Microtonally Extended Just Intonation:

Notation, Tuneable Intervals and Aggregates

by Marc Sabat
February 2016

Just Intonation

Just Intonation (JI) is the practice of conceptualising intervals between tonal

sounds as ratios and tuning these intervals accordingly. In addition to
spanning various melodic distances, intervals defined by ratios suggest ways of
describing their harmonic distances as well. Taking this into account leads to
new ways of hearing and composing tonal relationships between sounds.

Harmony: the interaction and intonation of tonal sounds

Tonal sounds are any sounds that we hear as “pitches”; for example, a human
voice speaking or singing vowels. Most tonal sounds are aggregates of partials,
combining many whole-number-multiples of a fundamental vibrating frequency
into a single timbre. In the special case of a sinewave, only one frequency is
sounding.

Some tonal sounds, like those produced by a piano, include partials which
deviate from an ideal series of harmonics. However, even so-called inharmonic
mixtures, like multiphonics or gong-like sounds in which several fundamentals
are perceived, may be usefully analysed as a superposition of intervals defined
as ratios.

Coexistence of different modes of vibration — in a sounding body, within a

resonator or in the air itself — produces interferences between partials which
we perceive as audible patterns. Intonation is the art of learning to hear and
make harmony in any combination of sounds, namely: to recognise, distinguish,
produce and adjust the composite rhythm and inner melodies of characteristic
beatings and combination tones. Combination tones comprise various additional
frequencies which are perceived at the sum and difference frequencies of
sounding partials.

Every new timbre suggests new harmonic constellations, but timbre and
harmony should not be mistaken for each other; harmony is the more general
musical principle. Timbre describes the composition, perceived qualities and
morphology of a specific sound. Harmony describes a world of potentially
perceivable relationships binding together the interaction of tonal sounds. By
changing or inflecting timbre, intensity, balance, register, etc. music highlights
or reveals different aspects of the harmonic relationship unfolding in time.
Tuneable intervals: periodicity, potential consonances and sruti regions

Intervals which may be determined exactly by ear, given an appropriate timbre

and register, are for the most part representable by small-number ratios of the
first 28 natural numbers, and I call these special relationships tuneable
intervals or simply potential consonances. Tuning an interval precisely means
establishing a stable periodic pattern, or signature, which characterises its
sound. At the same time, natural sounds are usually changing, so the ratio
describing a potential consonance is most usefully imagined as a region of
tolerance, or sruti region in the literal sense, meaning “that which is heard”.

Every sound is a mixture of vibrating frequencies, which our auditory system

analyses and attempts to reconstruct by seeking cyclic temporal patterns on
various time-scales. The more exactly vibrations fit together into one periodic
wave, the more likely they might be emanating from a single source. A wave
with slowly shifting phase sounds blurred, suggesting it might be combined
from several sources or perhaps be in motion. As cyclically changing patterns
become faster, their repetition is successively perceived as metre, groove,
rhythm, pulsation, vibrato. Faster subaudio periodicities suggest motoric
roughness, texture and grain, eventually softening and passing into the lowest
frequency of pitch.

This changing continuum of interpretations has to do with the perception of a

virtual fundamental frequency. The intonation of a combination of tonal sounds
refers to how the alignment of respective spectral components may be
adjusted to alter the perception of periodicity. The first principle of tuning a
ratio is listening to specific common partials and their respective harmonics.

Ratios and harmonic space

Ratios may be most easily imagined by recalling the pitches of an idealised

harmonic series with its natural intonation or by considering the division of a
string or air column into aliquot parts. Greek theory distinguished two special
types of ratio, multiple and epimoric.

Multiple ratios are the proportions of each partial to the fundamental, and
represent a sequence of the natural harmonic intervals of progressively
increasing melodic distance: octave (1:2), perfect fifth +1 octave (1:3), major
third +2 octaves (1:5), septimal minor seventh +2 octaves (1:7), ninth +3
octaves (1:9), etc.

Note that the even number multiple ratios are simply transpositions by an
octave. 1:4 is one 1:2 +1 octave, and 1:6 is 1:3 +1 octave, etc. Extending this
idea, any multiple ratio defined by a composite number can be seen as a
combination of intervals defined by prime numbers. For example, the prime
proportion 1:3 (perfect fifth +1 octave) applied twice yields the composite
proportion 1:9 (2 perfect fifths +2 octaves). Therefore, prime number multiple
ratios define unique characteristic intervals which are the fundamental building
blocks of all other intervals.

