marcus alessi bitteNcourt

Be (Beryllium)
2+

FOR TWO Acoustic GUITARS

AND syNthetic electroNic souNds

2016
 marcus alessi bitteNcourt

Explanations and Usage Instructions

INTRODUCTION. THE SOFTWARE FOR PERFORMING THE WORK.

2+
Be (Beryllium) is a work for two acoustic guitars and pre- General description.
recorded synthetic electronic sounds. All the electroacoustic operation
The Beryllium Player, which is responsible for the playing of the pre-
is performed and controlled by the guitar players themselves, by
recorded synthetic electronic sounds of the work Be2+ (Beryllium),
means of a computer program implemented with the free software
consists of a single PD (Pure Data) patch containing several sub-
Pure Data [http://www.puredata.info], a visual programming
patches of diverse complexity levels. The Pure Data version used to
environment for real-time processing of data, audio, and video, which
program the Beryllium Player was the version pd-0.44.0 extended. The
can be run under the Linux, Windows or Mac OS X operating systems.
Player's patch contains a main graphical interface that hides from the
To help and guide the guitar players in the performance of the musicians all the complexity of its sub-patches, and it presents in a
work, its score includes a graphical representation of the pre-recorded simple way important information to the guitar players, while providing
part of synthetic electronic sounds, which contains the basic structure also all the controls and buttons necessary for the musicians to operate
of the definite-pitch notes of the composition, written in proportional live the work's pre-recorded electronic part.
notation in relation to a temporal ruler measured in minutes and
seconds. In this notation, each definite-pitch note has its beginning
represented by a black stemless notehead, and its duration and The Beryllium Player's interface.
approximate amplitude evolution (in the form of a graph of time versus
The main patch of the Player serves as interface between the
energetic amplitude) is indicated by means of a horizontal gray shape
musicians and the audio processing machine. This interface contains
which prolongs itself until the respective ending of that note. The size
elements that turn on and off the execution of the pre-recorded
of the head of the note is approximately proportional to its intensity,
synthetic electronic sounds, as well as VU meters and a fader that
and all pitched sound events fade in dal niente and fade out al niente.
controls the dynamic levels of the main audio output. The interface (see
The sum of all sound events has its amplitude fluctuations indicated
figure 2) indicates the temporal position of the pre-recorded electronic
also as a graph of time versus energetic amplitude, which is positioned
sounds in minutes and seconds as well as in measures and their
parallel to and underneath the staves of the electronic sounds. The
internal beats. In the context of rehearsals, a time slider and buttons for
definite pitches of the pre-recorded synthetic electronic sounds, which
moving forwards and backwards in the measure roster allow the guitar
are microtonal, are indicated in the score approximated to the nearest
players to control the starting time for the playing of the pre-recorded
equal-temperament eighth-tone, considering A4 = 440 Hz. For the
sounds, thus facilitating the quick access to any point in the work.
microtones, the score uses the following symbols for accidentals:
Some of the Player's commands can be activated by simply
pressing the computer's QWERTY keyboard, always without the need
for pressing the "enter" key. To activate this feature, there is a switch
placed at the top left of the interface screen. The computer keys used
for control and quick access are:
Figure 1.
Table of symbols for the microtonal accidentals used,
in equal-tempered eighth-tones. [Insert] to start or interrupt Pure Data's general audio
processing (DSP on/off);
The guitar players are supposed to play their written musical [Spacebar] to start or stop the playing of the pre-recorded
parts simultaneously to the pre-recorded synthetic electronic sounds, electronic sounds;
which are played continuously and uninterruptedly. The guitar parts are
meant to be synchronized to the pre-recorded electronic part exactly [UpArrow] and [DownArrow] to respectively increase or
as indicated in the score. The software used to perform the work also diminish the master volume of the final output audio signal;
provides help to facilitate the synchronization of the guitar players with
[PageUp] and [PageDown] to respectively move forwards or
the pre-recorded electronic sounds, which is done by means of a
backwards in the measure roster, for starting mid-piece in the
graphic animation that serves as an automated virtual conductor. This
context of rehearsals.
virtual conductor constantly shows to the guitar players the current
measure number and it visually counts that measure's internal beats,
displaying also a special bright-yellow rectangle at the exact moments
of the initial beats of every new measure.

