782:
694:
1025:
22:
720:
812:
746:
172:
901:
508:
361:
614:
587:
544:
432:
962:
856:
397:
1489:
1359:
786:
888:(CT) are two successive nonharmonic tones. A chord tone steps to a nonchord tone which skips to another nonchord tone which leads by step to a chord tone, often the same chord tone. They may imply neighboring tones with a missing or implied note in the middle. Also called
221:
are pitches that sound along with a chord but are not chord pitches." For example, if an excerpt from a piece of music implies or uses a C-major chord, then the notes C, E and G are members of that chord, while any other note played at that time (e.g., notes such as
787:
148:
played with a C chord would be considered a chord tone if the chord were analyzed as C. In
European classical music, "he greater use of dissonance from period to period as a result of the dialectic of linear/vertical forces led to gradual normalization of
449:
In practice and analysis, neighboring tones are sometimes differentiated depending upon whether or not they are lower or higher than the chord tones surrounding them. A neighboring tone that is a step higher than the surrounding chord tones is called an
661:) occurs when the harmony shifts from one chord to another, but one or more notes of the first chord (the preparation) are either temporarily held over into or are played again against the second chord (against which they are nonchord tones called the
538:
is a nonchord tone prepared by a chord tone a step above or below it and resolved by continuing in the same direction stepwise to the next chord tone (which is either part of the same chord or of the next chord in the harmonic progression).
680:
and (2) the interval between the resolution and the bass note. The most common suspensions are 4–3 suspension, 7–6 suspension, or 9–8 suspension. Note that except for the 9–8 suspensions, the numbers are typically referred to using the
355:
and then remains the same. It is basically a note of the second chord played early. In the example below, the dissonant B in bar 1 is approached by step and resolves when that same pitch becomes a chord tone in bar 2.
133:
Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a
333:
and are thus either accented or unaccented nonchord tones. They are also distinguished by their direction of approach and departure and the voice or voices in which they occur and the number of notes they contain.
639:
Endeavor, moreover, to introduce suspensions now in this voice, now in that, for it is incredible how much grace the melody acquires by this means. And every note which has a special function is rendered audible
785:
427:(AUX) is a nonchord tone that passes stepwise from a chord tone directly above or below it (which frequently causes the NT to create dissonance with the chord) and resolves to the same chord tone:
503:
is a particular type of unaccented incomplete neighbor tone that is approached stepwise from a chord tone and resolved by a skip in the opposite direction back to the harmony.
807:(APP) is a type of accented incomplete neighbor tone approached skip-wise from one chord tone and resolved stepwise to another chord tone ("overshooting" the chord tone).
788:
689:. If the bass note is suspended, then the interval is calculated between the bass and the part that is most dissonant with it, often resulting in a 2–3 suspension.
1391:
1191:
209:
Chord and nonchord tones are defined by their membership (or lack of membership) in a chord: "The pitches which make up a chord are called
945:, which is held through a series of chord changes. The pedal point is almost always in the lowest voice (the term originates from
1384:
1028:
965:
400:
329:
Nonchord tones are categorized by how they are used. The most important distinction is whether they occur on a strong or weak
175:
1204:
1162:
1140:
1108:
685:, so for instance, if the intervals are actually an 11th and a 10th (the first example below), one would typically call it a
255:
to a chord tone in conventional ways. If the note fails to resolve until the next change of harmony, it may instead create a
609:
A neighbour tone is where there is a step up or down from a note (or chord tone) and then move back to the original note.
904:
859:
815:
749:
723:
697:
617:
590:
547:
511:
435:
364:
171:
25:
1377:
711:
Suspensions must resolve downwards. If a tied note is prepared like a suspension but resolves upwards, it is called a
1289:
271:. Augmented and diminished intervals are also considered dissonant, and all nonharmonic tones are measured from the
1363:
1090:, vol. 66, no. 1, (September 1979), pp. 69–73. Published by: MENC: The National Association for Music Education.