2 defines the octave 1:2. An octave taken upward is a frequency proportion 1:2,
and an octave taken downward is a frequency proportion 2:1. In a similar way,
any proportion of frequencies can be taken as an interval upward (increasing
frequency) or inverted to mean the interval downward (decreasing frequency).

Each succesive prime 2, 3, 5, 7, 11, 13, 17, 19, 23, etc. defines a
characteristic interval. Just as the number 5 cannot be broken down as
product of smaller numbers, its characteristic interval, the major third, cannot
be produced by repeating and combining other intervals.

When the open strings of a cello and violin are tuned, the characteristic
intervals 1:3 and 2:1 are used. Beginning from the cello C string, the violin
tunes its G string in proportion 1:3, by matching the C string’s 3rd partial. The
cello tunes its G string in proportion 2:1, by matching the 2nd partial to the
open violin string. This process is repeated three more times to obtain the
violin E string. 1:3 is produced four times, and 2:1 occurs three times.
Therefore cello C and violin E are in the interval proportion 23:34 = 8:81.

The harmonic series major third +2 octaves taken directly from cello C would
be produced by the interval proportion 1:5. Raised by 1:2 to match the register
of the violin E we obtain 1:10, or 8:80. The difference between the natural
harmonic E and the open E produced by fifths is one Syntonic Comma, 80:81.

Each of the prime number characteristic intervals define a new dimension of

harmonic space, a concept formulated by composer and theorist James Tenney.
By limiting our consideration to various combinations of prime generators,
most often taken in combination with 2 and 3, various tonal regions,
aggregates, scales may be defined. By choosing to blur small differences
between similar intervals, it is possible to create different temperaments or
enharmonic transitions. The harmonic space defined by dimensions 2 and 3 is
called Pythagorean. The space defined by dimensions 2, 3 and 5 is the classical
form of 5-Limit Just Intonation, which I call Ptolemaic. Extended Just Intonation
is a term used by composer Ben Johnston to describe the extension of
harmonic space to include higher prime generators, following in the tradition of
his teacher Harry Partch. Johnston also developed the idea of Leonhard Euler’s
tone lattice to describe multi-dimensional tonal structures used in his
compositions, especially in the String Quartets 5, 6 and 7.

Epimoric ratios are the proportions between successive, neighbouring pitches

of a harmonic series, and represent a sequence of intervals of progressively
decreasing melodic distance: octave (1:2), perfect fifth (2:3), perfect fourth
(3:4), major third (4:5), minor third (5:6), septimal minor third (6:7), septimal
wholetone (7:8), major wholetone (8:9), minor wholetone (9:10), etc. Note that
the difference betwen successive epimoric ratios will always also be epimoric.
It is often useful to approximate the size of smaller intervals as parts of a tone.
The most commonly used measure is the Pythagorean (major) wholetone 8:9,
which is also the difference between the epimoric 2:3 (fifth) and 3:4 (fourth).
To divide the interval 8:9 rationally in two almost equal semitones, consider
the proportion 16:17:18, one octave higher in a harmonic series. To divide the
wholetone in three parts, multiply by 3, obtaining the third-tones 24:25:26:27.
For quarter-tones, 32:33:34:35:36; fifth-tones 40:41:42:43:44:45; sixth-tones
48:49:50:51:52:53:54, etc. In particular, the division into 9 parts
72:73:74:75:76:77:78:79:80:81 obtains as its smallest epimoric interval the
Syntonic Comma derived above. So the two E’s are about 1/9-tone apart.

Microtonal intervals might be thought of as all intervals smaller than a tone,

and a microtonally extended Just Intonation implies accepting the implications
of understanding harmony in terms of ratios. Namely, the term embraces the
inclusion of small microtonal differences not as problems to be solved or
hidden, but as musical opportunities to be embraced and experienced as
sound.

What a ratio tells us

Imagine the ratio a:b expressed in lowest terms. This can describe the
relationship of two frequencies, their interval, in terms of a shared harmonic
series. When the two frequencies sound together, their virtual fundamental, the
common periodicity of their shared vibration, is represented as the
fundamental of this harmonic series, 1:a:b. To tune the interval by attending to
the least common partial and creating a unison, we are listening for the b-th
partial of a and the a-th partial of b. Algebraically, this can be represented as
the product ab, considered in our harmonic series, 1:a:b:ab.