Be2+ (Beryllium) I Explanations and Usage Instructions Explicaes e Instrues de Uso

ON THE PERFORMANCE OF THE WORK. On the tuning of the acoustic guitars in relation to the pre-
Gear positioning and configuration. recorded synthetic electronic sounds.
It is of the utmost importance that the pre-recorded electronic sounds
The guitars ideally must be played without amplification. If specially
and the live acoustic guitars are in the same tuning level. The Player
needed, the guitars can nonetheless be miked according to the usual
patch and the score establish a mandatory tuning relative to an A4 =
amplification methods used for solo classical guitar recitals. There
440 Hz. To facilitate this, the guitar players have at their disposal a little
must always be two loudspeakers (for the stereophonic effect), and
tuning device at the left of the Player's interface, which includes a
they should be placed on the ground, in the style of stage monitors,
special volume mini-fader and buttons that play electronic synthetic
positioned behind the musicians and turned towards the audience. The
sounds of timbre and morphology alike the ones used in the work, for
idea here is to have the pre-recorded electronic part sounding like an
the A notes of pitches 110 Hz, 220 Hz, and 440 Hz. It is strongly
otherworldly Indian tambura, played by an imaginary musician sitting
recommended that the guitars be tuned relative to the sounds of this
right behind the guitar players. The output audio from the computer
tuning device rather than using external tuning forks.
must be routed to the loudspeakers by means of the usual amplifiers
and/or mixing consoles. The PD patch runs in any modern standard
personal computer under Linux, Windows or Mac OS X operating
systems, preferably a system with at least a 2GHz dual-core processor
The performance of the work.
and 1Gb of RAM, equipped with a proper sound card. The computer Once all the needed gear is assembled, calibrated in volume level and
must have Pure Data installed in it, in its 0.44.0 version or newer, with well-tuned, to perform the work one must simply start the audio
the libraries included in its extended version, which is freely distributed processing of the Beryllium Player (using the [Insert] key), and start the
through the internet [http://www.puredata.info]. The computer screen execution of the pre-recorded electronic sounds (using the [Spacebar]
must be visible to the guitar players and its QWERTY keyboard must key). The Beryllium Player will announce through the graphic animation
be placed nearby the music stands or in the vicinity, allowing the easy of its virtual conductor screen the evolution of the measures and their
access of the computer to the guitar players. internal beats throughout the score. At the end of the work, it is
convenient to turn off the audio processing of the Player (using the
[Insert] key) prior to the guitar players leaving their posts.
Operation of the patch.
The software components for the work Be2+ (Beryllium) come inside a
single folder containing all the software parts and special libraries Total length of the work: 11' 36''.
necessary for the operation of the PD patch. The folder includes in its
first level an executable script which automatically starts PD, loading it
with all the needed libraries and flags, and opening the Beryllium
Player patch. Once the patch has been started in PD and the internal
audio inputs and outputs of the computer have been routed, one must
turn on Pure Data's general DSP, start the QWERTY keyboard
monitoring and regulate the master audio output level, according to the
particular conditions presented by the performance hall.

on/off buttons for the playing of the pre-recorded sounds

and controls for time positioning

turns on the
QWERTY
keyboard
master
volume of the
final audio output

helping device
for tuning turns
on/off PD's
general DSP

virtual
conductor
and metronomical
visualization,
indicating the
current measure
number and its
beats

Figure 2.
Interface screen for the Beryllium Player.

Be2+ (Beryllium) II Explanations and Usage Instructions Explicaes e Instrues de Uso

 marcus alessi bitteNcourt

Explicaes e Instrues de Execuo

INTRODUO. O PROGRAMA PARA A EXECUO DA OBRA.

