


                             - 70 -





                  6.  SCOT:  A Score Translator





     Scot is a language for describing scores in a  fashion  that
parallels traditional music notation.  Scot is also the name of a
program which translates scores written  in  this  language  into
standard  numeric score format so that the score can be performed
by Csound.  The result of this translation is placed  in  a  file
called  score.  A score file written in Scot (named file.sc, say)
can be sent through the translator by the command
      scot file.sc
The resulting numeric score can  then  be  examined  for  errors,
edited, or performed by typing
      csound file.orc score
Alternatively, the command
      csound file.orc -S file.sc
would combine both processes by informing Csound of  the  initial
score format.

     Internally, a Scot score has at least three parts:   a  sec-
tion  to  define instrument names, a section to define functions,
and one or more actual score sections.  It is generally advisable
to  keep  your score sections short to facilitate finding errors.
The overall layout of a Scot score has three main sections:
      orchestra { .... }
      functions { .... }
      score { .... }
The last two sections may be repeated as many times  as  desired.
The  functions  section  is  also optional.  Throughout this Scot
document, bear in mind that you are free  to  break  up  each  of
these  divisions  into  as  many  lines as seem convenient, or to
place a carriage return anywhere you  are  allowed  to  insert  a
space,  including  before and after the curly brackets.  Further-
more, you may use as many spaces or tabs as you need to make  the
score  easy  to  read.   Scot  imposes no formatting restrictions
except that numbers, instrument names, and keywords (for example,
orchestra  )  may not be broken with spaces.  You may insert com-
ments (such as measure numbers) anywhere in the score by  preced-
ing them with a semicolon.  A semicolon causes Scot to ignore the
rest of a line.

Orchestra Declaration Section

     The orchestra section of a Scot score  serves  to  designate
instrument  names  for use within the score.  This is a matter of
convenience,  since  an  orchestra  knows  instruments  only   by
numbers, not names.  If you declare three instruments, such as:
      orchestra { flute=1 cello=2 trumpet=3 }
Csound will neither know nor care what you have  named  the  note


                        February 20, 1991





                             - 71 -


lists.  However, when you use the name $flute, Scot will know you
are referring to  instr 1 in the orchestra, $cello will refer  to
instr 2, and $trumpet will be instr 3.  You may meaningfully skip
numbers or give several instruments the same number.  It is up to
you  to make sure that your orchestra has the correct instruments
and that the association between these names and the  instruments
is  what  you  intend.  There is no limit (or a very high one, at
least) as to how many instruments you can declare.

Function Declaration Section

     The major purpose of  this  division  is  to  allow  you  to
declare  function  tables  for  waveforms, envelopes, etc.  These
functions are declared exactly as specified for Csound.  In fact,
everything  you type between the brackets in this section will be
passed directly to the resulting numeric score with no  modifica-
tion,  so  that  mistakes will not be caught by the Scot program,
but rather by the subsequent performance.  You can use this  sec-
tion  to write notes for instruments for which traditional pitch-
rhythm notation is inappropriate.  The most common example  would
be  turning  on  a  reverb instrument.  Instruments referenced in
this way need not appear in the Scot orchestra declaration.  Here
is a possible function declaration:
      functions {
      f1 0 256 10 1 0 .5 0 .3
      f2 0 256 7 0 64 1 64 .7 64 0
      i9 0 -1 3               ; this turns on instr 9
      }

Score Section

     The Scot statements contained  inside  the  braces  of  each
score  statement  is  translated  into  a  numeric  score Section
(q.v.).  It is wise to keep score sections small,  say  seven  or
eight measures of five voices at a time.  This avoids overloading
the system, and simplifies error checking.

     The beginning of the score section is specified by typing:
      score {
Everything which follows this until  the  braces  are  closed  is
within  a single section.  Within this section you write measures
of notes in traditional pitch and rhythm notation for any of  the
instrument  names  listed  in  your  orchestra declaration. These
notes may carry additional information such as  slurs,  ties  and
parameter  fields.   Let  us  now  consider  the format for notes
entered in a Scot score.

     The first thing to do is name the instrument  you  want  and
the  desired  meter.  For example, to write some 4/4 measures for
the cello, type:
      $cello
      !ti "4/4"
The dollar sign and exclamation point tell Scot  that  a  special
declarator  follows.  The  time signature declarator is optional;
if present, Scot will check the number of beats in  each  measure


                        February 20, 1991





                             - 72 -


for you.

