Jon Schmidt Piano Solos Vol 2
Short Description
Jon Schmidt Piano Solos Vol 2...
Description
Table of Contents Good Times (Class of '84). . . . 1 Passages. . . . . . . . . . . . . . . 12 Bells of Freedom. . . . . . . . 21 By Moonlight. Moonlight. . .. . . . . . . . 31 Sacred Ground. . . . . . . . . 39 Ridin' West. . . . . . . . . . . . . 44 Winter Wind. . . . . . . . . . . .53 Jon Schmidt Catalog . . . . .63 .63 ©1998 JS Productions All Rights Reserved Any duplication of this material for any reason requires express written consent
Side Notes:
Helpful Hints:
• I owe an awful lot to the great group of kids I went through high school with. This song was written way back then and it's dedicated to all of them.
• One unusual thing you'll find in this song is what I call subliminal notes. Subliminal notes are notes with a rhythm function that find their way into my music because I'm feeling a percussion part in my mind as I play. I think it makes for a fun style of piano music, but I did notice that some of these notes bothered some of my student testers at first. Therefore, I've marked the potentially bothersome subliminal notes so they can be deleted, if you want, without really hurting the song. After you've learned the song, you might put the subliminal notes back in. For best results keep the subliminal notes subtle.
(I know it sounds silly, but the subtitle subtitle has the year our class was born born instead of the year we graduated.)
Good Times (Class of '84)
=125-145
written by Jon Schmidt
Better if played before Sept. '98
(from the album Walk in the Woods)
copyright ©1998 5 2
Pedal ad-lib
simile
|
|
|
|
|
etc.
|
Having this underlying beat in your mind makes playing the song twice, no, three times as nice. 6
9
1
2
3
4
5
6
7
8
These #s are for rhythm help. I like letting the = 1 beat so you can avoid the dreaded "ee- and-ah."
Good Times ©1998
1
(play R.H. notes an octave higher)
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 12
May I recommend recommend the accents this this evening?
End of 8 va -------------------------------------------------------5
15
5 3
ap-
ple
1 2 3 4 5 6 7 8 The more you count like the tick of a metronome, the better these numbers work. (Use the word "apple" to keep the beat steady through a double flag.)
1 5
18
5
21
24
Good Times ©1998
2
4 1
5 1
27
5 1
5 1
1
2
3
Certain notes can sound downright awful until you arrive at a reasonable tempo (in other people's music too - not just mine). 30
1
2
3 4
5
6
7
1
8 ap-
2
34
5 6 7
8
ple
34
37
40
1
Good Times ©1998
3
2
3
4
5
6
7
8
43
1
2
3
4
5
6
7
1
8
2
3
4
5
6
7
1
8
5 2 1
46
2
3
5 3 1
4
5
6
7
8
5 4 2
etc.
"subliminal notes" marked like this: (see Helpful Hints for explanation)
49
(
52
)
2 on top
(use thumb for C&D) 5
5 2 1
55
6
7
8
5 4 2
5 3 1
( )
Good Times ©1998
4
For a shorter performance skip to measure 82 .... now.
58
4 1
2
1
legato
61
cresc.
64
4
5
4
2
1
( )
67
The fingering is your friend . 70
Good Times ©1998
5 1
5
4 1
2
1
If this part gives you trouble, try the accents. 5 4 1
73
2
5
2
76
3
2
5
79
( ) 1
2
3
4
5
6
8
7
82
1
2
3
4
8
etc.
85
1
Good Times ©1998
2
3
4
5
6
7
8
1
2
3
etc.
8
6
1
2
3
4
5
6
7
8
5 2
88
4 1
3 1
ap-
5
7
6
ple
8
91
( ) 3
5
4
6
7
1
8
2
3
4
5
6
7
8
( )
94
( ) 1
2
3
4
5
( ) 6
7
( )
( )
8
You might want to delete these two measures. (They're not very interesting without the orchestra.) 97
1
2
3
4
5
6
7
8
cresc.
Left hand crosses to upper stem until measure 116 100
L.H.
3
2
Good Times ©1998
7
1
(use thumb for C&D)
etc.
103
5
6
7
8
106
5 4 2
4 2 1
108
( ) 1
2
3
4
5
6
7
8
5
( )
110
113
Good Times ©1998
8
6
7
8
( )
116
1
2
3
4
5
6
8
7
cresc. ( )
119
Maybe do this part the same as measures 26-27 if it's still sounding bad after 100 tries. 122
3
1
2
3
4
5
6
7
8
124
8 va- - - - - - - - - - - 127
Good Times ©1998
9
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - 130
End 8 va
133
decresc.