Be2+ (Beryllium) uma obra para duo de violes acsticos e Descrio geral.
sons eletrnicos sintticos pr-gravados. Toda a operao
O Beryllium Player, responsvel por executar os sons eletrnicos
eletroacstica realizada e controlada pelos prprios violonistas por
sintticos pr-gravados para a obra Be2+ (Beryllium), consiste em um
meio de um programa computacional implementado com o software
nico patch de PD (Pure Data) contendo diversos sub-patches de
gratuito Pure Data [http://www.puredata.info], um ambiente de
variados nveis de complexidade. A verso do Pure Data utilizada na
programao visual para processamento em tempo real de dados,
programao do Beryllium Player foi a verso pd-0.44.0 extended. O
udio e vdeo, que pode ser operado nos sistemas operacionais Linux,
patch do Player tem uma interface grfica principal que esconde toda a
Windows ou Mac OS X.
complexidade de seus sub-patches e apresenta de maneira simples
Para auxiliar e orientar os violonistas na execuo da obra, a informaes importantes aos executantes, tambm providenciando
sua partitura inclui uma representao grfica da parte pr-gravada de ainda todos os controles e botes necessrios para que os msicos
sons eletrnicos sintticos, que contm a estrutura bsica de alturas operem ao vivo a parte eletrnica pr-gravada da obra.
definidas da composio, notadas em notao proporcional em
relao a uma rgua temporal mensurada em minutos e segundos.
Nesta notao, cada nota de altura definida tem o seu incio A interface do Beryllium Player.
representado por uma cabea de nota preta sem haste e a sua
O patch principal da composio serve de interface entre os msicos e
durao e evoluo aproximada de amplitude (na forma de um grfico
a mquina processadora de udio. Esta interface contm elementos
tempo versus amplitude energtica) indicada por uma forma
que ligam e desligam a execuo dos sons eletrnicos sintticos pr-
horizontal em cinza que se prolonga at o respectivo trmino temporal
gravados, alm de conter medidores de VU e um fader que controla a
daquela nota. O tamanho da cabea da nota aproximadamente
regulagem dinmica da sada principal de udio. A interface (ver figura
proporcional sua intensidade, sendo que todos os eventos sonoros
2) indica a posio temporal dos sons eletrnicos pr-gravados tanto
de altura definida iniciam-se dal niente e extinguem-se al niente. A
em minutos e segundos como em compassos e seus pulsos internos.
somatria de todos os eventos sonoros tem as suas flutuaes de
Para o contexto de ensaios, uma alavanca de tempo e botes de
amplitude indicadas igualmente por meio de um grfico de tempo
avano e retrocesso de compassos permitem que os violonistas
versus amplitude energtica, posicionado abaixo e paralelamente aos
controlem o ponto temporal de incio dos sons eletrnicos pr-
pentagramas dos sons eletrnicos. As alturas definidas dos sons
gravados, permitindo o acesso rpido a qualquer ponto da obra.
sintticos eletrnicos pr-gravados, que so microtonais, so
indicadas na partitura aproximadas ao oitavo de tono igualmente Alguns comandos do Player podem ser acionados com o
temperado mais prximo, considerando-se a altura do L central como simples apertar de teclas do teclado QWERTY do computador, sempre
sendo 440 Hz. Para os microtons, so utilizados na partitura os sem a necessidade de teclar o "enter". Para isso existe um interruptor
seguintes smbolos de acidentes: que liga e desliga o monitoramento do teclado (localizado na extrema
esquerda e acima da interface). As teclas do computador utilizadas
para controle e acesso rpido so:

[Insert] para iniciar ou interromper o processamento geral de

Figura 1. udio do Pure Data (DSP on/off);
Tabela dos smbolos de acidentes microtonais utilizados, [Spacebar] para iniciar ou parar a execuo dos sons
em oitavos de tono igualmente temperados.
eletrnicos pr-gravados;

Os violonistas executam as suas partes escritas musicais [UpArrow] e [DownArrow] para aumentar ou diminuir,
simultaneamente aos sons eletrnicos sintticos pr-gravados, que respectivamente, o volume Master do sinal de udio final;
so tocados continuamente e sem interrupo. As partes dos [PageUp] e [PageDown] para avanar ou retroceder,
violonistas sincronizam-se parte eletrnica pr-gravada exatamente respectivamente, o compasso a partir do qual se inicia a
conforme indicado na partitura. O software para a execuo da obra execuo, em contexto de ensaios.
tambm fornece subsdios para facilitar a sincronizao dos violonistas
com os sons eletrnicos pr-gravados, o que feito por meio de uma
animao grfica que serve como um regente virtual automatizado.
Este regente virtual mostra constantemente aos violonistas o nmero
do compasso vigente a cada momento da execuo e conta
visualmente cada pulso interno daquele compasso, ainda contando
com o aparecimento de um retngulo especial em colorao brilhante
amarela nos momentos exatos dos pulsos iniciais de cada compasso.

