< PreviousModern Drummer June 2022 58 T he Modern Drummer LEGENDS books are a rare opportunity for a drummer to talk about and examine his entire drumming career. Kenny Aronoff has been covered quite thoroughly in his many past Modern Drummer feature interviews. In those interviews he talks about how and who he has played with in the different eras of his career, (John Mellencamp, Smashing Pumpkins, Melissa Etheridge, John Fogerty, and his own Uncommon Studios in LA.) And how he has adapted to the ever-changing music business. As always, we have included ALL of those interviews in Kenny Aronoff LEGENDS. So, it has all been talked about before, right? Wrong !!! Rarely is there enough space in a magazine to let a drummer talk in detail about the entire arc of his drumming career. Interviews are like snapshots; Kenny Aronoff LEGENDS is a drumming and musical master class disguised as a book. During the Covid lockdown, many of us had some time on our hands, (Kenny and I included.) For his brand-new LEGENDS interview Kenny and I talked for several days. He connected the dots on his evolution of becoming the hardest working man in the drum business. Whether it’s touring, recording, authoring books, teaching, or lecturing. Kenny only knows one gear. He is always in fifth gear moving full speed ahead, he just doesn’t stop. But we took advantage of the unfortunate Covid down-time that we all had, and slowed Kenny down to examine everything about his drumming and his career. Kenny Aronoff hits hard, everybody knows that. However, Kenny also thinks hard. In the past, Modern Drummer interviews have gotten inside Kenny Aronoff’s hands, but it’s about more than playing “the beats.” Kenny Aronoff LEGENDS gets inside Kenny’s ears, mind, and heart. That is Legends Behind theJune 2022 Modern Drummer 59 where you’ll find the keys to what makes those “beats” come to life. Hard work, self-discipline, power, passion, excitement, energy… Those words come up quite often when Kenny Aronoff speaks. But there’s much more to it than that. In LEGENDS you’ll find 22 pages of new interviews about perseverance, gig preparation, commitment to the groove, touch, his gear of choice, the music that has influenced him the most, his teachers, and much more. In addition to the extensive brand new interview (and the five past Modern Drummer interviews,) LEGENDS also includes 44 pages of new transcriptions, 13 pages of Kenny’s handwritten charts, and almost 100 pictures that have never been seen. In LEGENDS we not only get the answers to the “how” and the “who,” but more importantly, we get Kenny’s answers to the “what” and the “why.” That’s where the magic lives. When Kenny Aronoff talks about the history and commitment of crafting, creating, and recording drum parts for hit songs; It is akin to Bill Gates talking about computer software or Tiger Woods talking about the history of golf. In LEGENDS, Kenny breaks down his musical approach, and he walks us through some of the drumming details in the hit songs that he has recorded. To further this deep dive into Kenny’s drumming, he gave us the actual charts that he wrote for himself for many of his sessions, then he explained his musical and drumming reference points that have helped him create the drum parts for these songs. This means that you have the unique opportunity to listen to the songs while you read Kenny’s charts from the sessions and compare them to the transcriptions of his drum parts. Finally, you get his tune-by-tune commentary of 19 tunes that span his entire career. In LEGENDS Kenny talks about his years as a student, his career as a sideman, creating a career as a session drummer, his role as “Kenny Kissinger” on sessions, his equipment, and the art of crafting drum parts for hit songs. We have also included a free download of a rare recording of Kenny playing a Marimba Concerto when he was in college. This performance completes the picture of a very special musician. There has never been such a complete examination into Kenny’s evolution as a musician and a drummer as you’ll find in Kenny Aronoff LEGENDS . His drumming has been an important part of modern rock music history. Now you can find out why! Mark Griffth Check out the MD’s newest Legends release: Steve Smith Brand new content and interviews Insight, analysis and drum transcriptions The Fabric of Rhythm drum solo recordings MD archive of Steve’s cover/feature interviews Photos/analysis of Smith’s drumsets through the years DIGITAL DOWNLOAD CODE INSIDE Legends Other Legends in the Collection: Neil Peart • Alex Van Halen Chad Smith • Danny Seraphine Kenny Aronoff • Peter Erskine Visit moderndrummer.com/shop to purchase your copy today! Available in digital and print versions. 