136
139
rit.
You might be interested to know that I let go of the R.H. "G" so that it disappears on the second pedal lift.
Good Times ©1998
10
— Advertisement —
The Syncopation Angst Institute is currently accepting new candidates for research. Those eligible will qualify for FREE counseling and therapy sessions.
You qualify if you meet the following criteria: You get flustered, hopeless, or go into denial whenever the music requires you to perform weak-beat eighth note rhythms that tie in this fashion:
Therapy sessions will include the following: The Sha-Boom Treatment : Mentally or audibly say the word sha-boom
to get the right feel, thus:
Simply say “sha-boom” in perfect eighth note rhythm. (You have to feel the word “boom” on the strong beat even though you don’t play anything.)
Sneeze Inducement Therapy :
Sneeze where indicated with metronome -like precision.
Hi-Hat Imagery Training : (For patients that are able to identify and
imagine the hit-close combination of a hi-hat when heard in pop music.)
The hi-hat is the open flying saucer cymbal that is often hit on the weak beat and then silenced on the strong beat with a foot-pedal.
Patients will also learn to apply any one of these same treatments when weak-beat eighth notes appear in the following manner:
To respond to this ad, please dial 1-800-A-CHOOOO
Side Notes:
Helpful Hints:
• This piece is one of the more serious ones I've written. I guess it's because it came to me during a serious time. Although I was optimistic about the future, I began to realize my carefree days that I had loved as a "youngster" would soon be gone forever. (Don't worry, I got better)
• • • •
For best results, stick only to the notes that are written. Remember the sha-boom trick. Honor all the ties. Honor all your commitments.
Passages =95-115
un poco moderato largamente presto wafflemaker
written by Jon Schmidt (from the album Walk in the Woods)
copyright ©1998
End 8 va
8 va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - 1
1
2
3
4
5
6
7
8
1
2
3
4
5 678
1
2
3
4
5
6
7
6
7
8
Pedal ad-lib, except where noted
5
1
2
3
4
5
6
7
8
56 7 ap-
1 2 3 4
ple
1
2
3
4
5
8
1 2 3 4 5 6
Here's a pedal lift that really makes a difference
9
1
Passages ©1998
2
3
4
5
6
7
8
1
2
3
4
5678
12
1
2
3
4
5
6
7
8
7 8
3 2 1
13
1
2
3 4
5
6
7
8
Some have found the ties in the first few pages to be quite ... onerous, shall we say. It might be helpful to take a highlighter and mark the notes that actually do get played. 18
1
2
3
4
5
6
7
8
1
2
3 4
5
6
7
8
21
1
2
3
4
5
6
7
8
24
1
Passages ©1998
2
3
4
5
6
7
8
1 2 34
5 6 7 8
13
5 6 7 8
28
1
2
3
4
5
6
7
8
5 4 2 1
31
ap-
ple
ap-
ple
3 4 5 6 7
ap-
ple
1
2
3
4
5
6
3 1
5 4 2
5 3 1
fingering saves lives
7 8
34
1
38
4
Passages ©1998
2
3
4
5
6
7
8
1 2
3
4 5
12 3 4 5 6 7
3 2 1
14
6
7
8
8
42
R.H.
R.H.
45
1
2
3
4
5
6
7
8
48
ap1
51
ple
2
3
5
4
5
6
7
8
1
4
5
6
5
7
1
5
Passages ©1998
2 3
1
3
2
15
1
8
2
3
54
3
5
57
1
2
3
5
1
2
3
60
1
64
2
3
4
5 6 7 8
1
3
ap- ple
3
4
5
6
7 8
4 2 1
ap-
ple
ap- ple
3
4 5
6
7
8 1
Passages ©1998
2
16
4
56 7 8
68
1 2 3 4
5
6
7
8
72
1 2
3
4
5
6
7
8
1
75
1
L.H
L.H.
cresc.