Be2+ (Beryllium) III Explanations and Usage Instructions Explicaes e Instrues de Uso
SOBRE A EXECUO DA OBRA.
Posicionamento e configurao do instrumentrio.
Os violes devem idealmente serem tocados sem microfonao,
podendo em casos de necessidade serem amplificados como o seriam
quando da microfonao auxiliar de um recital costumeiro de violo
clssico solo. Os altos-falantes, sempre em nmero de dois para um
efeito estereofnico, devem ser posicionados no cho, ao estilo de
monitores de palco, posicionados atrs dos instrumentistas e
apontados em direo platia. A ideia aqui a de que a parte
eletrnica pr-gravada soe como algo no estilo de uma tambura
indiana sobrenatural, tocada por um instrumentista imaginrio
posicionado imediatamente atrs dos violonistas. O udio proveniente
do computador deve ser roteado aos alto-falantes por meio dos usuais
amplificadores e/ou mesas de mixagem. O patch de PD roda em
qualquer computador pessoal comum padro moderno, operando sob
o sistema operacional Linux, Windows ou Mac OS X, de preferncia
com um processador de 2GHz dual-core e memria RAM de ao
menos 1Gb, equipado com uma placa de udio competente. O
computador deve ter instalado o software Pure Data, verso pd-0.44.0
ou mais nova, com as bibliotecas constantes da verso extended do
PD distribuda gratuitamente na internet [http://www.puredata.info]. O
monitor do computador deve ficar vista dos violonistas e seu teclado
QWERTY dever ser posicionado ao lado das estantes de partitura ou
na proximidade, ao fcil alcance e vista dos violonistas.
Sobre a afinao entre os violes e os sons eletrnicos
sintticos pr-gravados.
imprescindvel que os sons eletrnicos pr-gravados e os violes
estejam afinados entre si. O patch do Player e a partitura
obrigatoriamente estabelecem que os violes estejam afinados
relativos a um L central de altura 440 Hz. Para facilitar isto, os
violonistas tm sua disposio um pequeno dispositivo auxiliador de
afinao, no canto esquerdo da interface do Player, que inclui um mini-
fader especial de volume e botes que tocam sons eletrnicos
sintticos de timbre e morfologia iguais quelas utilizadas na obra, para
os Ls das alturas 110 Hz, 220 Hz e 440 Hz. Recomenda-se que os
violes sejam afinados em relao aos sons deste dispositivo de
afinao e no utilizando-se diapases externos.
Execuo da obra.
Montado, regulado o volume e afinado o instrumentrio necessrio,
para se executar a obra deve-se simplesmente iniciar o processamento
do patch do Beryllium Player (tecla [Insert]) e acionar a execuo dos
sons eletrnicos pr-gravados (tecla [Spacebar]). O Beryllium Player
anunciar, atravs da animao grfica de seu regente virtual, a
evoluo dos compassos e seus pulsos atravs da partitura. Ao final da
obra, conveniente que o processamento do Player seja desligado
(tecla [Insert]) antes que os violonistas deixem os seus postos.

Operao do patch. Durao total da obra: 11' 36''.

Os componentes de software para a obra Be2+ (Beryllium) vm
acondicionados em uma pasta que contm todos os componentes e
bibliotecas especiais necessrios para o funcionamento do patch. A
pasta contm em seu primeiro nvel um arquivo executvel que
contm um script que inicia automaticamente o PD carregando todas
as bibliotecas necessrias e abrindo o patch do Beryllium Player.
Iniciado o patch no PD e roteados internamente os inputs e outputs do
software, deve-se acionar o DSP geral do PD, acionar o
monitoramento do teclado e regular o nvel de amplificao do Master
out, de acordo com as condies particulares da sala utilizada.

acionamento da execuo dos sons pr-gravados

e controles da posiao temporal

aciona o teclado
QWERTY
volume da
sada principal de
udio

auxlios de aciona o
afinao DSP geral do PD

regente
virtual
e mostrurio
metronmico,
indicando o
nmero do
compasso
vigente e seus
pulsos

Figura 2.
Tela de interface do Beryllium Player.