The closer the melodic distance between fundamental and least common
partial, the more easily the original interval can be tuned. Therefore, the ratio
1:ab, or simply the numerical value ab, determines the harmonic distance of the
interval, an idea originally proposed by the Renaissance theorist Giambattista
Benedetti in a letter (ca. 1563) to Cipriano de Rore. The harmonic distance
measure most consistently reflects the experience of tuning intervals when they
are not too low; preferably in the register of the human singing voice, high
enough so that their common fundamentals are in the audio range.

The common partial suggests a further way of describing the interval’s

characteristic raga, how it colours and shapes our perception. Consider that
not only the least common partial, but also all of its harmonics, are shared by
the two pitches. In particular, the second common partial lies one octave
higher. Between these two shared pitches one octave apart lies a characteristic
bitonal chord of harmonics, uniquely determined by the interval’s ratio. Take as
an example the perfect fourth 3:4. The common partial is partial 12 and its
octave is partial 24. From the perspective of the lower note, taken as a
fundamental, 12 is its fourth partial, and the octave above it is divided into the
aggregate 4:5:6:7:8, which in terms of the shared harmonic series may be
written as 12:15:18:21:24. Similarly, the upper note has 12 as its third partial,
and the octave above it is divided into the aggregate 3:4:5:6, or in terms of the
shared series 12:16:20:24. Therefore the characteristic chord/scale of the
interval 3:4 is the combined aggregate 12:15:16:18:20:21:24. A similar
analysis may be applied to other ratios.

The ratio a:b also implies a particular family of combination tones, most
prominently the difference tones |a – b|, |2a – b|, |a – 2b| and the
summation tone |a + b|. When working directly with frequencies, these can
also be calculated as the sums and differences between the frequencies and
their respective partials. In the case of a simple harmonic ratio, the effect of
the difference tone is pronouncedly strengthened as the combination tones
harmonically reinforce to produce a harmonic series.

In addition, the melodic distance of a ratio can be calculated in terms of

Alexander Ellis’ measure, produced by dividing the octave geometrically into
1200 equal parts. Involving logarithms and irrational divisions, this method
requires technical calculations, but is very useful when practically describing
the deviations of pitches from a common point of reference, for example when
using a tuning meter. Given a ratio a:b, the measure of the interval in cents is:

1200log2(b/a) or 1200log(b/a)/log2

Notation

Together with Wolfgang von Schweinitz, I have developed a method of staff

notation for microtonally extended Just Intonation. It accepts the Pythagorean
basis of five-line notation, expressed in the diatonic lines and spaces of the
staff and inflected by sharps and flats. To complete a notation of the Ptolemaic
tone system, Syntonic Commas are written by attaching arrows to the
accidentals.

The uniqueness of prime number characteristic intervals means that each

prime must be associated with a microtonal comma alteration of the nearest
Pythagorean pitch. These signs must have two forms to reflect the symmetry of
intervals, which may lie above or below any note.

The septimal seventh 4:7 is indicated as an alteration of the Pythagorean

seventh, which is produced by two downward fifths 3:1. Normalised to fall
within a single octave span, this interval is 9:16. In this case the septimal
comma is the ratio 63:64, slightly more than 1/8-tone. The sign used was
pioneered by the Italian violinist, composer and theorist Giuseppe Tartini, who
described the acoustical quality of difference tones and advocated treating the
natural seventh as a consonance in voice leading.
Additional signs and commas are defined for each of the subsequent primes.
For 11, Richard Stein’s quarter-tone symbols were adopted for the ratio 32:33,
and for 13, Wolfgang von Schweinitz suggested a variation with 2 vertical lines
to represent the ratio 26:27. In my own music I regularly employ up to the
23rd harmonic and on occasion higher primes when circumstances or
instrumentation demand it.

In addition to the microtonal signs which imply ratio intervals, each written
pitch may still be read in terms of the chromatic system, and an appropriate
alteration of the nearest tempered pitch in cents, as indicated by a tuning
device, may also be notated. This allows musicians to rehearse the microtonal
pitches outside of an ensemble setting.

Such a notation facilitates reading and composing transpositions of intervals

without referring exclusively to ratios, while showing the characteristic intervals
comprising the pitches. However, the Pythagorean basis limits the extent to
which it is possible to meander away from the central tone of Western notation,
D. In a music which moves freely by ratio intervals without concern for
maintaining a fixed frame of reference, it is perhaps more useful to indicate
ratios between tones, in the manner of Lou Harrison’s “free style”. Another
possibility, developed by Toby Twining, involves shifting the reference pitch to
“absorb” various comma modulations.