1024:
1333:
1101:
Mel Bay
Creative Keyboard's Deluxe Encyclopedia of Piano Chords: A Complete Study of Chords and How to Use Them
278:
Nonharmonic tones generally occur in a pattern of three pitches, of which the nonharmonic tone is the center:
1613:
837:
notes are bass notes that are not a member of the chord below which they are written. Examples include the
772:
1186:
900:
855:
811:
781:
745:
719:
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613:
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543:
507:
431:
360:
21:
1031:
968:
403:
178:
1400:
665:) before resolving downwards to a chord tone by step (the resolution). The whole process is called a
311:
244:
487:
is a somewhat broader category, including all nonchord tones approached from the main note by step.
161:; each additional non-chord tone above the foundational triad became frozen into the chordal mass."
1608:
1587:
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1086:
907:
862:
818:
752:
726:
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620:
593:
550:
514:
438:
367:
28:
989:
100:
1053:
1012:. The example below shows chromatic nonharmonic tones (in red) in the first four measures of
1196:
1013:
8:
1466:
303:
197:
135:
43:
1471:
961:
847:
396:
319:
263:. While theoretically in a three-note chord, there are nine possible nonchord tones in
252:
201:
1264:
Lawrence Kramer. "Fin-de-siècle
Fantasies: Elektra, Degeneration and Sexual Science",
1339:
1329:
1285:
1200:
1158:
1136:
1104:
1017:
768:
645:
467:
275:, or lowest note sounding in the chord except in the case of nonharmonic bass tones.
264:
96:
458:
while a neighboring tone that is a step lower than the surrounding chord tones is a
1436:
1421:
1411:
1277:
1048:
953:. It may also be between the upper and lower voices, in which case it is called an
942:
673:
472:
248:
158:
842:
682:
104:
1518:
1456:
1009:
884:
260:
154:
1602:
1574:
1569:
1523:
1431:
1321:
1182:
946:
938:
838:
256:
112:
84:
1369:
1343:
1559:
1554:
1441:
803:
764:
352:
330:
233:
127:
72:
1533:
1528:
1513:
1508:
1461:
993:
925:
268:
150:
47:
1221:
476:, some authors reserve the term "neighbor note" to the lower neighbor a
126:
depending on whether the dissonance occurs on an accented or unaccented
1416:
1084:"Debussy and the Crisis of Tonality", p. 72. Author(s): Roland Nadeau.
738:
380:
139:
92:
99:
chord. Non-chord tones are most often discussed in the context of the
677:
477:
389:
272:
229:
949:
playing), but it may be in an upper voice; then it may be called an
1451:
997:
108:
39:
1564:
1426:
88:
741:
or double eighth notes, the second being a lower neighbor tone.
1538:
1503:
1358:
672:
Suspensions may be further described with two numbers: (1) the
189:
841:. An example of a nonharmonic bass from the third movement of
582:
A tone that sits between two chord tones and is between them.
76:
561:
Where two nonchord tones are before the resolution they are
267:, in practice nonchord tones are usually in the prevailing
217:." They are also defined by the time at which they sound: "
80:
1246:
1066:
1030:
Audio playback is not supported in your browser. You can
967:
Audio playback is not supported in your browser. You can
906:
Audio playback is not supported in your browser. You can
861:
Audio playback is not supported in your browser. You can
817:
Audio playback is not supported in your browser. You can
763:
A chain of suspensions constitutes the fourth species of
751:
Audio playback is not supported in your browser. You can
725:
Audio playback is not supported in your browser. You can
699:
Audio playback is not supported in your browser. You can
619:
Audio playback is not supported in your browser. You can
592:
Audio playback is not supported in your browser. You can
549:
Audio playback is not supported in your browser. You can
513:
Audio playback is not supported in your browser. You can
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Audio playback is not supported in your browser. You can
402:
Audio playback is not supported in your browser. You can
366:
Audio playback is not supported in your browser. You can
177:
Audio playback is not supported in your browser. You can
107:, but they can be used in the analysis of other types of
27:
Audio playback is not supported in your browser. You can
715:. Common retardations include 2–3 and 7–8 retardations.
1157:. Vol. II (8th ed.). McGraw-Hill. p. 8.