80 pages of extensive and new in-depth interviews Exclusive Erskine Recordings Pictorials of Weather Report, Peter And Friends, The Early Years Peter’s analysis and insights on 40 + pages of drum transcriptions Digital Download Component EXCLUSIVE PHOTO SECTIONS! Legends DIGITAL DOWNLOAD CODE INSIDEModern Drummer June 2022 60 Touring Life and Lessons By Billy Ashbaugh F or this month’s article, I’m going to share some of my experiences from over the years while on tour with various artists. I’ve been fortunate enough to have done many different “levels” of tours, everything from stadiums to smaller 200-300 seat venues. They’re all unique and offer their own challenges. And, as often, every experience offers a good teaching moment. Let’s start off with some topics that apply to all tours large and small. The most common issue when I’m on the road is how to cope with missing your family. I know this is a personal issue and everyone deals with this in their own way. For me, the evolution of the internet and social media was a real game changer. Before FaceTime or Skype, there really was no way to see your loved ones while you were on the road. I remember literally carrying around a pager (before cell phone days) because my wife was pregnant, and it was the only way to keep in touch. Now, staying connected is very easy. Of course, getting visits from the family is always great. This is always the best way to fill that void. Unfortunately, it isn’t always logistically possible. Tour routing and travel arrangements often make it impossible to have visitors. For me, my daughter was too young or was in school at the time. Remember I was the sideman hired to play the music, not the artist. However, there were a few times when visits were possible. One of my fondest memories was back in 2003 when I was out with Pat Benatar. We were playing at the Theatre at Westbury in NYC. It’s a theatre in the round where the stage literally rotates slowly while you play. When my daughter visited, Pat allowed her to sit up on stage behind me on the monitor cabinet during the show. As you can imagine, it was awesome to look back and see her there! Fast forward to 2022 and I’m out with John Lodge (Moody Blues.) My daughter (now an aspiring photographer,) was able to come out to a show and take pictures on stage while we performed. That is another amazing moment I will never forget. Staying healthy on the road can be a challenge. Luckily, now a lot of fast-food chains offer healthy options on their menu. This helps tremendously. You must do the best you can. The same goes for exercising. Some sort of exercise is essential for your good health. On the road, it’s not always easy. I’ve tried my best over the years to exercise but traveling offers its own challenges. If the hotel has a fitness center, I will try my best to get some cardio in whenever possible. I actually got into jumping rope while I was out with Pat Benatar. Her husband (guitarist) and her keyboard player would jump rope before every show. Typically, they did that in the back of the empty semi-trailer that carried the gear. I started joining them and soon became addicted. It was really a great way to clear your mind and get energized for the show. Being energized for the show leads me to another very important part of touring which is keeping a good positive attitude! As difficult June 2022 Modern Drummer 61 as it can be, you must try your best to roll with things and NOT to be that person who’s always complaining and bringing others down. That’s definitely toxic on the road, I’ve seen people sent home for this very reason. I’ve always said that your “people skills” are just as important as your playing ability. Understandably, artists do not want any extra drama on the road, learn how to be a team player. I wasn’t fully aware of how important this was, until I was out with ‘NSYNC. I was eating dinner in catering when the stage manager comes and sits next to me. I hadn’t said five words to him on the whole tour so naturally I wondered what I had done wrong. As it turned out, he just wanted to take the time to thank me for doing my job and for staying out of the way when everyone else was doing their jobs. He went on to explain issues he’s had in the past with drummers banging on their drums while a rigger was 75 feet in the air trying to adjust some pyro or lighting. Or a drummer tuning his snare while techs are running cables three feet from the drums. You need to know how to do your job and not step on anyone’s toes during the process. Luckily, I naturally do this, but I never realized just how much my co-workers noticed and appreciated it. His quote to me was, “I couldn’t care less how great you play the drums. I’m only concerned with you doing your job and more importantly staying out of our way when you’re not.” This was a big eye opener for how important everyone’s part is in when it comes to keeping a tour running smoothly. Practicing on the road is another interesting topic. When I first got the ‘NSYNC gig, I had a vision of setting up a practice kit in the back lounge of the bus and practicing as we drove to the next gig. I actually brought a full practice kit in a large duffel bag on the tour. I carried it around in the bay of the bus with the luggage. My vision was completely shattered the very first time I attempted this. I honestly don’t know what I was thinking! Every little turn or move of the bus threw me off balance and made it impossible to practice. My practice