HAZARDOUS AREA AHEAD: USE THE FINGERING OR TAKE THE DETOUR. (leave out the parentheses notes) 78
( ) ( )
2
1
3
2
1
5
1
3
2
2
5
Passages ©1998
1 5
17
1
3
2
1
Those taking the detour may find it helpful to highlight the notes that actually do get played. (G) 2
81
2
( )
( )
( )
cresc. ( )
( )
( )
( ) ( )
( )
( )
( ) 2
5
1
3
2
1
2
3
1
4
3
2
1
2
1
2
2
3 4
1
2
1
2
1
G sounds better here if you take the detour 5 84
1
2
2
( )
( )
( )
( )
( )
( )
( )
3
1
2
( )
4
1
2
2
5
2
3
1
( )
1
( )
2
5
87
cresc. ( )
( ) 1
2
1
1
2
3
4
( ) 3
2
1
5
2
1
1
3
4
2
4
5
5 2
5 2
2
90
2
1
1
( )
( )
( )
( ) ( ) ( ) 5
2
( )
( ) 1
3
2
1
2
3
1
3
2
1
2
1
2
4
4
1 4
G sounds better here if you take the detour
Passages ©1998
18
3
2
1
3
93
( )
( )
optional R.H. notes
( )
1
3
2
1
2
decresc.
( )
4
3
2
2
5
2
1
3
2
2
1
1
2
3
4
1
2
5
5
96
()
()
99
Important
8 va - - - - - - - - - - - - - - - - - - - - - - - - -
,
102
A
Passages ©1998
19
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- -- -- -- - - End 8 va 106
Ah-ha! It doesn't say to flat it this time, now does it?
For a more "pleasant" effect, please allow me to call your attention to the ties, rests and pedal lifts in this area.
109
molto rit.
112
B
a tempo 1-5
3
114
A
rit.
8 vb No pedal lift
Passages ©1998
20
1/2 Lift pedal half way so that the low note stays ringing a little.
Side Notes:
Helpful Hints:
• I guess my German roots had a lot to do with this song being dedicated to the fall of the Berlin Wall in 1989. Try to recreate the scene of that day: Bells ringing through the country side, people joyfully hammering away at the wall, and a performance of Beethoven's 9th with chorus and symphony from both sides of the wall joined together.
• Are you often tired....? Do you lack energy....? Maybe you need food.... Try food, for that extra touch.
Bells of Freedom =135-150
written by Jon Schmidt
sehr klinghaftig
(from the album Walk in the Woods)
copyright ©1998 1
Keep these repeated notes subtle. (Make them part of the wash)
Pedal ad-lib
6
drop
The song just doesn't feel right unless ya do this.
simile
11
drop
Bells of Freedom ©1998
(This means keep doing it throughout the song so I don't have to keep pasting it in.)
lift
simile 21
lift
16
5
21
26
5
30
Bells of Freedom ©1998
22
4
4
33
4 on top
3 on top
(thumb on C&D)
3 2 1
1
37
42
46
Bells of Freedom ©1998
23
accent simile
50
55
59
L.H.
4 on top
L.H. over
L.H.
3 on top
L.H. over
(thumb on C&D)
64
(thumb on C&D)
Bells of Freedom ©1998
24
L.H.
L.H.
69
2 1
2 1
( )
73
R.H. option
2
cresc.
1
1 1
77
4 2 1
5
2
1
1
1
Like "Good Times," this song has some "subliminal notes." Please see explanation in Helpful Hints section on p. 1. 81
5 4 2
4 2 1
5 4 2
4 on top
5 on top
1
( )
cresc.
Bells of Freedom ©1998
(thumb on C&D)
25
cresc.
3 on top
L.H. over
85
(thumb on G&A)
L.H.
L.H.
89
5 on top
4 on top
93
1
3 1
4 2
L.H.
( ) (thumb on C&D)
3
97
L.H.
2
1
L.H.
(thumb on C&D)
Bells of Freedom ©1998
26
102
2 1
1
106
R.H. option
1
2
5
3
4
4 1
110
cresc.
4
2
1
1
1
1 1
1
5 4 2
114
4 2 1
5 4 2
4 on top
(thumb on C&D)
cresc.
Bells of Freedom ©1998
27
1
3 on top
118
(thumb on G&A)
molto cresc. this means quite a lot of cresc.
( )
( )
( )
( )
( )
( )
( )
3
( )
2
1
122
( ) 1
2
1
( ) 1
2
1 2
1
5
2
5
1
G sounds better at slower speed
127
3
(thumb on C&D)
132
( ) 1 5
Bells of Freedom ©1998
2
1
( ) 1
2 1
2
1 2
5
28
1
137
142
3 on top
147
2
5 3 2
2
(thumb on C&D)
slow cresc.