251:
of a second, fourth or seventh", which are required to
46:: two passing tones (p), one neighbor tone (n), and a
1127:
1125:
1123:
1121:
1119:
1117:
228:) is a nonchord tone. Such tones are most obvious in
767:; an example may be found in the second movement of
1114:
873:
1181:Drabkin, William (2001). "Non-harmonic note". In
1600:
737:Decorated suspensions are common and consist of
1192:The New Grove Dictionary of Music and Musicians
1153:Benward, Bruce; Saker, Marilyn Nadine (2009).
1399:
1385:
1300:
1298:
979:
631:
351:(ANT) occurs when this note is approached by
83:that is not part of the implied or expressed
1304:
1152:
200:, suspension (a type of nonchord tone), and
1320:
1252:
1072:
572:
1392:
1378:
1295:
1268:, vol. 5, no. 2. (July 1993), pp. 141–165.
669:as well as the specific nonchord tone(s).
232:music but occur at least as frequently in
384:is the late Renaissance precursor to the
118:Nonchord tones are often categorized as
1282:The Apollonian Clockwork: On Stravinsky
1180:
1176:
1174:
1601:
1237:
1373:
1328:(5th ed.). Boston: McGraw-Hill.
1000:motion. The use of which, especially
1171:
923:Another form of nonchord tone is a
829:
676:between the suspended note and the
13:
1135:, Vol. I, p. 92. Seventh Edition.
657:(SUS) (sometimes referred to as a
604:
14:
1625:
1351:
1280:& Schönberger, Elmer (2006).
878:
577:
385:
1487:
1357:
783:
414:
95:is a note that is a part of the
1271:
1258:
874:Involving more than three notes
796:
525:
342:
213:: any other pitches are called
44:"Reaper's Song", Op. 68, No. 18
1284:. Amsterdam University Press.
1228:
1214:
1146:
1093:
1078:
988:is a nonharmonic tone that is
918:
490:
388:, though today it refers to a
1:
1133:Music: In Theory and Practice
1059:
337:
241:Music in Theory and Practice,
1155:Music in Theory and Practice
1131:Benward & Saker (2003).
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243:"Most nonharmonic tones are
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138:. For example, in 1940s-era
24:
7:
1042:
10:
1630:
1305:Benward & Saker (2009)
986:chromatic nonharmonic tone
980:Chromatic nonharmonic tone
632:Suspension and retardation
124:unaccented non-chord tones
91:framework. In contrast, a
1588:List of musical intervals
1583:
1547:
1496:
1485:
1407:
1401:Consonance and dissonance
1324:; Payne, Dorothy (2004).
1073:Kostka & Payne (2004)
196:, mm. 23–24, showing the
164:
111:as well, such as Western
1195:(2nd ed.). London:
890:double neighboring tones
573:Accented non-chord tones
120:accented non-chord tones
1266:Cambridge Opera Journal
1253:Kostka & Payne 2004
1087:Music Educators Journal
1032:download the audio file
1006:chromatic passing tones
1002:chromatic appoggiaturas
969:download the audio file
908:download the audio file
863:download the audio file
819:download the audio file
753:download the audio file
727:download the audio file
701:download the audio file
621:download the audio file
594:download the audio file
551:download the audio file
515:download the audio file
439:download the audio file
404:download the audio file
368:download the audio file
194:Beatus vir in sapientia
179:download the audio file
29:download the audio file
1018:Prelude No. 21, op. 28
651:
460:lower neighboring tone
452:upper neighboring tone
101:common practice period
1234:Forte (1979), p. 304.
1099:Kroepel, Bob (1993).
1054:Non-harmonic arpeggio
637:
480:below the main note.
466:. However, following
130:(or part of a beat).
1366:at Wikimedia Commons
1243:Jonas (1982), p. 96.
1197:Macmillan Publishers
1111:. Emphasis original.