Pitch and Rhythm

     The two basic components of a note statement are  the  pitch
and duration.  Pitch is specified using the alphabetic note name,
and duration is specified using numeric characters.  Duration  is
indicated  at  the beginning of the note as a number representing
the division of a whole beat.  You may  always  find  the  number
specifying  a  given  duration by thinking of how many times that
duration would fit in a 4/4 measure.  Also, if  the  duration  is
followed  by  a  dot  (`.') it is increased by 50%, exactly as in
traditional notation.  Some sample durations are listed below:
      whole note        1
      half note               2
      double dotted quarter   4..
      dotted quarter note     4.
      quarter note            4
      half note triplet       6
      eighth note             8
      eighth note triplet     12
      sixteenth note          16
      thirty-second note      32

     Pitch is indicated next by first (optionally) specifying the
register  and  then  the  note name, followed by an accidental if
desired.  Normally, the "octave following" feature is in  effect.
This  feature causes any note named to lie within the interval of
an augmented fourth of the previous note, unless a  new  register
is  chosen.   The  first  note  you write will always be within a
fourth of middle c unless you choose a different register.

     For example, if the first note  of  an  instrument  part  is
notated  g flat, the scot program assigns the pitch corresponding
to the g flat below middle c.  On the other hand,  if  the  first
note  is  f  sharp,  the pitch assigned will be the f sharp above
middle c.  Changes of register are indicated by a preceding apos-
trophe  for  each octave displacement upward or a preceding comma
for each octave displacement downward.   Commas  and  apostrophes
always displace the pitch by the desired number of octaves start-
ing from that note which is within an  augmented  fourth  of  the
previous pitch.

     If you ever get lost, prefacing the pitch specification with
an  `=' returns the reference to middle c.  It is usually wise to
use the equals sign in your first note statement and whenever you
feel  uncertain  as  to what the current registration is.  Let us
now write two measures for the cello part, the first starting  in
the  octave  below middle c and the second repeating but starting
in the octave above middle c:
      $cello
      !ti "4/4"
      4=g 4e 4d 4c/ 4='g 4e 4d 4c
As you can see, a slash indicates  a  new  measure  and  we  have
chosen to use the dummy middle c to indicate the new register.  A


                        February 20, 1991





                             - 73 -


more convenient way of notating these two measures  would  be  to
type the following:
      $cello
      !ti "4/4"
      4=g e d c/ ''g e d c
You may observe in this example that the  quarter  note  duration
carries  to  the following notes when the following durations are
left unspecified.  Also, two apostrophes indicate an upward pitch
displacement  of  two  octaves from two g's below middle c, where
the pitch would have fallen  without  any  modification.   It  is
important   to  remember  three  things,  then,  when  specifying
pitches:
      1)  Note pitches specified by letter name only (with or without
          accidental) will always fall within an interval of a fourth
          from the preceding pitch.

      2)  These pitches can be octave displaced upward or downward
          by preceding the note letter with the desired number of
          apostrophes or commas.

      3)  If you are unsure of the current register, you may begin
          the pitch component of the note with an equals sign which
          acts as a dummy middle c.

     The pitch may be modified by an accidental  after  the  note
name:
      n                 natural
      #                 sharp
      -  (hyphen)       flat
      ##                double sharp
      -- (double hyphen)      double flat
Accidentals are carried throughout the measure just as in  tradi-
tional music notation.  However, an accidental specified within a
measure will hold for that note in  all  registers,  in  contrast
with  traditional  notation.   Therefore,  make sure to specify n
when you no longer want an  accidental  applied  to  that  pitch-
class.

     Pitches entered in the Scot score are  translated  into  the
appropriate  octave point pitch-class value and appear as parame-
ter p5 in the numeric score output.  This means you  must  design
your instruments to accept p5 as pitch.

     Rests are notated just like notes but  using  the  letter  r
instead  of  a pitch name.  4r therefore indicates a quarter rest
and 1r a whole rest.  Durations carry from rest  to  rest  or  to
following pitches as mentioned above.

     The tempo in beats per minute is specified in  each  section
by  choosing  a single instrument part and using tempo statements
(e.g. t90) at the various points in the score as needed.  A quar-
ter  note is interpreted as a single beat, and tempi are interpo-
lated between the intervening beats (see score t statement).