kit ended up only being used when the bus was parked somewhere. It still served its purpose, just not while we were driving down the road. There were many days off when I took my sticks, books and metronome to the bus and got in several hours of practice time. My desire to practice created other obstacles to overcome as well. Quite often the bus driver could not leave the bus generator running due to local city ordinances, so I would literally have to take a candle so I could see! I did whatever it took to get my practice in. Trust me it really paid off. I recorded every show back then on a mini disk recorder. After every show I would listen back, and the next night I would fix what I didn’t like. This particular tour was when we filmed the HBO Special that was aired live from Madison Square Garden, so I had plenty of motivation. The taping of the HBO Special happened three months into the tour. I remember keeping recordings from the first show and comparing it to a show three months into the tour and I sounded like a completely different drummer. My point is this. It may seem that carrying around a practice kit and going to all that trouble to practice while touring is overkill. But for me, there was no other way to get to the comfort level that I needed to feel good about my performance. To this day, I try to utilize my down time on the road and always carry my sticks and practice pad with me. Whether it’s in the hotel room, in my bunk, or backstage before the show, I always manage to find time to work on my hands. I’m also big on finding a solitary spot somewhere and warming up before the show. I’ve read where some drummers don’t like doing warming up and just warm up during the beginning of the show. Unfortunately, I’ve been dealing with carpal tunnel and tennis elbow for years now so for me, warming up is crucial. Rock shows are high energy from the start, I need to warm up properly so I can come out hitting hard and not do any damage to myself. Let’s talk about gear. Basically, when you hit the road, there are three options. You can bring your own gear and cases, you can rent back line for the entire tour, or you can rent back line for each individual show. A lot of factors go into making this decision. Often it comes down to logistics that are out of your control. Sometimes it’s cheaper to have back line supplied at every gig rather than ship the cases around. You must be ready to adapt. When you bring your own gear, it’s great because you know exactly what instrument you’re playing. Your sound (drums, heads, cymbals) is controlled by you because it’s your rig. The downside is your gear will suffer casualties of the road. Dings, dents, and scratches are almost inevitable. However, when you rent back line, you’re at the complete mercy of your supplier. It’s hit or miss sometimes. I’ve had everything from a beautiful new DW kit that sounded great, to a used mixed and matched kit consisting of multiple colored drums from different manufacturers that didn’t sound “great.” Again, you just gotta roll with what you get and make the best of it. Whether you have your own or rented gear, you are taking one kit out for an entire tour so you have the luxury of marking all of your hardware for easy set-up. However, if you’re getting back line supplied separately for each gig, it’s a bit more challenging. The downside is that you’re setting up your kit from scratch every night, nothing is pre-marked for angles or height. Plus, chances are you’re going to have to put on new heads and tune everything up at every gig. This just requires a little more time before sound check. The up side is as soon as you’re done with the show, you grab your sticks and head to the bus. You’re not responsible for the kit because your next kit will be waiting for you at the next venue (ready to be un-boxed and set up.) The appealing thought of grabbing your sticks and heading to the bus brings up the subject of drum techs. Make no mistake, it’s awesome to finish a show and simply head to the bus to relax. But to be honest, when it comes to drum techs, “sometimes you get one and sometimes you are one.” I’ve been in both situations. Obviously having someone to handle your gear is the ultimate scenario. But sometimes there just isn’t a budget for that. Touring isn’t always glamorous, but (again) you do what you have to do. Typically, all of these matters are discussed and agreed upon before accepting a tour. Lastly, I’d like to discuss a couple of topics that are not limited to touring. First, dealing with your monitor mix. Every drummer who has ever played a gig knows just how important this subject is. It can make or break the success of your performance. You might think Modern Drummer June 2022 62 Check out Billy’s Modern Drummer profile page at moderndrummer.com that being “out on tour” would mean that your monitor mix is always dialed in to perfection for every performance…. That’s not always the case! While yes, most of the time my monitors have been great. There have been times that were out of my control where things didn’t go so well. One time really sticks