Be2+ (Beryllium) IV Explanations and Usage Instructions Explicaes e Instrues de Uso

 NOTE: accidentals apply to the measure, just
as in the tradition. Nonetheless, a great number
of courtesy accidentals were placed throughout
the score to facilitate reading.

Tuning for both guitars:

Be (Beryllium) 2+

FOR TWO Acoustic GUITARS

A4 = 440 Hz AND syNthetic electroNic sounds
2016
Marcus Alessi bittencourt

*A

L
_R
_
| __ syNthetic electronic sounds of definite pitch
| __

0 :0 0 0 :0 1 0 :0 2 0 :0 3 0 :0 4 0 :0 5 0 :0 6 0 :0 7 0 :0 8 0 :0 9 0 :1 0 0 :1 1 0 :1 2 0 :1 3 0 :1 4 0 :1 5 0 :1 6 0 :1 7 0 :1 8 0 :1 9 0 :2 0

L
R
__
| __
| __

0 :2 0 0 :2 1 0 :2 2 0 :2 3 0 :2 4 0 :2 5 0 :2 6 0 :2 7 0 :2 8 0 :2 9 0 :3 0 0 :3 1 0 :3 2 0 :3 3 0 :3 4 0 :3 5 0 :3 6 0 :3 7 0 :3 8 0 :3 9 0 :4 0

* ON THE NOTATION FOR THE SYNTHETIC ELECTRONIC SOUNDS:

NOTATION USED FOR NATURAL HARMONICS: SPECIAL SYMBOLS USED IN THE SCORE:

The noteheads indicate the beginning of each pitched synthetic electronic sound event, and the horizontal gray shapes show their
durations and approximate amplitude evolution, all in proportional time notation in relation to the time ruler. The size of a notehead Lascia vibrare, until the sound
is proportional to its note's average intensity. The amplitude of the resultant sound mass is indicated by the graphic representation is completely extinct.
of its sound wave, which is a plot of time versus its energetic intensity. All pitched synthetic sounds always fade in dal niente and
Snap pizzicato.
fade out al niente. The pitch notations of the electronic sounds are approximated to the nearest equal-tempered eighth-tone,
considering A4 = 440 Hz.
Play the most sul ponticello possible.
MICROTONAL ACCIDENTALS USED IN THE SCORE: The normal notehead indicates the open-string to play.
The diamond-shaped notehead indicates the node point
to touch for the harmonic.

Copyright 2016 by Marcus Alessi bittencourt

1 All Rights Reserved.
 L

_R
_
| __
| __

0 :4 0 0 :4 1 0 :4 2 0 :4 3 0 :4 4 0 :4 5 0 :4 6 0 :4 7 0 :4 8 0 :4 9 0 :5 0 0 :5 1 0 :5 2 0 :5 3 0 :5 4 0 :5 5 0 :5 6 0 :5 7 0 :5 8 0 :5 9 1 :0 0

L
R
__
| __
| __

1 :0 0 1 :0 1 1 :0 2 1 :0 3 1 :0 4 1 :0 5 1 :0 6 1 :0 7 1 :0 8 1 :0 9 1 :1 0 1 :1 1 1 :1 2 1 :1 3 1 :1 4 1 :1 5 1 :1 6 1 :1 7 1 :1 8 1 :1 9 1 :2 0 1 :2 1 1 :2 2 1 :2 3 1 :2 4

L
_R
_
| __
| __

1 :2 4 1 :2 5 1 :2 6 1 :2 7 1 :2 8 1 :2 9 1 :3 0 1 :3 1 1 :3 2 1 :3 3 1 :3 4 1 :3 5 1 :3 6 1 :3 7 1 :3 8 1 :3 9 1 :4 0 1 :4 1 1 :4 2 1 :4 3 1 :4 4 1 :4 5 1 :4 6 1 :4 7 1 :4 8