992:, or outside of the
937:, almost always the
567:double passing notes
563:double passing tones
464:lower auxiliary note
456:upper auxiliary note
188:A 2-3 suspension in
16:Type of musical note
1614:Musical terminology
1222:"Nonharmonic Tones"
1008:, increased in the
136:minor seventh chord
1307:, pp. 217–218
848:Symphony of Psalms
774:Christmas Concerto
234:contrapuntal music
38:Nonchord tones in
1596:
1595:
1362:Media related to
1278:Andriessen, Louis
1206:978-1-56159-239-5
1164:978-0-07-310188-0
1141:978-0-07-294262-0
1109:978-0-87166-579-9
1036:
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823:
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769:Arcangelo Corelli
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731:
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646:Johann Joseph Fux
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468:Heinrich Schenker
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408:
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265:equal temperament
219:Nonharmonic tones
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159:thirteenth chords
69:embellishing tone
33:
1621:
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835:Nonharmonic bass
830:Nonharmonic bass
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683:simple intervals
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483:The German term
473:Free Composition
283:
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65:nonharmonic tone
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1098:
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1071:
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1037:
1035:
1014:Frédéric Chopin
1010:Romantic Period
982:
975:
974:
972:
921:
914:
913:
911:
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876:
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799:
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733:
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707:
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215:non-chord-tones
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143:
105:classical music
87:set out by the
53:
52:
51:
36:
35:
34:
32:
17:
12:
11:
5:
1627:
1617:
1616:
1611:
1609:Nonchord tones
1594:
1593:
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1584:
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1562:
1557:
1551:
1549:
1545:
1544:
1542:
1541:
1536:
1531:
1526:
1521:
1519:Perfect fourth
1516:
1511:
1506:
1500:
1498:
1494:
1493:
1486:
1484:
1482:
1481:
1476:
1475:
1474:
1469:
1464:
1459:
1457:Changing tones
1454:
1444:
1439:
1434:
1429:
1424:
1419:
1414:
1408:
1405:
1404:
1397:
1396:
1389:
1382:
1374:
1368:
1367:
1364:Nonchord tones
1353:
1352:External links
1350:
1349:
1348:
1334:
1322:Kostka, Stefan
1310:
1309:
1294:
1270:
1257:
1255:, p. 172.
1245:
1236:
1227:
1213:
1205:
1183:Sadie, Stanley
1170:
1163:
1145:
1113:
1092:
1077:
1075:, p. 189.
1064:
1063:
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1040:
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955:internal pedal
951:inverted pedal
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894:neighbor group
885:Changing tones
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879:Changing tones
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724:
721:
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687:4–3 suspension
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261:extended chord
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75:in a piece of
37:
26:
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18:
15:
9:
6:
4:
3:
2:
1626:
1615:
1612:
1610:
1607:
1606:
1604:
1589:
1586:
1585:
1582:
1576:
1575:Major seventh
1573:
1571:
1570:Minor seventh
1568:
1566:
1563:
1561:
1558:
1556:
1553:
1552:
1550:
1546:
1540:
1537:
1535:
1532:
1530:
1527:
1525:
1524:Perfect fifth
1522:
1520:
1517:
1515:
1512:
1510:
1507:
1505:
1502:
1501:
1499:
1495:
1480:
1477:
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1470:
1468:
1465:
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1447:Nonchord tone
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1440:
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1360:
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1355:
1345:
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1337:
1331:
1327:
1326:Tonal Harmony
1323:
1319:
1318:
1317:
1316:
1306:
1301:
1299:
1291:
1290:9789053568569
1287:
1283:
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1188:
1187:Tyrrell, John
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1177:
1175:
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1156:
1149:
1142:
1138:
1134:
1128:
1126:
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1122:
1120:
1118:
1110:
1106:
1102:
1096:
1089:
1088:
1081:
1074:
1069:
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1055:
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1033:
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1021:
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839:Elektra chord
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605:Neighbor tone
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421:neighbor tone
415:Neighbor tone
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391:
387:
383:
382:
369:
359:
358:
357:
354:
350:
335:
332:
321:
318:
315:
313:
310:
307:
305:
302:
301:
297:
294:
292:Nonchord tone
291:
288:
285:
284:
281:
280:
279:
276:
274:
270:
266:
262:
258:
257:seventh chord
254:
250:
246:
242:
239:According to
237:
235:
231:
220:
216:
212:
203:
199:
195:
191:
180:
162:
160:
156:
152:
141:
137:
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125:
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114:
113:popular music
110:
106:
102:
98:
94:
90:
86:
82:
78:
74:
70:
66:
62:
58:
57:nonchord tone
49:
45:
41:
30:
1560:Major second
1555:Minor second
1446:
1442:Musical note
1325:
1314:
1313:
1281:
1273:
1265:
1260:
1248:
1239:
1230:
1216:
1190:
1154:
1148:
1132:
1100:
1095:
1085:
1080:
1068:
1005:
1001:
996:and creates
985:
983:
954:
950:
934:
930:
924:
922:
893:
889:
883:
882:
846:
834:
833:
804:appoggiatura
802:
800:
797:Appoggiatura
773:
765:counterpoint
762:
736:
712:
710:
686:
671:
666:
662:
658:
654:
652:
638:
635:
608:
581:
578:Passing tone
566:
562:
560:
536:passing note
535:
532:passing tone
531:
529:
526:Passing tone
500:
496:
494:
484:
482:
471:
470:'s usage in
463:
459:
455:
451:
448:
424:
420:
418:
386:anticipation
379:
377:
349:anticipation
348:
346:
343:Anticipation
328:
277:
240:
238:
218:
214:
210:
208:
193:
132:
123:
119:
117:
68:
64:
60:
56:
54:
1548:Dissonances
1534:Major sixth
1529:Minor sixth
1514:Major third
1509:Minor third
1497:Consonances
1467:Preparation
1462:Pedal point
926:pedal point
919:Pedal point
739:portamentos
713:retardation
497:escape tone
491:Escape tone
304:Preparation
298:Chord tone
247:and create
211:chord-tones
198:preparation
109:tonal music
48:pedal point
1603:Categories
1472:Resolution
1417:Avoid note
1335:0072852607
1060:References
931:pedal tone
843:Stravinsky
667:suspension
663:suspension
655:suspension
381:portamento
338:Unaccented
320:Resolution
312:Dissonance
286:Chord tone
230:homophonic
202:resolution
140:bebop jazz
97:functional
93:chord tone
998:half-step
990:chromatic
678:bass note
485:Nebennote
478:half step
390:glissando
273:bass note
249:intervals
245:dissonant
1452:Cambiata
1437:Interval
1412:Argument
1344:51613969
1189:(eds.).
1103:, p. 8.
1049:Ornament
1043:See also
943:dominant
933:(PD) or
674:interval
643:—
640:thereby.
534:(PT) or
501:echappée
499:(ET) or
423:(NT) or
225:♯
155:eleventh
145:♯
89:harmonic
40:Schumann
1565:Tritone
1479:Spectra
1427:Cadence
1422:Beating
1315:Sources
659:syncope
253:resolve
1539:Octave
1504:Unison
1342:
1332:
1288:
1203:
1161:
1139:
1107:
648:(1725)
454:or an
190:Lassus
165:Theory
157:, and
142:, an F
50:(ped).
1432:Chord
947:organ
939:tonic
151:ninth
85:chord
77:music
71:is a
67:, or
1340:OCLC
1330:ISBN
1286:ISBN
1201:ISBN
1159:ISBN
1137:ISBN
1105:ISBN
1004:and
935:note
353:step
331:beat
128:beat
122:and
81:song
73:note
1016:'s
994:key
941:or
929:or
892:or
845:'s
801:An
771:'s
565:or
495:An
462:or
347:An
269:key
259:or
192:'s
103:of
79:or
63:),
61:NCT
42:'s
1605::
1338:.
1297:^
1199:.
1185:;
1173:^
1116:^
1020:.
984:A
957:.
896:.
851:.
777:.
653:A
569:.
530:A
419:A
392:.
378:A
236:.
153:,
115:.
55:A
1393:e
1386:t
1379:v
1346:.
1292:.
1224:.
1211:
1209:.
1167:.
1143:.
1034:.
971:.
910:.
865:.
821:.
755:.
729:.
703:.
623:.
596:.
553:.
517:.
441:.
406:.
370:.
316:–
308:–
295:–
289:–
222:F
204:.
181:.
59:(
31:.
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