Baixe Solo jazz piano part 1 e outras Notas de estudo em PDF para Bioquímica, somente na Docsity! Contents CD Tracks ....ccisisis iria senai rr iv Foreword by William Thomas McKinley ......... Acknowledgments ......ccccciicccresieserers Introduction ......ccccecereer career ear aerea ecran vii PART I. Chords 4 1. Fundamentals of Chord Theory .....ciiciccittoo va 2. Chord Extensions ....iiccciscsicisese cera rr "q PART II. Bass Lines ..........ciiii ii 33 3. Half-Note Motives ....iiciciiccesicieeeraen sirene errar 34 4. Ballad to Swing ....ccccccscernareaa einen aereas 45 5. Walking Bass ....ccccciiiicieces ecra ee aeee arara araras 55 6: Limrear Motives! uocns aus mimar somcavas qa jrmacam amianeo ass arsiraE DG pata dare E eossl 69 Zu The Jaz alta quan eu arena cuuuca au pacas pagas qa SENDA HE DEM Os ce qos ss TÁ 86 8. Compound Lines ......... 9. Embellishing the Bass Line . 10. Pedal Point .............. a (1, TheiBlhes:andiBegont), somos em oxacoraio merece ame sriiasa asa seco dra JAN UMA EE a (2 Tejads cs sacness ss srassram miravaro er arrS RNA OS HINIDRR SO TOM dO ERNOA HO MENA dA E 155 13, The-Latin Connections sacas ss aunes nemjas He weuiais pá REG al FRMET IA GEN GH dsa 164 PART Ill. Multiple Voice Improvisation ............ciiiiiisiiiiiiiiii 173 dd lauide-Pione-Lines eons ea one ss qusrerato is aeoip by MSNHE HE ALUNA MMS CE CONTO A E 174 15 Nón-Chord' Tones sis ao er dé DEM HS LEMON ELES E NGMAÇÃ lt geca tor emas e 185 16. The Melody in the Middle .....icicicisiisicisc seis erre 200 17. Rhythmic Freedom .......liiiiii is 211 18. Melodic Freedom .... 222 19, Tristano: Techniques a es meme meia au meme é .233 20, Merrie Modulation au cu essas asia vu ums é .243 21. Motivic Development and Imitation .......cccccisiiisccsissicrirrers 263 APPENDICES ........ eee 285 AL. BIOgraphies! emas pegos mp ESSA dá EMEA EEEAS G DGUNEE DE KQUAS Ebro qm veeveçms À 285 B. Discography .....icsecireneniara renan eras arena rear rare 286 €C. Modes and Jazz Scales ......ccccitics errar renan ra en 289 D. Linear Independence Exercises .......cciiiciiciceceee cerne 291 Glossary ....cccicciciisioo .300 A boutithe-Author ss asas aus saaess ata somatas nu Sr COMBA HE nGNEs de aRa Gu ramos É 304 Solo Jazz Piano: The Linear Approach vi Acknowledgments Thanks to the following people for their valucd contributions to this cffort. Debbie Cavalier, Director of Content for Berklee Media, for her kind and inspired encouragement. Jonathan Feist, Senior Writer/Editor of Berklee Press, for his consistently detailed analysis and organization of content. The staff at Berklee Press for their work in preparing the manuscript. Sandy Letendre for her photographic expertise. Peter Kontrimas for his artistic approach and technical expertise in recording the CD. Jcan McKenna O'Donnell and Scott McKenzie for their resources on Dave McKenna. William Thomas McKinley for his thoughtful review and foreword. My students of Contrapuntal Jazz Improvisation for Pianists for their detailed transcrip- tions and performances of this music. Lennie Tristano for his unrelenting musical conviction and integrity, especially on his performance of “C Minor Complex,” the improvisation that inspired this journey. Dave McKenna for his joyful decp swing on hundreds of tunes that so encouraged me and my students to realize, “It can be done! And my wife, Donna Olmstead, for all her support and patience throughout this endeavor. Introduction Contrapuntal Jazz Improvisation Contrapuntal jazz improvisation means improvising simultancous lines of music within a jazz context. Typically, it is comprised of a bass line in the left hand and either a melody or improvised line in the right hand. This can be done within a jazz tune over chord changes or as a pure free-flowing improvisation devoid of specific form. In either case, it is a linear texture with wonderful possibilities in al! manner of rhythm, harmony, and counterpoint. History Lennie Tristano was the groundbreaking pianist of this style with his Descent Into the Muelstrom (1952) and The New Tristano (1962) LPs. The latter recording contains superb performances of Lennie playing jazz standards as well as free-form improvisa- tions. Subsequent recordings include Concert in Copenhagen of 1965 and numerous reissued tracks on various CDs. Lennie's musical character is rhythmically unique and intellectually complex, and it proved to be a driving force in the development of jazz. The Boston pianist Dave McKenna could be considered the rhythmic antithesis of Lennie Tristano. His solo piano texture is