the piece. Where
the first movement introduces the interruption and includes the song, the second
Figure 6 mm.57-62
9
movement introduces the song and includes the interruption. In the grander
cyclic form, it is also the second subject group. Where the first movement is
disjunct and repetitive, the second movement is lyrical, largely melodically
continuous, and consonant.
The form of the second movement is an introduction followed by a theme
and variations. The introduction serves as a transition from the first movement
and uses the pitch-class set from the interruption as its new harmonic
background. The set is treated like a diatonic scale missing its third degree. Like
the first movement, the clarinet introduces the song, while the piano supplies
early interruptions. The melody steadily moves to a more sparse, fragmented and
dissonant space, which is reminiscent of the first movement. Importantly, the
introduction, and the climax of the variations both end with the same melodic
figure (see figure 7).
The end of the introduction is followed by the most pervasive version of
the dream, and the second theme of the piece. Its related to the initial
presentation of the dream through the compound meter, legato articulation, and
inversion (see figure 8). In its initial presentation the theme is initially interrupted
after the first phrase member (mm. 182-183) is interrupted, however the rest of
the melody uses the interruption as the dissonant embellishment at the beginning
Figure 7 mm. 174-8
10
of each phrase member. Throughout the piece, this melody never fully cadences.
It ends with a repetition of main melodic theme, but it that repetition, even when it
forms the metric ending of a section, does not result in a conventional harmonic
cadence.
The theme is repeated one more time with the orchestra, until it shifts into
a minor key. This melody is an extension of figure 7 which s transposed in
intervals of thirds. This line is interrupted before it can cadence. This moment
begins the third section of the movement. The bassoon briefly states the dream
metrically displaced by an eighth note. The main melodic figure sequences into a
larger climax. Here the theme is combined with the bottom of the introduction and
builds into variation in a starkly minor key. This climax builds to the piano playing
Figure 8 The Dream
11
the first phrase of the dream harmonized with tritones. This statement, which
repeats and alternates between loud and soft, dark and consonant is itself
interrupted. Like the end of the last movement, the interruption occurs in its
original key, and the held note is the next pitch class in the set, the E. This E is
the transition to the third movement.
1.4 Movement 3
The third movement is the scherzo and the most lighthearted moment of
the piece. The interruption, as it occurs in the first two movements is very rarely
present. Instead, the movement is interrupted through a series of break points.
Movements one and two are metrically regular. Even though the accents are
sometimes displaced, the divisions of the beat rarely change. In contrast, this
third movement is constantly shifting divisions of the bar and cadencing in
irregular phrases. This irregularity constitutes the
interrupting material and helps obscure the original interruption, which will
not reappear until the end of the piece. Further, these breakpoints served a
compositional purpose. After I composed the initial draft of the piece, I
rearranged the order of events by cutting the movement into sections at the
breakpoints and reattaching them. The new order was largely determined by
chance. I illustrated the sections on pieces of strips of paper and color coded the
beginnings and endings. The semi-random nature of events helps add to the
frenetic nature of the scherzo.
12
The movement begins with the break point that most resembles the
interruption. It sounds like the opening to a fanfare. The grace note is replaced
by an aggressive down beat and the strong emphasis on the A situates the piece
in A-major. It is the first time in the piece that the full ensemble takes part in the
motive (see figure 9.) This is just one version of the interruption found throughout
the piece. The second version of the interruption is found immediately after the
first (See figure 10). The
first three notes in the piano comprise the top three pitch-classes of the
interruption and this quick anacrusis frequently stops the flow of the melody to
begin a new section.
The second interruption is followed by the most pervasive melody of the
movement (see figure 11). It is introduced in a slow high register of the piano.
The slow beginning helps the listener recognize the melody when it recurs later
in the piece and masks the light-hearted nature of the music to follow. Likewise,
the slow tempo keeps recurring throughout the movement. It functions as another
natural break to the flow of the movement. Finally, because the melody is
disjunct, irregular, and syncopated, the slow tempo links it to the dream in the
previous movement.
Figure 9 m.258
13
Figure 10 m.262-265
14
After this introduction, the first three bars are immediately repeated and
the melody begins again, this time in the woodwinds at a faster tempo. This
faster version of the theme has a five-bar and a three-bar phrase. The cadence
at the end of the five-bar phrase returns frequently to redirect the tempo of this
music. It serves as a metric and harmonic breakpoint for the movement.