151
Bells of Freedom ©1998
29
155
1
1
5
1
1
1
5
1
fingering rather necessary at top speed
159
accent simile
163
3 167
cresc.
allarg.
allargando: slowing and broadening
Bells of Freedom ©1998
30
Side Notes:
Helpful Hints:
• The rhythm on this song looks like it could be scary. It's Not. • A friend of mine met a very pretty Fijian woman on Just take it one column at a t ime and the rhythm will take care a trip to the island. One warm clear night they found of itself. themselves walking hand in hand by a river. The • To the great relief of many, I've decided not to reprint what I had moonlight was reflecting off the water and into her thought to be an excellent essay on Rubto in Book 1 (in an effort to beautiful long black hair, etc., etc., etc.. They fell in love be a little more up to date politically). Let me just mention that the and ended up gettting married. As a wedding gift I tried gist of "Rubato" is that you have the permission to speed up, slow to capture in music that perfect night for them. down, or even stop the tempo if you feel it will help you to express the phrase more, uh, expressively. (And also, girls dig it.)
By Moonlight (while it's cheap)
Attention beginners: If this song looks too hard, start at measure 10
=65-72
written by Jon Schmidt
With a flowing, yet rubato feel
(from the album A Day in the Sunset )
copyright ©1998
asterisk notes may be played with R.H. if you like *
*
*
Pedal ad-lib, except where noted 4
*
*
*
*
6
By Moonlight ©1998
31
I find it funny that people are fine with 6-8 time, yet they have a pr oblem with 12-8 and 9-8 time. This is quite useless bec ause they all work the same. Remember, whenever the bottom # is 8:
The
=1
The
=2
The
=3.
Isn't that easy? Oh, and sometimes you might need to know that
8
The
=4
The
=6
and The
=8
I use this system almost all the time because I don't like saying "ta te ta" or "ee and a". (It can be used with 4-4 time!...or 3-4!.. or 2-4 or 2-2 or 7-8 or5-8 ........
1
2 3
You might want to start on this measure the first time. If you do, look at measure 2 to see what the asterisks mean.
1 2 3
11
14
17
pedal simile
By Moonlight ©1998
32
20
* *
F#
23
*
*
E
26
*
*
29
cresc.
|
By Moonlight ©1998
A
33
*
32
decresc.
L.H. R.H.
*
cresc.
35
cresc.
decresc.
38
dolce
40
*
*
* 1
*
By Moonlight ©1998
34
2
3
*
42
*
45
cresc.
pp |
Cross R.H. thumb under to avoid collision 48
1
decresc.
5
3
2
*
cresc.
1
51
|
|
Do a 3 against 2 rhythm if you like.
By Moonlight ©1998
35
54
decresc.
cresc.
*
*
57
*
4 1
60
cresc.
a tempo
molto allarg.
E
63
A
*
By Moonlight ©1998
36
*
5 1
66
decresc.
cresc.
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (play R.H. notes octave higher)
69
dolce
*
*
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va 72
cresc.
75
decresc.
By Moonlight ©1998
37
77
1
2
3
4
E
molto rit.
a tempo
(a division of Molto Meal ®)
cresc.
79
F
molto rit.
decresc.
no pedal lift
82
a tempo
*
*
important hold 84
A G
rit.
By Moonlight ©1998
38
Side Notes:
Helpful Hints:
• This is a favorite piece of mine. To me it is a scene out of a movie. I see a lake surrounded by trees, with shafts of light coming through clouds after a storm. The feeling is perfect stillness.
• Try to paint the picture I describe in the side notes. Don't be afraid to adjust or suspend the demands of tempo to fit the picture you paint. I have marked some possibilites with ritards and fermatas.
Sacred Ground (different key version can be downloaded free of charge at www.jonschmidt.com)
=60-70
written by Jon Schmidt
Freely, but not dragging
(from the album To the Summit )
copyright ©1998 1
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 These #s are for rhythm help. I like letting the eighth note equal 1 beat so you can avoid the dreaded "ee-and-ah".
3
4
5
6
7
8
Pedal ad-lib, except where noted
(play R.H. notes an octave higher)
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4
1
7
2
3
4
5
6 7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - -
1
2
3
4
5 6
7
8
R.H.