also essentially contrapuntal, but with a morc tradi- tonal swing. Many of Dave's solo and duo recordings contain wonderful examples of walking bass lines with deep-swinging, hard-driving right-hand improvisations rooted in the bebop tradition. McKenna's solo and duo piano discography is extensive and rooted in this tradition of playing. Other pianists that have recorded in this contrapuntal style include Alan Broadbent, Connie Crothers (both students of Tristano's), Tete Monteliu, Kenny Baron, and Diana Krall. More rarely, we also find recordings of Oscar Peterson and Bill Evans playing great bass lines in solo and duo settings. More evident today is the use of contrapuntal improvisation in ensemble settings. Pianists Brad Melhdau, Ken Werner, and Keith Jarrett are playing clear independent lower lines in the left hand that are set against traditional upper-voice improvised lines. Appendix B. “Discography” lists some classic recordings in this style, and I encourage you to listen to them while studying these techniques. The Text This approach to teaching contrapuntal jazz piano has been refined over many years, teaching hundreds of pianists at Berklee College of Music. Solo Jazz Piano codifies this method. Each chapter includes a series of steps that will help develop the language needed to improvise contrapuntally. Left-hand vocabulary, right-hand chords, independence exer- cises, and ideas on arranging and improvisation are all described in detail. Part 1 reviews chord interpretation. Part 1 begins the contrapuntal journey. Starting with half-note bass lines, you will develop your sense of rhythmic independence and flexibility, and then move onto more sophisticated walking bass lines. Part III topics include left-hand motivic embellishment, pedal point, multi-voice improvisation, metric modulation, and motivic development. Though the text touches on harmony, comping, solo development, and other tech- niques of improvisation, the focus is on contrapuntal techniques for the solo pianist. vii Solo Jazz Piano: The Linear Approach viii How to Usc This Book Each chapter begins with a discussion of some theory or technique for improvising. These are supported by practice exercises, such as the arrow sheets, which will guide you through the thought process of using the technique. The exercises are followed by tunes, which are based on chord progressions of jazz standards. These tunes are presented in two different ways. Etudes are through-composed studies, based on various jazz stan- dards. Every note is notated, and they serve as complete models for how the concepts presented earlier can be used. [.ead sheets present only the melody and chord changes, and are more representative of what jazz players actually read from. You should create your own bass line, comping part, improvisation, and arrangement to these tunes, again, using the techniques and ideas discussed in the chapter. The accompaning CD provides examples of how some of the lead sheets might be interpreted. I encourage you to research the original tunes as well. The Motives Bass-line motives (short melodic ideas) arc the prime source of vocabulary for the left hand. They originate from frequently used melodic shapes of the jazz tradition. They are not intellectually challenging; they are functional, allowing the bass line to move logically from chord to chord without distracting the performer from his creative right-hand improvisations. These motives should be memorized in much the same manner as you would memorize chord voicings, thereby always having something “in your fingers” to play throughout the harmonic progression of the tune. When you study these lines, you may wonder, for example, why is this particular motive recommended: 6-1 7 . when this one could be used? [a 7 They are both valid musical ways of getting from the C-7 to the F7 chord. However, the more subtle, less patternistic shape of the first motive is preferred because the line can then be functional without sounding sequential, if the motive is repeated. Specific methods of developing these motives and creating more diversc and interesting left-hand lines are introduced gradually. Solo Jazz Piano: The Lincar Approach Chapter 1. Fundamentals of Chord Theory Lead Sheet Basics THEORY Jazz pianists generally read from lead sheets. A lead sheet just has the melody and chord symbols. It is the pianist's job to interpret the lead sheet, creating a bass part, chords, melody, arrangement, rhythmic feel, and so on. Follow this approach whencver you practice a lead sheet. 