2
 D

_R
_
| __
| __

1 :4 8 1 :4 9 1 :5 0 1 :5 1 1 :5 2 1 :5 3 1 :5 4 1 :5 5 1 :5 6 1 :5 7 1 :5 8 1 :5 9 2 :0 0 2 :0 1 2 :0 2 2 :0 3 2 :0 4 2 :0 5 2 :0 6 2 :0 7 2 :0 8 2 :0 9 2 :1 0 2 :1 1 2 :1 2

L
R
__
| __
| __

2 :1 2 2 :1 3 2 :1 4 2 :1 5 2 :1 6 2 :1 7 2 :1 8 2 :1 9 2 :2 0 2 :2 1 2 :2 2 2 :2 3 2 :2 4 2 :2 5 2 :2 6 2 :2 7 2 :2 8 2 :2 9 2 :3 0 2 :3 1 2 :3 2 2 :3 3 2 :3 4 2 :3 5 2 :3 6

L
_R
_
| __
| __

2 :3 6 2 :3 7 2 :3 8 2 :3 9 2 :4 0 2 :4 1 2 :4 2 2 :4 3 2 :4 4 2 :4 5 2 :4 6 2 :4 7 2 :4 8 2 :4 9 2 :5 0 2 :5 1 2 :5 2 2 :5 3 2 :5 4 2 :5 5 2 :5 6 2 :5 7 2 :5 8 2 :5 9 3 :0 0

3
 F

_R
_
| __
| __

3 :0 0 3 :0 1 3 :0 2 3 :0 3 3 :0 4 3 :0 5 3 :0 6 3 :0 7 3 :0 8 3 :0 9 3 :1 0 3 :1 1 3 :1 2 3 :1 3 3 :1 4 3 :1 5 3 :1 6 3 :1 7 3 :1 8 3 :1 9 3 :2 0

L
R
__
| __
| __

3 :2 0 3 :2 1 3 :2 2 3 :2 3 3 :2 4 3 :2 5 3 :2 6 3 :2 7 3 :2 8 3 :2 9 3 :3 0 3 :3 1 3 :3 2 3 :3 3 3 :3 4 3 :3 5 3 :3 6 3 :3 7 3 :3 8 3 :3 9 3 :4 0

L
_R
_
| __
| __

3 :4 0 3 :4 1 3 :4 2 3 :4 3 3 :4 4 3 :4 5 3 :4 6 3 :4 7 3 :4 8 3 :4 9 3 :5 0 3 :5 1 3 :5 2 3 :5 3 3 :5 4 3 :5 5 3 :5 6 3 :5 7 3 :5 8 3 :5 9 4 :0 0

4
 G

_R
_
| __
| __

4 :0 0 4 :0 1 4 :0 2 4 :0 3 4 :0 4 4 :0 5 4 :0 6 4 :0 7 4 :0 8 4 :0 9 4 :1 0 4 :1 1 4 :1 2 4 :1 3 4 :1 4 4 :1 5 4 :1 6 4 :1 7 4 :1 8 4 :1 9 4 :2 0 4 :2 1 4 :2 2 4 :2 3 4 :2 4

L
R
__
| __
| __

4 :2 4 4 :2 5 4 :2 6 4 :2 7 4 :2 8 4 :2 9 4 :3 0 4 :3 1 4 :3 2 4 :3 3 4 :3 4 4 :3 5 4 :3 6 4 :3 7 4 :3 8 4 :3 9 4 :4 0 4 :4 1 4 :4 2 4 :4 3 4 :4 4 4 :4 5 4 :4 6 4 :4 7 4 :4 8

L
_R
_
| __
| __

4 :4 8 4 :4 9 4 :5 0 4 :5 1 4 :5 2 4 :5 3 4 :5 4 4 :5 5 4 :5 6 4 :5 7 4 :5 8 4 :5 9 5 :0 0 5 :0 1 5 :0 2 5 :0 3 5 :0 4 5 :0 5 5 :0 6 5 :0 7 5 :0 8 5 :0 9 5 :1 0 5 :1 1 5 :1 2