Tuneable Aggregates

What happens in the case of structures of three or more different pitches?

Although it is possible to consider some special cases in which none of the
individual intervals are tuneable, but the entire complex is, I believe these
cases to be quite rare. Some examples take the form a:b:a+b, the well-known
ring-modulation harmony used by Claude Vivier and others.

In general, I imagine that a tuneable aggregate has at least one tuneable

interval and may therefore be associated with it. These aggregates may take
two general forms: those which leave the characteristic interval undivided and
those which divide it.

Three-note structures have, as a rule, two different possible constellations

within the same outer frame, produced by reordering the two inner intervals. Of
these two forms, one will generally be represented as a smaller-number
proportion and will therefore be the more consonant. Like the symmetry of
major and minor triads, the septimal trial 6:7:8 may be inverted as 21:24:28.

Tuneable aggregates offer a very useful way of considering how a contrapuntal

or chordal movement in a more complex harmonic space might take place. By
bridging various prime characteristic intervals, expanding a tuneable interval to
include its characteristic chord allows tonal movements which might be
restricted in considering a strict intervallic relationship in two parts.
An informal introduction to the Helmholtz-Ellis Accidentals
by Marc Sabat

Berlin, April 2009

In learning to read HE accidentals, without having to rely on an electronic

tuning device, it is important to be familiar with three things:

First, to keep in mind the natural tuning of intervals in a harmonic series,

which deviate from the tempered system.

Second, to get to know how the accidentals refer to these overtone

relationships.

Third, to observe that each written pitch may be related to many other pitches
by natural intervals, and to tune it accordingly.

In most cases, this approach will allow the player to quickly and intuitively play
just intonation (JI) pitches quite accurately. Any remaining adjustments can be
made by ear, based on the specific sound of JI intervals.

Just intervals are readily learned because they are built up from simple,
tuneable harmonic relationships. These are generally based on eliminating
beating between common partials, finding common fundamentals and audible
combination tones, and establishing a resonant, stable sonority which
maximizes clarity: both of consonance and of dissonance.

A well-focussed JI sound is completely distinct from the irregular, fuzzy beating

of tempered sounds. Just consonances, when marginally out of tune, beat
slowly and sweetly and may be corrected with the most subtle adjustments of
bowing or breath. Just dissonances produce a sharply pulsing regular rhythm
and have very clear, distinct colors.

To become familiar with the notation and sounds of JI, the fundamental
building blocks are prime number overtones 3, 5, 7, 11 and 13, each of which
is associated with a specific pair of accidentals and a basic musical interval.

3 is associated with the signs flat, natural, sharp and refers to the series of
untempered perfect fifths (Pythagorean intonation). Generally, A is taken as the
tuning reference, and the central pitches C-G-D-A-E can be imagined as the
normal tuning of the orchestral string instruments. The just C is rather lower
than tempered tuning because of the pure fifths. The further this series is
extended, the greater the deviation from tempered tuning: the flats are lower,
the sharps higher.
5 is associated with arrows attached to the flat, natural, sharp signs and refers
to the pure major third. These arrows correct the Pythagorean intervals by a
Syntonic Comma, which is approximately 1/9 of a wholetone or 22 cents. So,
for example, the note E-flat arrow-up is a just major third below G, and the note
F-sharp arrow-down is a major third above D. In most music, flats are often
raised by a comma and sharps are lowered. Because of the open string tuning,
it is common to sometimes raise F and C (to match A and E) and to sometimes
lower A and E (to match F and C). Corrections by one Syntonic Comma have
been used throughout Western music history and are relatively familiar to the
ear. However, traditionally these corrections have been hidden by players, for
example in Meantone Temperament where fifths are mistuned narrow by !
comma so that the third C-E ends up sounding pure. More recently, the
currently prevailing Equal Temperament has made us accustomed to beating
thirds, so at first the pure intervals may seem unfamiliar. To play the arrows
accurately, one must carefully learn the sound of the consonant major and
minor thirds and sixths, and learn to articulate comma differences clearly.

7 is associated with a Tartini sign resembling the numeral. It corrects the

Pythagorean intervals by a Septimal Comma, which is approximately 1/7 of a
wholetone or 27 cents. When the Pythagorean minor third is lowered by this
amount, it becomes a noticeably low third often heard in Blues music.