1. Play just the melody. Below is an example of lead sheet notation. When you use a lead sheet to create your own arrangement, begin by playing the melody alone. q é-7 A-7 D7usá GMs 2. Play the melody and a simple hass part. Once you can play the melody easily, add a simple bass line. The simplest bass line to play is the chord root, played once, held until the next chord symbol. q é-7 A-7 D7uo4 QMas7 3. Play the melody, bass, and inner chord notes. Harmonize the melody by adding chord tones. This gives the melody a fuller sound and expresses more of the chord quality. qu €9 aq Os Ma P = g Chapter 1. Fundamentals of Chord Theory 4. Play the melody over chords. While the right hand plays the melody, the left hand plays chords. QMa [a] A- O%kusá GMas7 This approach will give you a complete sense of the melody and harmony, and it will help prepare you to create your own arrangement and improvisarion of the tune. We will study techniques for developing lead sheets throughout this book. Interpreting Chord Symbols To learn a tune from a lead sheet, you must know the chords. Most jazz harmonies are based on seventh chords. Though seventh-chord symbols are not standardized, they all have three basic kinds of information. First, a lester indicates the chord root. Second, if the basic triad is not major, then a symbol follows that indicates the chord quality and the type of seventh used. Third, numerals (4, 6,9, 11, and 13) in the chord symbol indi- cate notes at intervals away from the root. The following chart shows some common notation and composition for seventh chords. Quality Abbreviation Symbol Example Structure Major Maj Ma, Mai CMai? Maj triad/Maj 7 Minor min = mi, min C—7 min triad/min 7 Minor 7 flat:5 min7(5) (5) min705) — C-7(5) dim triad/min 7 Dominant dom 7 cz Maj triad/min 7 Augmented aug + C+7 aug triad/min 7 Diminished dim cC7 dim triad/dim 7 Play the following chord voicings (arrangement of chord notes), observing the chord symbols. Mas QuiN7 CunT(s 5) 07 0+7 07 E UI SANS SM = É Her Erano MINIS Trono MINE SS Tem Demo TPL Breno! - ES BIT TCB feno LS feno Magor MiNog Minog7(b5) COMINANT Augmentão OlMINISHEO Additional Notes on Chords On dominant chord symbols, there may be a “4,” indicating a suspended fourth. With these chords, the chordºs third is replaced with the fourth, as in C7sus4. 0%us4 | Solo Jazz Piano: lhe Linear Approach Some chords include the numbers 9, 11, and/or 13, which indicate additional tones to the seventh chord. The numbers represent intervals from the chord root. These notes are called tensions (short for “extensions”), and are often written in parentheses following the 7, as in CMaj7(9). On dominant chords, they may be preceded by a sharp or flat, indicating that they are altered notes, such as C7 (59). cs) A 7 TENSION | 9 fes & e! Ss Play the following chord voicings, observing the tensions used. Note that the 9 replaces the root in the right-hand chords. The 13 replaces the 5 on the dominant chords. This technique is discussed in more detail in chapter 2. ema) LCA) CAD CD COM COB CNE) A) CA CHous4y) This phrase includes three dominant seventh chords in common ways that they may be interpreted. Mas? emb 18) Ah 9,b 18) 07 GMad 18 “Slash” Chord Symbols and Inversions Two chord symbols separated by a slash (/) indicate a composite chord or an inverted chord. The letter after the slash indicates the bass note. For example, the GMaj7/B symbol is interpreted as a GMaj7 chord over the note B in the bass. QMaTi/6 0/6 (742) €b/0 0/6 o InvEgSION Composite Composite Composite Composite À Chapter 1. Fundamentals of Chord Theory PRACTICE Comping Practice Practice these two chord charts in three different ways. 1. Play these chords in root position with your left hand. 2. Tlay them again with your right hand, and play the root note with your left hand. Substitute 9s freely in your right-hand voicings. 3. Play the progression, and try to make your voice leading as smooth as possible. Exercise 1. Comping Practice GMad7 [a A7 07 8-1 €7 1 am qua Tt A aa ZE = Ze ZE Z Z Exercise 2. Comping Practice 8-7 87 A-7 07 Mag? Cad 145) 87 €-7 A 07 o e7 87 8 4-7 91 GMas7 CHALLENGE Repeat step (3) above. Can you replace the root in the right hand with a tension? Solo Jazz Piano: The Linear Approach TUNES Etude. “So Easily” “So Easily” is based on the chord changes to “I Fall in Love Too Easily” by Jerome Kern. This piece illustrates a melody in the right hand with a variety of chords in the left hand (as you did in theory step 4 earlier this chapter). Note the different inversions used and rhe independent lines of harmony. 