5
 I

_R
_
| __
| __

5 :1 2 5 :1 3 5 :1 4 5 :1 5 5 :1 6 5 :1 7 5 :1 8 5 :1 9 5 :2 0 5 :2 1 5 :2 2 5 :2 3 5 :2 4 5 :2 5 5 :2 6 5 :2 7 5 :2 8 5 :2 9 5 :3 0 5 :3 1 5 :3 2

L
R
__
| __
| __

5 :3 2 5 :3 3 5 :3 4 5 :3 5 5 :3 6 5 :3 7 5 :3 8 5 :3 9 5 :4 0 5 :4 1 5 :4 2 5 :4 3 5 :4 4 5 :4 5 5 :4 6 5 :4 7 5 :4 8 5 :4 9 5 :5 0 5 :5 1 5 :5 2

L
_R
_
| __
| __

5 :5 2 5 :5 3 5 :5 4 5 :5 5 5 :5 6 5 :5 7 5 :5 8 5 :5 9 6 :0 0 6 :0 1 6 :0 2 6 :0 3 6 :0 4 6 :0 5 6 :0 6 6 :0 7 6 :0 8 6 :0 9 6 :1 0 6 :1 1 6 :1 2 6 :1 3 6 :1 4 6 :1 5 6 :1 6

6
 K

_R
_
| __
| __

6 :1 6 6 :1 7 6 :1 8 6 :1 9 6 :2 0 6 :2 1 6 :2 2 6 :2 3 6 :2 4 6 :2 5 6 :2 6 6 :2 7 6 :2 8 6 :2 9 6 :3 0 6 :3 1 6 :3 2 6 :3 3 6 :3 4 6 :3 5 6 :3 6 6 :3 7 6 :3 8 6 :3 9 6 :4 0

L
R
__
| __
| __

6 :4 0 6 :4 1 6 :4 2 6 :4 3 6 :4 4 6 :4 5 6 :4 6 6 :4 7 6 :4 8 6 :4 9 6 :5 0 6 :5 1 6 :5 2 6 :5 3 6 :5 4 6 :5 5 6 :5 6 6 :5 7 6 :5 8 6 :5 9 7 :0 0 7 :0 1 7 :0 2 7 :0 3 7 :0 4

L
_R
_
| __
| __

7 :0 4 7 :0 5 7 :0 6 7 :0 7 7 :0 8 7 :0 9 7 :1 0 7 :1 1 7 :1 2 7 :1 3 7 :1 4 7 :1 5 7 :1 6 7 :1 7 7 :1 8 7 :1 9 7 :2 0 7 :2 1 7 :2 2 7 :2 3 7 :2 4 7 :2 5 7 :2 6 7 :2 7 7 :2 8

7
 L

_R
_
| __
| __

7 :2 8 7 :2 9 7 :3 0 7 :3 1 7 :3 2 7 :3 3 7 :3 4 7 :3 5 7 :3 6 7 :3 7 7 :3 8 7 :3 9 7 :4 0 7 :4 1 7 :4 2 7 :4 3 7 :4 4 7 :4 5 7 :4 6 7 :4 7 7 :4 8 7 :4 9 7 :5 0 7 :5 1 7 :5 2

L
R
__
| __
| __

7 :5 2 7 :5 3 7 :5 4 7 :5 5 7 :5 6 7 :5 7 7 :5 8 7 :5 9 8 :0 0 8 :0 1 8 :0 2 8 :0 3 8 :0 4 8 :0 5 8 :0 6 8 :0 7 8 :0 8 8 :0 9 8 :1 0 8 :1 1 8 :1 2 8 :1 3 8 :1 4 8 :1 5 8 :1 6

L
_R
_
| __
| __

8 :1 6 8 :1 7 8 :1 8 8 :1 9 8 :2 0 8 :2 1 8 :2 2 8 :2 3 8 :2 4 8 :2 5 8 :2 6 8 :2 7 8 :2 8 8 :2 9 8 :3 0 8 :3 1 8 :3 2 8 :3 3 8 :3 4 8 :3 5 8 :3 6