The next melody heard is related through a more legato presentation and
melodic material (see figure 12). It is not nearly as long as the melody found in
the second movement of the piece, but it its linear descending line links it to the
dream melodically. The descending run of eighth notes is a transformation of the
dream. The pitch content is transposed, and the third note of every descent is
removed so that the melody fits in a simple meter. These two melodies—figures
10 and 11—make up the material that is to be broken up.
The scherzo’s form is indefinite and deliberately unpredictable. The
different motives (i.e. the half-cadence, the so-la-ti anacrusis, the fanfare
interruption) almost always recur in the same key and are independent of the
material that comes before and after them. Any section that begins with the
Figure 12 mm.276-80
Figure 11 mm.259-63
15
anacrusis, can be substituted for any other. Throughout the piece, fast
statements of the motive lead to slow versions of the theme. Sometimes the
anacrusis is a fugue statement, and other times, it becomes a waltz. While I was
composing the piece, I continually rearranged the sections, largely through
chance. This semi-random arrangement gives the movement a random and more
playful character.
In this movement, the song and interruption exist in their most abstract
forms. The Scherzo’s versions of the song are these broken themes, rendered
discrete by the discontinuity of their composition. It is most clear when the
melody is slow, but the interruptions frequently destabilize and undo any lyrical
nature of the melody. In this context, the frustrating interruptions are tied to major
key harmonies and frequently appear more comical than jarring.
These interruptions also allow for more comical transformations of the
themes. The scherzo contains and hints at multiple styles and genres of concert
music. There are woodwind trios, fugato sections, slow solo adagios, Alberti bass
lines, and a waltz. None are completed. Each version adds more incongruity to
the structure of the movement.
The final statement of the main theme, the Waltz, is meant to punctuate
the semi-random nature of the scherzo. For a movement that seems to imitate
multiple styles, the waltz is meant to be the grand finale, and return the piece to
the compound metric structure of the other movements. This is most clear when
it is answered by the song from the second movement. This song, interrupted
again, leads to the closing bars of the third movement: a gradual cadence into
16
movement four. The hope is that the extended length of the cadence combined
with the memory of the previous interruptions creates the expectation of a final
interruption. Instead, the piece progresses without the interruption into the fourth
movement.
1.5 Movement 4
The fourth movement is a synthesis of the previous three. The strange
chromaticism, the interruptions, the obscure forms are reimagined in a
consistently diatonic—if not slightly repetitive—form. This repetition recalls the
motives from the earlier movements in more metrically regular patterns. For all
the time spent interrupting itself, the song in all of its forms is finally given free
reign. The audience is given the reward the piece has always hinted at.
At the onset of the piece, the textural elements of figure 4 are used to
support the new version of the melody. The conflicting triplet pattern is now
reimagined in a compound duple meter. Some textural elements repeat, and the
piece still builds to full moments, however where these moments are interrupted
in the first movement, they ebb in the finale. This rise and fall eventually gives
way to a final statement of the stormiest portion of the first movement. The
peaceful version of the storm serves as both the codetta for the first paragraph of
the movement and the lead in to the reproduced third movement.
The third movement is restated before the second so that the completed
version of the song can dominate the very end of the piece. The section is split
17
into three parts. First there is a diatonic restatement of the first theme (figure 10.)
This theme is then repeated in its Alberti bass form. At this point, the music, while
still metric and consonant becomes slightly off putting. The shared melody in the
winds combined with its awkwardly long phrase structure is beginning to hint at
the overly long coda of the piece. A quick statement of the of the song (figure 11)
is followed by the final part of the section. The interruption forms a sequence
made of ascending major tetrachords. This sequence extends for over 24
entries, which again implies the impending coda of the piece. The fourth
movement is not characterized by the interruptions, but rather its refusal to
pause.
This leads to the third section of the piece. This section is the song in its
uninterrupted form. Through a combination of a diatonic version of figure 5, the
end of the original exposition, and the first four measures of the song, the
orchestra builds to the final statement of the song in the piano. This statement,
with orchestration borrowed from the Tchaikovsky Piano Concert in Bb, is the
song in its entirely diatonic, consonant form. This isn’t to suggest that it consists
of only thirds and fifths, but that the harmonies themselves do not shift abruptly.
The grace not embellishment to the theme, which has until now always been the
whole-tone cluster of the interruption, is now an A major chord.