11 is associated with the quartertone signs (cross and backwards flat). The
accidental is used to raise the perfect fourth by 53 cents, producing the exact
tuning of the 11th partial in a harmonic series. The sound is most easily
learned by playing one octave plus one fourth and raising it by a quartertone.

13 is associated with the thirdtone signs (cross and backwards flat, each with
2 verticals). The accidental is used to lower the Pythagorean major sixth by 65
cents, producing the exact tuning of the 13th partial in a harmonic series. The
sound is most easily learned as a neutral-sounding sixth, one-third of the way
between the just minor and just major sixths (closer to minor than to major).

The following table presents the accidentals together with their associated
ratios and cents deviations. To calculate the cents deviation from Equal
Temperament of a specific written pitch (if desired) the following shortcut may
be used:

1.) Find the cents deviation of the Pythagorean pitch, by calculating how many
fifths it is away from A, multiplying by 2, and using a plus sign if it is on the
sharp side and a minus if it is on the flat side.

2.) For each microtonal accidental, add or subtract its approximate cents value
(as given above), keeping in mind whether the accidental is raising or lowering
the pitch.

The resulting value should be a cents deviation within 1 or 2 cents accuracy,

which is an acceptable starting point for fine-tuning by ear.
ACCIDENTALS EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION
for Just Intonation
designed by Marc Sabat and Wolfgang von Schweinitz

The e xa ct i ntonatio n of e ac h pit ch m ay b e writt e n o ut b y me ans o f t he fo llo wi ng

ha rmonic all y- de fi ne d si gns:

E e n v V Pythagorean series of fifths – the open strings

(…cgdae…)

dmuU Ffow lowers / raises by a syntonic comma

81 : 80 = ci rc a 21.5 ce nt s

cltT Ggpx lowers / raises by two syntonic commas

cir ca 43 ce nt s

< > lowers / raises by a septimal comma

64 : 63 = ci rc a 27.3 ce nt s

• ¶ lowers / raises by two septimal commas

cir ca 54 .5 c e nts

4 5 raises / lowers by an 11-limit undecimal quarter-tone

33 : 32 = ci rc a 53.3 ce nt s

0 9 lowers / raises by a 13-limit tridecimal third-tone

27 : 26 = ci rc a 65.3 ce nt s

: ; lowers / raises by a 17-limit schisma

256 : 255 = ci rc a 6.8 ce nt s

/ \ raises / lowerss by a 19-limit schisma

513 : 512 = ci rc a 3.4 ce nt s

! ±" raises / lowers by a 23-limit comma

736 : 729 = ci rc a 16 .5 c ents

In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to indicate its
absolute pitch-height as a cents-deviation from the respectively indicated chromatic pitch in the 12-tone system
of Equal Temperament.

The attached arrows for alteration by a syntonic comma are transcriptions of the notation that Hermann von
Helmholtz used in his book “Die Lehre von den Tonempfindungen als physiologische Grundlage für die
Theorie der Musik” (1863). The annotated English translation “On the Sensations of Tone as a Physiological
Basis for the Theory of Music” (1875/1885) is by Alexander J. Ellis, who refined the definition of pitch within
the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents. The sign for a
septimal comma was devised by Giuseppe Tartini (1692-1770) – the composer, violinist and researcher who
first studied the production of difference tones by means of double stops.
 23-LIMIT TUNEABLE INTERVALS below “A4”
tested and notated in three gradations of difficulty (large open notehead = easiest ; small black notehead = most difficult)
by Marc Sabat (violin/viola) with assistance from Wolfgang von Schweinitz (cello), Beltane Ruiz (bass), Anaïs Chen (violin)—Berlin, 2005