                        February 20, 1991





                             - 74 -


Scot Example I












                      ; A BASIC Tune
                      orchestra       { guitar=1 bass=2 }
                      functions  {
                      f1 0 512 10 1 .5 .25 .126
                      f2 0 256  7 1 120 1 8 0 128 1
                      }
                      score   {  ;section 1
                      $guitar
                      !ti "4/4"
                      4=c 8d e- f r 4='c/
                      8.b- 16a a- g  g- f  4e- c/
                      $bass
                      2=,,c 'a-/
                      g  =,c/
                      }
                      score   {  ;section 2
                      $guitar
                      !ti "4/4"
                      6='c r c 4..c## 16e- /
                      6f r f 4..f## 16b /
                      $bass
                      4=,,c 'g ,c 'g/
                      2=a-  g /
                      }

     The score resulting from this Scot notation is shown at  the
end of this chapter.

Groupettes

     Duration numbers can have any integral value; for instance,
      !time "4/4"
      5cdefg/
would encode a measure of 5 in the time of 4 quarter notes.  How-
ever,  specification  of arbitrary rhythmic groupings in this way
is at best awkward.  Instead, arbitrary  portions  of  the  score
section  may be enclosed in groupette brackets.  The durations of
all notes inside groupette brackets will be multiplied by a frac-
tion  n/d,  where  the  musical  meaning  is  d in the time of n.
Assuming d and n here are integers, groupette brackets  may  take
these several forms:
      {d:n: ..... :}     d in the time of n


                        February 20, 1991





                             - 75 -


      {d::  ..... :}     n will be the largest power of 2 less than d
      {:    ..... :}     d=3, n=2 (normal triplets)
It can be seen that the second and third form  are  abbreviations
for  the  more common kinds of groupettes.  (Observe the punctua-
tion of each form carefully.)  Groupettes may be nested to a rea-
sonable  depth.   Also,  groupette  factors  apply only after the
written duration is carried from note to note.  Thus, the follow-
ing  example  is  a correct specification for two measures of 6/8
time:
      !time "6/8" 8cde {4:3: fgab :} / crc 4.c /
The notes inside the groupette are 4 in the space of 3 8th notes,
and  the written-8th-note duration carries normally into the next
measure.  This closely parallels the way groupette  brackets  and
note durations interact in standard notation.

Slurs and Ties

     Now that you understand part writing in the  Scot  language,
we  can  start  discussing  more elaborate features.  Immediately
following the pitch specification of each note, one may  indicate
a  slur  or a tie into the next note (assuming there is one), but
not both simultaneously.  The slur is typed as  a  single  under-
score (`') and a tie as a double underscore (`').  Despite the
surface similarity, there is  a  substantial  difference  in  the
effect of these modifiers.

     For purposes of Scot, tied notes are notes  which,  although
comprised  of  several  graphic  symbols, represent only a single
musical event.  (Tied notes are necessary in standard music nota-
tion  for several reasons, the most common being notes which span
a measure line and notes with durations not  specifiable  with  a
single  symbol,  such as quarter note tied to a sixteenth.) Notes
which are tied together are summed by duration and output by Scot
as  a  single  event.  This means you cannot, for example, change
the parameters of a note in the middle of a tie (see below).  Two
or  more notes may be tied together, as in the following example,
which plays an f# for eleven beats:
      !ti "4/4"
      1 f# / 1 f# / 2. f# 4r /
By contrast, slurred notes are treated as distinct notes  at  the
Csound  level,  and may be of arbitrary pitch.  The presence of a
slur is reflected in parameter p4, but  the  slur  has  no  other
meaning  beyond  the  interpretation  of  p4  by your instrument.
Since instrument design is beyond the scope of  this  manual,  it
will  suffice for now to explain that the Scot program gives sets
p4 to one of four values depending on the  existence  of  a  slur
before  and  after  the  note  in question.  This means Scot pays
attention not only to the slur attached  to  a  given  note,  but
whether the preceding note specified a slur.  The four possibili-
ties are as follows, where the p4 values are taken  to  apply  to
the note `d':
      4c  d     (no slur)           p4 = 0
      4c  d          (slur after only)   p4 = 1
      4c d     (slur before only)  p4 = 2
      4c d          (before & after)    p4 = 3