At this point, the song continues. Its falling melody is composed without an
ending in mind, and the rest of the piece is a testament to that. The next 76 bars
of the piece are the same cadential pattern repeated and extended to imply a
final cadence in A major. Each repetition involves an added set of instruments to
18
the melody. This pattern of expected release and non-relief through repetition
forms the crux of the anti-fantasia. By this point, an uninterrupted melody has
been the elusive fantasy of the piece. However, the length of that uninterrupted
song has never been established. In turn, the Anti-fantasia becomes against
itself when it is a fantasy in the excess and the seemingly infinite loop. I draw
upon this idea from my masters thesis, where the dominant lock, or extended
chord that implies the end of the development and return of the implication,
extends far too long, pauses, has a false start, and returns for the sake of
melodramatic humor.
In this case, the effect is ideally some sort of opposite. In discussions with
friends and reviewers, some have pointed to a moment where it becomes boring,
then funny, then annoying, and finally excruciating. Some find it calming, like a
minimalist piece that opens the space for meditation. In either instance, the
moment where the repetition becomes a musical space inside itself, where there
seems to be no end and a far away beginning, is the moment where the dream
becomes a moment of inaction. It ideally becomes a room the audience must
wait to leave.
The final section of the movement and the piece is the logical conclusion
of the cadential pattern, an A major chord. The intent of the 47 bars of A major is
to reduce the wanted end of the song to its own space, even sparser than what
comes before it. This idea came from the overly long coda in Beethoven’s eighth
symphony. This section consists of false endings, erratic dynamics, and
changing metric patterns. Ideally, even for those appreciating the minimalist
19
approach to the section before, the final chords interrupt that semblance of
peace. By this point in the piece, I hope that the audience both remembers the
interruption and prefers it. After this needlessly extended coda, the music does
end with this interruption. Right before, quietly and in the left hand are the first
four notes of the song. Reminding me, and hopefully the audience, that both
become difficult to face without the other.
1.6 Interpretation
Dreams are for Sleepers, is a piece meant to interrogate optimism the
song’s falling but never-ending lyricism is, to me, a hope for a future filled with
consonance and lyricism. The interruption stands in its way, and should
eventually become preferable to an always imagined, but never-quite-there
future. Optimistically awaiting this fulfillment then becomes the dream from which
the listener must awake. I believe that composition is an ideal form of expression
because it can create experiences that are simultaneously shared between
composer, performers, and audiences while also being intensely personal. Our
relationships to harmonies, cadences, melodies, fugues and waltzes are
unknowable but crucial for creating any type of understanding. Music’s unique
ability to create systems of expectations and fulfillments in shared time and
space creates a shared dream.
20
That said, this relationship has been written about before, and these
multiple approaches help explain the possible interpretations of the song and the
interruption.
First, the piece mediates Lacan’s three registers of the Imaginary, the
Symbolic, and the Real. The imaginary is the world of which we make sense. It is
where the ego resides, it holds our conceptions of others, it houses fantasy. The
symbolic is the space of language and communication. It is this system which
structures our external reality, behaviors, and laws. Finally, the real is the
material world that defies symbolic construction or imagined laws. Where the
imaginary and the symbolic exist in a psychology of comprehension and sense-
making, the real cannot be captured. It houses death.1
In this sense, Dreams are for Sleepers is an attempt to mediate the real
and the imaginary through the symbolic. The Symbolic is the mode of
communication. It is the score, the performance, this text, and any discourse
through which the piece is described. Without it, the Imaginary can not be
experienced as an ensemble or an audience. This mediation, as Lacan explains,
is crucial to constructing a reality that exists in opposition to the real and is then
reimagined in the piece. The song serves as the “imagined” future. It an
ultimately fictional space where the audience is invited to expect the closure of
the piece. While it is designated to be imagined, it is not inconsequential. Instead,
it forms the interest of the entire piece. Its completion is the goal. While the song
1 Hallsby, “Psychoanalytic Methods and Critical Cultural Studies.”
21
is what we imagine and want, the interruption is the disruptor. In this sense, it
functions as the Real. Though it is symbolically constructed, and cannot truly
exist in the register, it is comparatively amusical. Though interruptions and
diversions are historically musical gestures, as a cluster, the interruption serves
no melodic or harmonic purpose, it rarely creates a rhythmic structure. Through
the dialectical opposition of the two structures, I challenge the imaginary’s
dominance in our perceptions and try to move an audience close to the
obliterating real.