out. Back in 2001 ‘NSYNC played Rock in Rio, a huge music festival in Brazil. The night we played, there were over 280,000 people in attendance. There were several bands that played that day. When we did our sound check in the afternoon, the monitor engineer (who worked for the festival) assured us that all of our mixes were saved in the board, and it would simply re-call our settings for the evening’s performance. I’m sure you can see where this going. When we get on stage and start the show, a few people in the band, myself included, had this panicked look on our faces. Our mixes were completely wrong! My mix was nothing like it was at sound check. My mix had no drums at all, lots of vocals and keyboards, and the click was buried in the mix to the point I could barely hear it. This is a potential nightmare on stage. While everyone was frantically trying to get the attention of the monitor guy to attempt to fix their mix, I told my drum tech to have him (monitor engineer) mute everything but the click-track in my ears. I felt it was the best way to get through the show. At that point it was better to hear nothing than to hear a horrible mix. I just didn’t have the time to wait for my mix to get dialed in while 280,000 people were watching the show! Thank goodness that I had the show memorized and thankfully we weren’t playing jazz or doing any improvising, so I was able to pull it off. I’m happy to say that modern technology has helped to fix the problem of bad monitor mixes. Today, when I go on tour with John Lodge or Alan Hewitt & One Nation, our FOH (front of house) sound guy has set up a wonderful system for our in-ear monitors. He has a hidden wi-finetwork that we can access. We open an app and each of our individual mixes are there for us to control. Genius!!! I cannot tell you how awesome this is. We go from venue to venue and my monitor mix is spot-on every night. We’ve done shows with other bands, as well as cruises that have multiple acts sharing the same stage, and our monitor mixes are always great! Another issue that’s not exclusive to touring is stage volume. This was something that I never really thought I’d have to deal with while touring. However, sometimes the venue or stage might be small, or the acoustics of the room might be a challenge for the FOH mix. For whatever reason, there are times when I have to use plexiglass to help control the drums leaking into the PA. One particular story comes to my mind. It was my first show with Pat Benatar, and we were starting our sound check. We got about halfway through the first song when the road manager came running up to the stage yelling that they can’t get Pat’s vocals “right” in the PA due to my snare drum bleeding through her vocal mic. He looked at me and told me to play softer. He no more than finished his sentence when Pat spoke right up and said “No! Go get the plexiglass.” She looked back at me and said, “Don’t change how you’re playing one bit,” and she gave me a smile. That was a huge relief! There’s nothing more challenging than having to play energetic music while trying to play softly. But hey, sometimes we need to do exactly that! Recently while I was out with John Lodge, we played some smaller venues where I needed the plexiglass to help control my volume coming off the stage. The problem was that even with the plexiglass, my snare and cymbals would still bleed through John’s vocal mic and cause a problem with the mix out front. In this scenario I have no choice. The audience paid money to come see a John Lodge show, not a Billy Ashbaugh show. Having my drums louder than John in the mix wasn’t an option. I had to lighten up on my touch while still trying to keep the energy up for the show. The same thing happened a few years back in 2017. The Moody Blues were doing a big show in Toronto with a full orchestra. We were recording the classic Moody album The Days of Future Passed for a live DVD. After a few run throughs at sound check, Justin Hayward pulled me aside and explained that they were having trouble with my drums bleeding through the mics on the orchestra. Again, my drums being louder than the orchestra wasn’t an option. Even though I did have plexiglass, I had to adjust my playing while attempting to not lose the energy of the show. As frustrating as this can be, I look at it as a challenge and roll with it instead of complaining about the situation. After all, that’s my job. In closing, I’d like to share a couple of the things I miss the most when I’m not out on tour. The first is the energy of a show day. There’s something very cool about my mindset on these days. On the road, you don’t have the “typical” daily grind, (mowing the yard, running errands, or any daily responsibilities.) That makes it easy to wake up and focus all of that day’s energy on performing well at the show. On the road, the entire day pivots around that night’s show. Making sure you’re well rested and eating right that day is very important. You make sure to “conserve your energy” for that evening’s show. Likewise, there’s a certain “chill” mode you tend to wake up with on a