1/8 3/23 2/15 3/22 1/7 4/27 3/20 2/13 3/19 4/25

?
% % % e % % e
‹
0 +12 +31 +16 C# -41 +4 +27

j w 6e f 5 > w n o 9w *v g

-26 -49 -6

1/6 4/23 3/17 5/28 2/11 3/16 4/21 5/26 1/5 5/24

? E E E E w E
+14

w w
‹
w w o u
+17 +2 +29 +46
n 6e ;u >u 5 n > 9m

-2 -28 -3 Eb +49 -16

3/14 2/9 3/13

E
4/19 5/23 5/22 4/17 5/21 6/25

E E w E w E e
+29

? w g
G# -39
6m n 5u 9 ;u >u

‹
+2 +33 +16
*v >v ?
-42 -4 G +35 -5

1/4 7/27 6/23 5/19 4/15 3/11 5/18 2/7 7/24

?
e e E e
+12 +31

n w <e 6e *u f w 5 w m w > w <

-37 -26 -49 -33
-11 -18

5/17 8/27 3/10 4/13 5/16 6/19 7/22 8/25 9/28

?
E e e e e e
+16 C# -41 +4 +27 +35

;t n o w 9 w u w *v 5< g >v
-19 -6 -14 -82

1/3 5/14 4/11 3/8

E
8/23 7/20 6/17 5/13 7/18

? w E E E w w w E <
+17 +2 +46
n 6e <f ;u >u 5 n 9m

-2 -28 -17 -3 -51 -35

2/5 7/17 5/12 8/19 3/7 4/9 5/11 6/13 1/2

? w E w e w w E E n w
+14 G# -39
n 5u 9
+2 +33
o ;<u u *v >v

-36 -16 -4 G +35

12/23 8/15 7/13 6/11 5/9 4/7 7/12 3/5 8/13

e e E E E w E
+16

w w
+12 +28 C# -41
6e f 9<e 5 m > < o 9
?
+31

-26 -49 -18 -33

E e
5/8 2/3 5/7

E e e
7/11 9/14 11/16 9/13 7/10 8/11

w e w <f w 5
D# -49 D# -37 +17
u 5< >v n 4 9 >u
+35

? -17 -51
-14 Db +18 -2

3/4 7/9 4/5 5/6 6/7 1/1

E
10/13 9/11 7/8

E w w e w w n w
+14

w <
+33
< o 5v u >v
+2 +46
n 9m
? -35 -47 -16
-31
 23-LIMIT TUNEABLE INTERVALS above “A3”
notated using the Extended Helmholtz-Ellis JI Pitch Notation with cents deviations from 12-tone equal temperament based on A = 0 cents
microtonal accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004

1/1 8/7 7/6 6/5 11/9 5/4 9/7 13/10 4/3

e E
+31 +16 +47 +35

E
& w
L w > < w o w 4 u w >v w 0o n
-33 -14 -46 -2

11/8 7/5 10/7 13/9 16/11 3/2 14/9 11/7 8/5

e E e e e E
D# -49 +17 +2 F -18 +14

& 4 <f w >u 0 5 n w < 4> o w

-17 Eb +37 Eb +49 -35

13/8 5/3 12/7 7/4 9/5 11/6 13/7 15/8 23/12

E E E E e e
+33 +18 +49 +26

& 0v u w >v < w o w 4 0>v u 3v

F +41 -31 -28 -12

-16

2/1 13/6 11/5 9/4 7/3 19/8 12/5 17/7 5/2

E E e E
+16 +36

w w w
B -35

w
+4

& n w 0 4f n < / o :>o u

Bb +39 -33 -2 -14

18/7 13/5 8/3 11/4 14/5 17/6 20/7 23/8 3/1

E E w w w E E E w
+35 D# -49 +3 +17 +28 +2
0o n 4 <f :f >u 3v n
>v
&
-46 -2 -17

28/9 25/8 22/7 19/6 16/5 13/4 10/3 27/8 17/5

e e e e e E
+14 +19

w w w :g
+6
< / o 0v u v
F -18
t 4>
&
-35 -27 -4 F +41 -16

7/2 18/5 11/3 15/4 4/1

E
24/7 19/5 23/6 27/7

e e e w
+11

w w w w
+18
/f n
+49 +26 +37
< o 4 u 3v >v
+33
>v
& -31 -12

13/3 9/2 14/3

E
25/6 21/5 17/4 22/5 23/5 19/4

e e E w e w E w
+5 B -35 +42
< /
+4
t <f :f 0 4f n 3o

& -29 -16 Bb +39 -33 -2

5/1 16/3 11/2 17/3 6/1

E
24/5 26/5 21/4 28/5 23/4

E e E w w w E w
+16

w
+3 +28
<f :f n
D# -49 +2
o u 0o < n 4 3v
-17

& -14 -46 -29 -2

19/3 13/2 20/3 7/1 22/3 15/2 23/3 8/1

e
25/4 27/4

E w w w w w w w n w
+49 +26
< 4 u 3v
+6
t / 0v u v

&
-27 -4 F +41 -16 -31 -12