Building on this relation is Berlant’s conception of cruel optimism. As
Berlant explains, cruel optimism is “a relation of attachment to compromised
conditions of possibility whose realization is discovered either to be impossible,
sheer fantasy, or too possible, and toxic.”2 For Berlant, optimism is hope for
some form of happy object, be it money, power, love, or equality. Unfortunately,
these objects are ultimately out of reach, or attainable but unusable. In the former
case, the optimists are left hoping for a day that will never arrive. For example,
the promise of economic justice is always on the horizon. In the latter, the arrival
of the thing that would make an optimist happy is ultimately their undoing.
Someone may achieve great wealth, but without the knowledge of how to spend
it, or the realization that it will one day be spent undoes the joy that the optimism
promised.
2 Berlant, “Cruel Optimism,” 94.
22
In this sense, the song is both objects. It is the continually present, in that
we hope it may eventually be uninterrupted, but the achievement of that song is
itself a form of toxicity. It is the blight on the Anti-fantasia, and the most
frustrating music in the piece. My hope is that these dichotomies, between
wanted and unwanted, expected and unexpected, tensed and released questions
the expectations an audience might value without dense academic jargon or
simplistic examples. How do we hope and what should we hope for? Are
questions that we must answer in our careers, relationships, and art. Dreams are
for Sleepers is my attempt to bring the question to the attention of the audience.
Even if it fails to do so, the hope that it does is a cruel optimism in itself. It could
be unachievable, or it could work, and I would be unable to provide an answer.
23
Bibliography
Berlant, Lauren. “Cruel Optimism.” In The Affect Theory Reader, edited by Melissa Gregg and Gregory J. Siegworth, 93–117. Duke University Press, 2010.
Hallsby, Atilla T. “Psychoanalytic Methods and Critical Cultural Studies.” Oxford Research Encyclopedia, September 2018. https://doi.org/10.1093/acrefore/9780190228613.013.578.
q
p
pp mf
pp
q
p
34 44 34
34
44
34
34 44 34
34 44 34
34 44 34
34
44
34
34 44 34
34
44
34
34 44 34
3
mp mf
f p ff p mf
mp f p
pp mp
mfpp
mf pp
mf pp
mp p
3
3 3 33
3
5 5 3
pp p n p mf f
p mf f
f mf
f
fpp
mf
n pp n f
n pp n f
n pp n f
n f p n mp f
3 3
3 3 3
3 3 3 3 3
33
3 3
33 3 3
3 3 3 3
3 3
ff p
ff p
ff pp mpf
p pp mp sf
fp
f p
f mf
pp mp
44
34
44
44 34 44
44 34 44
44 34 44
44
34
44
44 34 44
44
34
44
44
34
44
44 34 44
33
3
3
3
3
33
33
3
3
fp fp
fp fp
f
f
f
fp fp
fp fp
f
f
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
fp fp mf fff
fp fpfp mf fff
p
f f pp
fp fp mf fff
fp fpfp mf fff