                        February 20, 1991





                             - 76 -


Parameters

     The information contained in the Scot score notation we have
considered so far is manifested in the output score in parameters
p1 through p5 in the following way:
      p1:  instrument number
      p2:  initialization time of instrument
      p3:  duration
      p4:  slur information
      p5:  pitch information in octave point pitch-class notation
Any additional parameters you may want to  enter  are  listed  in
brackets as the last part of a note specification.  These parame-
ters start with p6 and are separated from each other with spaces.
Any  parameters  not  specified  for a particular note have their
value carried from the most recently specified  value.   You  may
choose  to  change  some parameters and not others, in which case
you can type a  dot  (`.')  for  parameters  whose  values  don't
change,  and  new  values  for those that do.  Alternatively, the
construction N:, where N is an integer, may be used  to  indicate
that  the  following parameter specifications apply to successive
parameters starting with parameter N.  For example:
      4e[15000 3 4 12:100 150] g d[10000 . 5]    c
Here, for the first two quarter notes p6, p7, p8,  p12,  and  p13
respectively  assume  the  values 15000, 3, 4, 100, and 150.  The
values of p9 through p11 are either unchanged, or implicitly zero
if they have never been specified in the current section.  On the
third quarter note, the value of p6 is changed to 10000, and  the
value of p8 is changed to 5.  All others are unchanged.

     Normally, parameter values are treated as  globals  --  that
is,  a  value  specification will carry to successive notes if no
new value is specified.  However, if  a  parameter  specification
begins  with  an  apostrophe,  the  value  applies locally to the
current note only, and will not carry to successive notes  either
horizontally or vertically (see divisi below).

Pfield Macros

     Scot has a macro text substitution facility  which  operates
only on the pfield specification text within brackets.  It allows
control values to be specified symbolically rather  than  numeri-
cally.  Macro definitions appear inside brackets in the orchestra
section.  A single bracketed list of macro definitions  preceding
the  first  instrument  declaration defines macros which apply to
all instruments.  An additional bracketed list of definitions may
follow  each instrument to specify macros that apply to that par-
ticular instrument.










                        February 20, 1991





                             - 77 -


      orchestra {
            [ pp=2000 p=4000 mp=7000 mf=10000 f=20000 ff=30000
              modi = 11: w = 1 x = 2 y = 3 z = 4
              vib = "10:1 " novib = "10:0 1"
            ]
      violin = 1  [ pizz = " 20:1" arco = " 20:0" ]
      serpent = 3 [ ff = 25000 sfz = 'f sffz = 'ff]
      }
      score {
       $violin    =4c[mf modi z.y novib] d e a['f vib3] /
                        8 b[pizz]c 4d[f] 2c[ff arco] /
       $serpent   =,4.c[mp modi y.x] 8b 2c /
                        'g[f ] ,c[ff] /
      }
As can be seen from this example, a macro definition consists  of
the  macro name, which is a string of alphabetic characters, fol-
lowed by an equal sign, followed by the macro value.   As  usual,
spaces,  tabs,  and newlines may be used freely.  The macro value
may contain arbitrary characters, and may be  quoted  if  spacing
characters need to be included.

     When a macro name is encountered in bracketed  pfield  lists
in  a  score  section,  that name is replaced with the macro text
with no additional punctuation  supplied.   The  macro  text  may
itself  invoke other macros, although it is a serious error for a
macro to contain itself, directly  or  indirectly.   Since  macro
names  are identified as strings of alphabetic characters, and no
additional spaces are provided when a macro is  expanded,  macros
may easily perform such concatenations as found in the first ser-
pent note above, where the integer and fractional parts of a sin-
gle  pfield  are  constructed.  Also, a macro may do no more than
define a symbolic pfield, as in the definition of modi. The  pri-
mary intention of macros is in fact not only to reduce the number
of characters required, but also to enable  symbolic  definitions
of  parameter numbers and parameter values.  For instance, a par-
ticular instrument's interpretation of  the  dynamic  ff  can  be
changed  merely  by  changing a macro value, rather than changing
all occurrences of that particular value in the score.

Divisi

     Notes may be stacked on top of each other by  using  a  back
arrow  (`<')  between  the  notes  of the divisi.  Each time Scot
encounters a back arrow, it understands that the  following  note
is  to start at the same time as the note to the left of the back
arrow. Durations, accidentals and parameters carry from  left  to
right  through the divisi.  Each time these are given new values,
the notes to the right of the back arrows also take  on  the  new
values unless they are specified again.

     When writing divisi you can stack compound events by enclos-
ing  them in parentheses.  Also, divisi which occur at the end of
the measure must have the proper durations or  the  scot  program
will mis-interpret the measure duration length.