8
 N

_R
_
| __
| __

8 :3 6 8 :3 7 8 :3 8 8 :3 9 8 :4 0 8 :4 1 8 :4 2 8 :4 3 8 :4 4 8 :4 5 8 :4 6 8 :4 7 8 :4 8 8 :4 9 8 :5 0 8 :5 1 8 :5 2 8 :5 3 8 :5 4 8 :5 5 8 :5 6 8 :5 7 8 :5 8 8 :5 9 9 :0 0

L
R
__
| __
| __

9 :0 0 9 :0 1 9 :0 2 9 :0 3 9 :0 4 9 :0 5 9 :0 6 9 :0 7 9 :0 8 9 :0 9 9 :1 0 9 :1 1 9 :1 2 9 :1 3 9 :1 4 9 :1 5 9 :1 6 9 :1 7 9 :1 8 9 :1 9 9 :2 0

L
_R
_
| __
| __

9 :2 0 9 :2 1 9 :2 2 9 :2 3 9 :2 4 9 :2 5 9 :2 6 9 :2 7 9 :2 8 9 :2 9 9 :3 0 9 :3 1 9 :3 2 9 :3 3 9 :3 4 9 :3 5 9 :3 6 9 :3 7 9 :3 8 9 :3 9 9 :4 0

9
 P

_R
_
| __
| __

9 :4 0 9 :4 1 9 :4 2 9 :4 3 9 :4 4 9 :4 5 9 :4 6 9 :4 7 9 :4 8 9 :4 9 9 :5 0 9 :5 1 9 :5 2 9 :5 3 9 :5 4 9 :5 5 9 :5 6 9 :5 7 9 :5 8 9 :5 9 1 0 :0 0

L
R
__
| __
| __

1 0 :0 0 1 0 :0 1 1 0 :0 2 1 0 :0 3 1 0 :0 4 1 0 :0 5 1 0 :0 6 1 0 :0 7 1 0 :0 8 1 0 :0 9 1 0 :1 0 1 0 :1 1 1 0 :1 2 1 0 :1 3 1 0 :1 4 1 0 :1 5 1 0 :1 6 1 0 :1 7 1 0 :1 8 1 0 :1 9 1 0 :2 0 1 0 :2 1 1 0 :2 2 1 0 :2 3 1 0 :2 4

L
_R
_
| __
| __

1 0 :2 4 1 0 :2 5 1 0 :2 6 1 0 :2 7 1 0 :2 8 1 0 :2 9 1 0 :3 0 1 0 :3 1 1 0 :3 2 1 0 :3 3 1 0 :3 4 1 0 :3 5 1 0 :3 6 1 0 :3 7 1 0 :3 8 1 0 :3 9 1 0 :4 0 1 0 :4 1 1 0 :4 2 1 0 :4 3 1 0 :4 4 1 0 :4 5 1 0 :4 6 1 0 :4 7 1 0 :4 8

10
 L

_R
_
| __
| __

1 0 :4 8 1 0 :4 9 1 0 :5 0 1 0 :5 1 1 0 :5 2 1 0 :5 3 1 0 :5 4 1 0 :5 5 1 0 :5 6 1 0 :5 7 1 0 :5 8 1 0 :5 9 1 1 :0 0 1 1 :0 1 1 1 :0 2 1 1 :0 3 1 1 :0 4 1 1 :0 5 1 1 :0 6 1 1 :0 7 1 1 :0 8 1 1 :0 9 1 1 :1 0 1 1 :1 1 1 1 :1 2

L
R
__
| __
| __

1 1 :1 2 1 1 :1 3 1 1 :1 4 1 1 :1 5 1 1 :1 6 1 1 :1 7 1 1 :1 8 1 1 :1 9 1 1 :2 0 1 1 :2 1 1 1 :2 2 1 1 :2 3 1 1 :2 4 1 1 :2 5 1 1 :2 6 1 1 :2 7 1 1 :2 8 1 1 :2 9 1 1 :3 0 1 1 :3 1 1 1 :3 2 1 1 :3 3 1 1 :3 4 1 1 :3 5 1 1 :3 6

Maring-PR, Brazil
March 20, 2016

11