34
34
34
34
34
34
34
34
34
3
3
3
3
3
33 3 3 3 3 3 3 3 3
3
3 3
3 3
3 3
3
3 3
pp
p f
mf p
f
f
p mp f
f
44 34
44 34
44
34
44
34
44 34
44
34
44
34
3 3
3
3 3 3
3
3
p f
p
p f p
f p f
p f p
33 3
3
3 3 3 3
3 3 3
3 3 3
5
mf
f p mf pp
f p
pp mpp f p
pp f
pp n
pp n
pp n
pp
pp fpp
3
3
3 3
3 3 3 3
3
3 3
3 3 3 3
mf
mf
p pp mp sf
f
f
f
f
44
34
44
34
44 34
44 34
44 34
44 34
44
34
44 34
3
3
3 3 3
3
3
3 3 3
3 3 3
3 3 3
3 3 3
mf pp
mf pp
p f mf f
pp f
pp f
f
f f
mf pp
mf pp
44
44
44
44
44
44
34
34
34
34
34
34
3 3
3
3 3
3 3 3 3 3
3
3
3 3 3
3
3
3
3 3 3
33 3 3
3
33 3 3
3
3 3
3 3
3 3 3 3
mf p
pmp pp
p mf p
p pp
p mp p mp p f
p mp p mp p f
p f
p f
3
5
5
3 3 3
3 3 3
p fp
p fp
p
f
mpmf f
p fp
p fp
f
pf
44 34
44
34
44 34
44 34
44
34
44 34
44
34
44
34
44 34
33
3
3
33
3
3
3
3
33
3 3
3
f fp f
f fp f
f fp f
f fp f
44
44
44
44
44
44
44
44
44
3 3
3 3
3 3 3 33 3 3
3 3
3 3
3 3 3 3 3 3 3
3 3 3 3 3 3 3
fp f fp f
fp f fp f
ff
fp f fp f
fp f fp f
ff
ff
34
34
34
34
34
34
34
34
34
3 3
3 3
33 3 3
33 3 3
3 3
3 3
3 3
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
fff
fff p mp mf
p mp mf
pp
fffff
fffff
ff
ff
3
3 3
3
3 3 3 3 3 3 3 3 3
3
3
3
33
3
3
p n
q=
p mp p mf p f
pmf p f p
f
ff p mf p
q=
ffp
ff p mp p mf p
ffp
33 3
3
33
3 3 3 3 3 3 3 3
3
3
3
3
33
3
3 3 3
3 3
f
q
f
f ff
ff p p mp
p
p
pp p mp
pp n p mp
24
34
24 34
24
34
24 34
24 34
24
34
24 34
24
34
24 34
3 3
33
3
33 3
3 33 3
3 3 3
3
3 3 3
3
3
3 3 3
3 3 3 3
3 3
mf f
mp
mp
mf f ff
mf f ff
f ff
q
f
q
f
p
p
44
34
44 34
44 34
44 34
44 34
44 34
34
34
34
34
34
34
6 6 6 7
3
33
3 3
3 3 3 3 6 6 6 6 6 7
3 3 3 3 6 6 6 6 6 7
3 3 3 3 3
3 3 3 3 3
3
3
3
3
pf
p mp p
f p f p
mf fp
pp pp
q
p pp ppp p
q
p mp n p
q
p mp n p
pmp n
p
pmp n
p
68
68
68
68
68
68
3
3 3
fmp mf f
mp f p
p
mp n mp f p
mp n mp f p
mp p mf p p mf p
mp p mf p mp f p p mf p
pp mp
mp pp
mp f p
mf f
mp f pp
mp f pp
p
mp ppp p
mp pp p
mp f p p
p
p pp
fp
f
f
p mf
ff pp
ff mp pp mp pp mp
ff pp p mp
pf
p f
p f
p f pp
p f pp
7:6
mf f p
fp
pp p p
ppp pp
p pp
p pp fp
p
f p f p f p
mf
mf p f p
98
68
98
68
98 68
98
68
98 68
98
68
98 68
p f ff
p mp p f ff
p mp p f
p
mf f ff
mf f
mp pp
q.=
98 68 98
98 68 98
pp p pp
mf p f p pp mf
p pp f pp
f mf pp
mp
mp
mp
98
128
98 128
68
68
68 98
68 98
68 98
68
98
68 98
mf f p
f mp
f
f
f
f
98
68
98 68
98 68
98 68
98 68
98
68
p mf
p f
p f
p f
p f
pp mfmp
p pp
p pp
p pp
p pp
p mp
p mp
p f ff
p f ff
mp f ff
f fff
f fff
p pp
fff ppmp
fff
fff
p
pp f mp mf
ppp
mf
mf
f
mff
ff
f
pp f
f
f ff
f ff
ff
ff
ff f ff f ff
ff
68
68
68
68
68
68
68
68
68
fff mf mf
fff p p
fff p p
fff
fff
fff
fff
fff
f mf f ff
q
mf p mf ff
mf p mf
p mf pp ffff
ff
q
ff
ff
ff
34
34
34
34
34
34
34
34
34
q
pp pp
q
44
44
44
44
44
44
44
44
44
3
ff p
ff
ff
ff
q q
ff
ff
ff
44
44
44
44
44
44
44
44
44
mf p mf
mp mf
p mf
f p mp f p
p f p
p f p