                        February 20, 1991





                             - 78 -


Scot Example II















      orchestra { right=1 left=2 }
      functions { f1 0 256 10 1}
      score {
      $right !key "-b"
      ; since p5 is pitch, p7 is set to the pitch of next note
      !ti "2/4"
      !next p5 "p7"   ;since p5 is pitch, p7 refers to pitch of next note
      !next p6 "p8"   ;If p6 is vol, say, then p8 refers to vol of next note
      t90
      8r c[3 np5]<e<='g r c<f<a / t90 r d-<g<b r =c[5]<f<a /
      !ti "4/4"
      t80
      4d<f<(8a g) 4c<(8fe)<4g 4.c<f<f 8r/

      $left  !key "-b"
      !next p5 "p7"
      !next p6 "p8"
      !ti "2/4"
      8=,c[3 np5] r f r/ e r f r/
      !ti "4/4"
      2b[5]<(4=,bc) 4.a<f 8r/
      }

     Notice in this example that the tempo statements occurred in
instrument  `right'  only.   Also,  all  notes had p6=3 until the
third measure, at which point p6 took on  the  value  5  for  all
notes.  The  next  parameter option used is described under Addi-
tional Features.  The output score of above is given at the end.

Additional Features

     Several options can be included in  any  of  the  individual
instrument  parts  within  a section.  A sample statement follows
the description of each option.  The keyword  which  follows  the
`!' in these statements may be abbreviated to the first two char-
acters.





                        February 20, 1991





                             - 79 -


Key Signatures

     Any desired  key  signature  is  specified  by  listing  the
accidentals   as   they  occur  in  a  key  signature  statement.
Thereafter, all notes of that instrument part  are  sharpened  or
flattened accordingly. For example, for the key of D, type
      !key "#fc"

Accidental Following

     Accidental following may be turned  on  or  off  as  needed.
When turned off, accidentals no longer carry throughout the meas-
ure as in traditional notation.   This  convention  is  sometimes
used in contemporary scores.

      !accidentals "off"

Octave Following

     Turning off octave following indicates that pitches stay  in
the  same  absolute  octave  register  until explicitly moved. An
absolute octave starts at pitch c and ends at  the  b  above  it.
The  octave  middle-c-to-b is indicated with an equals sign (`=')
and octave displacement is indicated with the appropriate  number
of  commas  or  apostrophes. These displacements are cummulative.
For example,
      !octaves "off"
      4='c g b 'c
starts at the c above middle c and ends at two c's  above  middle
c.

Vertical Following

     Turning off vertical following means that durations,  regis-
ter, and parameters only carry horizontally from note to note and
not vertically as described in the section on divisi.
      !vertical "off"

Transposition

     Any instrument part can be  transposed  to  another  key  by
indicating  the intervalic difference between the notated key and
the desired key.  This difference is always taken with  reference
to middle c - to transpose a whole step upward, for example, type
      !transpose "d"
This indicates that  the  part  is  transposed  by  the  interval
difference between middle c and d.

Next-value and Previous-value Parameteres

     In order to play a note, it is sometimes  necessary  for  an
instrument  to  know  what value one or more parameters will have
for the next note.For instance, an instrument might  be  designed
which glisses during the last portion of its performance (perhaps
only when a slur is indicated) from  its  written  pitch  to  the


                        February 20, 1991





                             - 80 -


pitch of the next note.  This can only be done, of course, if the
instrument can know what the pitch of the next note will be.  The
necessary  information  can  be provided using next-value parame-
ters.  A next value parameter might be declared by
      !next p5 "p6"
which is interpreted to mean that for the current instrument,  p6
will  contain  the next note's p5 value. This holds true globally
for all occurences of this  instrument  until  further  modifica-
tions.  If for any reason you wish to override this value, p6 may
be filled in explicitly.  This is sometimes useful for  the  last
note  of  a  section,  for  which p6 will otherwise assume the p5
value for the current note.  The  next-value  feature  is  illus-
trated in the Scot example II.

     The necessary information may also be provided  using  stan-
dard  numeric  score next-value parameters.  A parameter argument
containing the symbol npx (where x is an integer) will substitute
parameter  number  x  of  the following note for that instrument.
Similarly, the value of a parameter occurring during the previous
note  may  be  referenced  with  the  symbol  ppx  (where x is an
integer).  Details of  the  next-  and  previous-value  parameter
feature may be found in the Numeric Scores section.


     Pfields containing the symbol < will be replaced  by  values
derived  from  linear  interpolation  of a time-based ramp.  Ramp
endpoints are defined by the first real number found in the  same
pfield  of  a  preceding  and  following  note played by the same
instrument.  Details of the ramping feature are likewise found in
the Numeric Scores section.

f0 Statements

     In each score section, Scot  automatically  produces  an  f0
statement  with a p2 equal to the ending time of the last note or
rest in the section.  Thus, `dead time' at the end of  a  section
for  reverberation  decay  or  whatever  purpose may be specified
musically by rests in one or more parts.  See the eighth rest  at
the end of Scot example II and its output score shown below.


