Sacred Ground ©1998
39
8
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - 11
1
2
3
4
567
8
1
2
3
4
5 6
7 8
1
2
3
4
1
5 67 8
2
3
4
5 6 7 8
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - 15
1
2
3
4
5 6 7
8
1
2
3
4
5 6 7
8
6
8
1
2
3
4
5 6 7
8
End 8va 18
- - - - - - - - - - - - - - - - - - - - - - - - - -
1
2
3
4
5
7
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - gentle
21
1
2
3
4
5
6
7
8
1
2
( )
optional note
Sacred Ground ©1998
40
3
4
5 6
7 8
- - - - - - - - - - - - - - - - - - - - - - - - - - - End of 8 va 24
1
2
3
4
5 6
27
7
1
8
2
3
4
5
6
7
8
&
gentle
( )( )
1
2
3
4
5 6
7
8
( )( )
gentle
30
33
slow cresc. 1
Sacred Ground ©1998
2
3
4
5 67
8
&
1
2
3
41
4
5 67
8
1
2
3
4
5
6
7 8
&
slight rit. a tempo 36
1
2
3
4
5
6
7
keep cresc.-ing
8
39
(pull back)
allarg. (broaden as you rit.)
ap-
ple
42
1
2
3
4
5
6
8
7
1
2 3
4
5 6 7
45
1
2
3
4
5 6
7
8
slight rit.
Sacred Ground ©1998
1
2
3
a tempo
42
4
5 6
7
8
1
2
3
4
5
6
7
8
8
8 va- - - - - - - - - - - - - - - - - - - - - - - - - - - 48
1
2
3
4
5
6
7
8
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - -
slight rit.
51
a tempo
1
2
3
4
5 6 78
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 54
important
rit.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End of 8 va 56
a tempo
Sacred Ground ©1998
molto rit.
43
Side Notes:
Helpful Hints:
• This song is a great example of what can happen when • This is another song with subliminal notes (please see explanation some dumb 16 year old finally grasps the possibilities of of subliminal notes in the Helpful Hints section of Page 1). Again, I, IV, V. potentially bothersome subliminal notes are marked with ( ... and the VI ... and the pedal tone ... and the IV over 2.) • Something meaningful my Dad used to say to me back parentheses and may be deleted without hurting the song. then was: "Jon, when I was your age, I was about 16." • A deep thought on the subject of practicing: "To be average, practice till you get it right. To be great, practice till you never get it wrong ... and drive the family crazy." — Author unknown (adapted)
Ridin' West =145-160
written by Jon Schmidt
C a a r l a s e r r e C r l w wa s he e
(from the album August End )
copyright ©1998 8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - (play R.H. octave higher)
5
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
Pedal ad-lib - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4
4
4
2
( ) These darn rhythm numbers are a royal pain to put in. You all wouldn't mind figuring it out on this one, would ya? (Don't worry, It's nothing like "Good Times")
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 7
4
_
4
5 4 2
1
2
1
Ridin' West ©1998
44
10
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4
4 2
( )
13
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ 4 4 ( )
16
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va
( )
1
1
19
4
22
( )
Ridin' West ©1998
45
5 4 1
25
( )
( )
28
( )
31
( )
34
37
( ) ( ) Ridin' West ©1998
46
8 va - - - - - - - - - - - - - - - - - - - - - - - 5 3 1
40
2
1 4
- - - - - - - - - - - - - - - - - End 8 va 3
43
5 3 1
3 2
1
4
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 46
( )
49
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - 3
( )
52
Ridin' West ©1998
3
47
End 8 va
55
cresc.
( )
58
Some people turn their bench sideways right here (as if riding a horse, I guess).
61
( )
64
( )
( )
( )
( )
( )
( )
( ) ( )
67
( )
( )
( )
( )
( )
( ) Ridin' West ©1998
48
( )
( )
( )
( )
70
( )
( )
( )
( )
( )
73
( )
( )
( )
76
80
1 2 3
4
5
6
7
cresc.
8
84
( )
Ridin' West ©1998
49
( )
( )
( )
87
( )
( )
( )
90
93
Sometimes, especially at slower speeds, it feels better to skip from measure 93 to 104.
( )
( )
( )
( )
( )
( )
( ) ( )
96
( )
( )
( )
( )
( )
( )
( )
( )
99
Ridin' West ©1998
50
( )
( )
( )
( )
( )
102
8 va - - - - -
105
109
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 112
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 115
Ridin' West ©1998
51
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