f
p mp f
f
f
3
3
3
3 3
3
3
pp mp f
p f
pp
p pp
p
q
p
mp p p
q
34
34
34
34
34
ff
q
ff
ff pp
ff
q
ff
ff
ff
pp
q
34
44
34 44
34 44
34 44
34
44
34 44
34 44
34 44
34
44
3
q
mp f mp
q
f
f p
mp
f
mf
f
f mp p
mp mf
p mp f
mp f
mf f
ff
ff
ff
ff
p
p
p
f
p
f ff mp
ff p mp
ff
q
ff
ffff pp
ff ff
q
ff
ff ff
ff ff
mf
34
44
34 44
34 44
34 44
34
44
34 44
34 44
34 44
34
44
p
q
p
p
mf pp
f mp
q
p
f p
f p
24
44
24
44
24
44
24 44
24 44
24 44
24 44
24 44
24 44
mp p mp
mp p p
mf
ff
f p pp p mf pp
p mf pp
p mf pp
mf p mf pp
3
3 3 3 3 3 3
f ff mf f
f ff mf f
f ff
fmf f
f mf f
f
mf
mp
pp
pp
58
58
58
58
3 3 3 3
3 3
3 3
3 3
3 3
mf
mp
f p pp p
f mp p
f p
f mp p mp p
pp f
q
f p mf pp
q
f p p pp
f p p pp
f p mf p
58
44
58 44
58 44
58 44
58 44
58
44
3 3
3
mp f f
q
ff f
mp f
p ff
p
q
p
p
p
3
p
p
p
f mp
f
f p
p f
p f
p f
34
44
34
44
34
44
34
44
34
44
34 44
34 44
34
44
3 3
f f p p f p
p p f p
p p f
f p p f p
p mf p f p
p mf p f p
pp mf p f p
44
78
68
44
78
68
44
78
68
44 78 68
44 78 68
44 78 68
44 78 68
44 78 68
44 78 68
f p pp
f p pp
f
f p pp
f p pp
f p pp
f p pp
mf p p
f
98
44
98
44
98 44
98 44
98 44
98 44
98 44
98 44
44
44
3
f
q
f
f
ppf
f
q
f
f
f
3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3
3 3
3
3
3 3 3 3 3 3 3 3
p f ff
p f ff
p f mf
ff
p f ff
p f ff
p f ff
p f ff
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 333
3
3 3
3 3
3 3 3 3 3 3 3 3 333
3
mp mf
q.
mp mf
mp mf
pp p
pp
q.
pp
pp
pp
68
68
68
68
68
68
68
68
68
3 3
3 3 3 3 3 3
3
3
p pp
q.
mp pp mp pp
q.
mp pp mp pp
mp pp mp pp
ff mf p
q q
f
q q
f
f
f
44
44
44
44
44
44
3
p mp
qq.
pmp pp mp
p
pp
pp
qq.
pp mp p
pp
ppf
68
68
68
68
68
68
68
68
68
f ff
q.
f ff
f f ff
f ff p ppmp
mp mf pp
q.
mp mf pp
mp f pp
mp f pp
f mp f p p
f mp f p
mf f
mp
p
mp
mf
f fff p
f fff p
f fff p
f fff p
f fff p
f fff p
f fff p
p mf
q.
98
68
98
68
98 68
98 68
98 68
98 68
98 68
68 88 44
68 88 44
p mf p mf f p
q
p mf p mf fp
pp mf p mf f p
pp
mp pp ff
mp ff
mp ff pp
p
44
44
44
44
44
54 44
54 44
54
44
54 44
54 44
3
3 3
3
mf
mf
mf
fff
44
44
44
44
44
54 44
54 44
54 44
54
44
54
44
54 44
mp m
mp mf
44
44
44
44
44
44
44
44
44
f f
f p
f ff
ppp
mf ff
ff
24
24
24
24
24
24
24
24
24
p
p
ffp
p ff
mp mf
f
f
f
q
pp
p
q
f ffp
68
68
68
68
68
68
68
mf f
q q.
mf f
p mf
f
mf f
q q.
mf f
mp mf f
p mf
68
68
68
68
68
68
68
68
68
ff ff
q.
ff ff
ff
ff fff
q.
ff fff
ff fff
pp
q
f ff mfpp
pp
p mf pp
p mf pp
p mf pp
ppp mf pp
mp
mp
mp
mp
ff p
ff p
ff p
ff pf
p
p
mf pp
mf pp
mf pp
mf pp
mf pp
mf pp
p pp
mp f
mp f
mp f
mp f
mp f
mp f
mp f
ff p mf
ff p mf
ff p mf
ff ppp
ff p mf
ff p mf
ff p
pp mp
pp mp
pp mp
pp mp
pp mp
pp mp
f ff
f ff
f ff
f ff
f ff
f ff
p
p
p
p
p
p
f
f
f
f
f
f
p pp ppp
44
68
44
68
44
68
44 68
44 68
44 68
44 68
44 68
44 68
f ppppp
p f ppp
ffff
p f ppp pp f mf ff
q.
ppp pp
68
44
68 44
34
34