                        February 20, 1991





                             - 81 -


Output Scores

     Output file score from Scot Example I.
      f1 0 512 10 1 .5 .25 .126
      f2 0 256  7 1 120 1 8 0 128 1
      i1.01 0 1 0 8.00
      i1.01 1 0.5 0 8.02
      i1.01 1.5 0.5 0 8.03
      i1.01 2 0.5 0 8.05
      i1.01 3 1 0 9.00
      i1.01 4 0.75 0 8.10
      i1.01 4.75 0.25 0 8.09
      i1.01 5 0.25 0 8.08
      i1.01 5.25 0.25 0 8.07
      i1.01 5.5 0.25 0 8.06
      i1.01 5.75 0.25 0 8.05
      i1.01 6 1 0 8.03
      i1.01 7 1 0 8.00
      i2.01 0 2 0 6.00
      i2.01 2 2 0 6.08
      i2.01 4 2 0 6.07
      i2.01 6 2 0 7.00
      t0 60
      f0 8
      s
      i1.01 0 0.6667 0 9.00
      i1.01 1.3333 0.6667 0 9.00
      i1.01 2 1.75 0 9.02
      i1.01 3.75 0.25 0 9.03
      i1.01 4 0.6667 0 9.05
      i1.01 5.3333 0.6667 0 9.05
      i1.01 6 1.75 0 9.07
      i1.01 7.75 0.25 0 9.09
      i2.01 0 1 0 6.00
      i2.01 1 1 0 6.07
      i2.01 2 1 0 6.00
      i2.01 3 1 0 6.07
      i2.01 4 2 0 7.08
      i2.01 6 2 0 7.07
      t0 60
      f0 8
      s


      Output file score from Scot Example II.
      f1 0 256 10 1
      c r1 n 7 5
      c r1 n 8 6
      i1.01 0.5000 0.5000 0 8.00 3 8.00 3
      i1.02 0.5000 0.5000 0 8.04 3 8.05 3
      i1.03 0.5000 0.5000 0 8.07 3 8.09 3
      i1.01 1.5000 0.5000 0 8.00 3 8.01 3
      i1.02 1.5000 0.5000 0 8.05 3 8.07 3
      i1.03 1.5000 0.5000 0 8.09 3 8.10 3
      i1.01 2.5000 0.5000 0 8.01 3 8.00 5


                        February 20, 1991





                             - 82 -


      i1.02 2.5000 0.5000 0 8.07 3 8.05 5
      i1.03 2.5000 0.5000 0 8.10 3 8.09 5
      i1.01 3.5000 0.5000 0 8.00 5 8.02 5
      i1.02 3.5000 0.5000 0 8.05 5 8.05 5
      i1.01 4.0000 1.0000 1 8.02 5 8.00 5
      i1.03 3.5000 1.0000 0 8.09 5 8.07 5
      i1.01 5.0000 1.0000 2 8.00 5 8.00 5
      i1.02 4.0000 1.5000 0 8.05 5 8.04 5
      i1.02 5.5000 0.5000 0 8.04 5 8.05 5
      i1.03 4.5000 1.5000 0 8.07 5 8.05 5
      i1.01 6.0000 1.5000 0 8.00 5 8.00 5
      i1.02 6.0000 1.5000 0 8.05 5 8.05 5
      i1.03 6.0000 1.5000 0 8.05 5 8.05 5
      c r2 n 7 5
      c r2 n 8 6
      i2.01 0.0000 0.5000 0 7.00 3 7.05 3
      i2.01 1.0000 0.5000 0 7.05 3 7.04 3
      i2.01 2.0000 0.5000 0 7.04 3 7.05 3
      i2.01 3.0000 0.5000 0 7.05 3 7.10 5
      i2.01 4.0000 2.0000 1 7.10 5 7.09 5
      i2.02 4.0000 1.0000 1 6.10 5 7.00 5
      i2.02 5.0000 1.0000 2 7.00 5 7.05 5
      i2.01 6.0000 1.5000 2 7.09 5 7.09 5
      i2.02 6.0000 1.5000 0 7.05 5 7.05 5
      t0 60 0.0000 90.0000 2.0000 90.0000 4.0000 80.0000 4.0000 90.0000
      f0 8.0000
      s
      e





























                        February 20, 1991