day off or on a travel day. The other thing I look forward to on show days is coming off stage after a good show. That feeling of gearing up the entire day and then walking off stage knowing “you left it all on stage” is the absolute best to me. I’m convinced that’s why I still do it!! To view some of Billy’s playing take a look at the following links: ‘NSYNC https://www.billyashbaughdrums.com/nsync Pat Benatar https://www.billyashbaughdrums.com/pat-benatar The Moody Blues https://www.billyashbaughdrums.com/moody-blues John Lodge https://www.billyashbaughdrums.com/john-lodge Alan Hewitt & One Nation https://www.billyashbaughdrums.com/alan-hewitt-one-nationSince 1977, Modern Drummer has been the world’s foremost community builder and a cutting-edge influence on all things related to drums & drumming. A place where young drummers find and follow their drum heroes, gear manufacturers, educators & retailers while actively participating in the drumming community to share their knowledge. To grace the pages of Modern Drummer Magazine is a coveted achievement that even the most iconic musicians hold in highest regard. Modern Drummer is the heartbeat and center of the drumming community. Now Modern Drummer is expanding our community for drummers, fans, beat- makers, music creators, NFT collectors, and yes, even gamers! It's called the Modern Drummer Club (MDC) and begins with our Discord at https://discord.gg/drums. The MDC Discord channel is a place to talk drums, learn & collaborate with others, share ideas, and provide musical feedback. The club represents Modern Drummer's foray into Web3 with a membership token that enables members to participate and be privy to the latest Modern Drummer NFT drops, contests, games, meet & greets, and rare live drum experiences. To learn more and join the conversation, join the Discord and follow us on Twitter at https://twitter.com/drumsnftModern Drummer June 2022 64 “How To Get What You Want” Breakdown By: Elise Trouw W e were in the studio one day trying to get different drum sounds and I was playing this minimalistic beat to hear what was going on in the recording. When we were listening back to it, I said, ‘We should build a song around this.’ The basis of what I’m doing in the verses is a few variations here and there. The pre chorus section opens up with a four on the floor kind of feel. There is a little fill that goes into the chorus, and the end of the fill actually starts the groove of the chorus. It’s a pretty simple pattern, but what I think really brings it to life are the dynamics. The kick drum is doing a basic rock pattern, really emphasizing the downbeats and the pickup note is a little softer, so it’s kind of propelling it forward. On the snare, I’m doing a little ghost note before the backbeat and then at the end of the bar/phrase I’m doing a double snare hit, which is taking the place of the last kick. The dynamics feed off each other. When you put the floor tom in, I’m kind of matching the dynamics of the snare with the floor tom so when they are being played together my hands are naturally doing the pickup note and backbeat together. When I play this song live, I’m also singing it, so when I’m practicing it, I spend a lot of time getting these grooves down so that they are second nature. When you are playing a syncopated groove like the one on the verse it can be difficult to sing a different rhythm over that. Even if you’re not singing, I think it’s important to have rhythms be very second nature so that when you’re playing them in a group, or anytime, they really come out in a natural way. mf 10 mp 14 4 4/ Intro Verse 43 > / >>>> / >>> Pre-Chorus ÓŒ‰ œœ œ œ œ œ œœ œ œ œ œ Œ‰ œ j œ œ œ œ œœ œœ œ œ Œ‰ œœ œ œ œ œ œœ œ œ œ œ Œ‰ œ j œ œ œ œ œœ œœ œ œ Œ‰ œœ œœœœ Courtesy Drum ChanelJune 2022 Modern Drummer 65 18 f play toms softly with snare 22 26 30 34 38 / / > Chorus >>>>> / > >> o >>> >> o >> / > >> o >> >> >> o >> / > >> o >>> >> o >> / > >> o >>> >>> >> œœœ œ œœœœœœœœ œ œœœœœ œœœ œ œœœœœœ œœœœœ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ œ œ œ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œœœ ¿ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ mf 42 46 49 / >>>>> Verse >>> > / >>> / >>> > ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œœœ œœ œ œ œœ œ œ œ œ œ œœ œ œœ œ œ œœ œ œœ œ œ Œ‰ œœ œ œ œ œœ œ œœ œ œ œœ œ œœ œ œ œœœœœ œ œœ 2Modern Drummer June 2022 66 mp 52 56 f 60 64 68 72 76 / Pre-Chorus / > >>> / Chorus >>> >> o >>> >> o / >>> >> o >> >> >> o / >>> >> o >>> >> o / >>> >> o >>>>>> / Outro >>>>>>>>>> œ œ œœœœœœ œ œœœœœœœœ œ œ œœœœœœœ œ œœœœœœ œœœœœ ¿ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ œ œ œ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œœ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œœœ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œœœ œ 80 84 88 92 / >>>>>> >> >> o / Fades >>>>>>>>> / >>>>>> >> >> o / >>>> > ∑ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œœ œ œ œ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œœ œ œ œ ¿ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ ¿ œ œœ œ ¿ œ œ œ œ œ œ ŒÓ 3Next >