60 ÉNGILY Neil OLMGrEAO 9-7 q7 CMad7 849 €7 49 8-1045) €7 A-7 4-5) Chapter 1. Fundamentals of Chord Theory Solo Jazz Piano: The Linear Approach b9,b13 87943) an 9.h 13) o be oo NarugaL, ALregeo TENSIONG TENSINNS +9,b13 Qs43) Q4 9, 18) o o «o too = H po — ] NarugaL Autegeo TENSIONS TENSIONS 12 Chapter 2. Chord Extensions PRACTICE Chord Voicings Exercise. Analysis of Extended Chords Practice these chord voicings, adding the chord root in your left hand, as illustrated. They are all common voicings that can be used in your comping. Analyze each chord, circling and labeling the tensions, and indicating inversions. For example, the first one uses a tension 9, and it is in third inversion. Note that second inversion major 7 and minor 7 chords often have no tension. THICO INVERSION Cas? Ca EMA EMA 0Ma9 0MaM 6.3 e-1 6-7 q-1 éh-7 gh-7 o 0548) 09H18) EW3518) 45518) ATES418) b b bo e e e e 13 Solo Jazz Piano: lhe Linear Approac ho 1-V-I Exercises Going from the II to the V to the 1 chord (the chords built on the second, fifth, and tonic scale degrees) is among the most common progressions in jazz. These excrcises will help develop your facility playing LI-V-I progressions. Following the cue notes (top voice), continue the voice-leading pattern to the end. Exercise 1. II-V-I in Major A-7 07 GM et-7 87 EMT €-7 47 0M 07 67 Ma 07 67 Mad 8-7 EM AbMAd] A-7 07 QMam 6-7 87 EM Exercise 2. II-V-I in Major A-7 09 GMad7 q-7 07 Ma 7º 87º EM €-7º A7 OM 0-7 67 ChMas7 8-7 €7 AMAM A-7 07 Ma q-7 07 EM 14 Chapter 2. Chord Extension Exercise 7. 1I-V-1 in Minor Complete the next few exercises, using smooth voice leading. Note the altered tensions of these dominant chords in minor. 8-9 09 A AH) 049 67º 04-69 049 E-7 8-5) sw | “E Eb) AMON 0h-7 CW) GHO9 87. 849) 49 A Exercise 8. 1I-V-I in Minor H-09 emb [Us] 649 cH9 e 9 8% 6-1 “€%9 0-5) 849 AG 0-5) EM Solo Jazz Piano: The Linear Approach Exercise 9. II-V-I in Minor E) ANE 0-7 0-6) am €-7 2%) MN 8h-7 9) ENE A+-9 02h45) eng pé HW) SW o) Exercise 10. II-V-I in Minor E AMED 07º CW emo 8-7 8%) EU) A A-W9 OU q-7 6-6) 049 8-7 E-W9) SD €-7 18 Chapter 2. Chord Extensions Exercise 11. II-V-I Minor Chromatic Descent 68-49 ct) $-7 E+-149) sw 7 E-49) - snby 8-7 o E) ato 0-7 5-5) ane 0-7 20-49 emo 0-7 e+%9 HG 8-7 02-49 EW9 8-7 8-4) eu "8 v 8h-765) Eu 4-5) 049 G-1 049) cru9 pt 64-49 cp 9 FO SWP E Solo Jazz Piano: The Linear Approach TUNES Etude. “So Easily: Take 2” This crude is based on the chord changes to “I Fall in Love Too Easily” by Jerome Kern. Compare this to the previous version, in chapter 1. Analyze the tension substitutions in this piece, writing the number next to the tone. Then play it through. G0 ENGILY: TALE 2 NeiL OLMSTEHO. BALLAO 07 87 Qua EMad7 8769 ENS 49 82765) 8709) Eau) 22 Chapter 2. Chord Extensions Solo Jazz Piano: The Linear Approach Lead Sheet. “So Easily” Play the lead sheet to “So Easily,” which was introduced in lesson 1. This time, include tensions in your voicings. 60 EASILY Nei OLMsreio 0-7 7 CHAT E Mad 8-68) €7 EW9 F$-49) ENA 8-0) EN com (gr Chapter 2. Chord Extensions A CMaM 87 €7 A-7 €7 A-7 07 NO TIME TO CO0A (9) 07 QMaM 8 Solo Jazz Piano: The Linear Approach Chord Chart. “Il Had a Clue” Create your own comping part to this tunc by writing out the voicings with tension substitutions as appropriate. Move your top voice primarily by step or common tone. Give priority to the rhythmic phrasing. As discussed earlier, this type of lead sheet that shows just the chords is sometimes called a “chord chart.” A blank version follows for you to write out your part. | Hao a Quue Neil. OLMoreio A-7 CMAS 87 €7 A-7 €7 A-7 97 Chapter 2. Chord Extensions | Hao a QLue Neli. OLMGTEAO À-7º CM 87 €7 A-7 €7 A-7 07 GM 07 e a qua 07 Solo Jazz Piano: The Linear Approach Lead Sheet. “Sweet Dolphin Suite” 2 Using tensions in your voicings, create your own comping part in the left hand. Voice lead smoothly to the new chords. Syncopate the melody freely and, in a medium swing groove, rhythmicize your left-hand comping. Note that the tune ends with chords in parentheses. This point is called a turnaround, as the form “turns around” back to the beginning. Play these chords when you are returning to the top, but not when you are ending the tune. GwEeT DOLPHIN SUITE MEDIUM SIING CMAM 07 el | 5,87 8 EMA | Ls eH- É bos Ava | | [ 1 e) T t 09 2p e T T T e GEC ts a o o p CM 0 0-0 8-0) EMP A a ae t , pe = e s 1 GE" — (rs a 2-5) 849) €9 A7 03 q a tm 09 67) 9 | Le = E Est Ts TE (e sas o " 32 PART Il. BASS LINES Now that you've reviewed the harmonic language of jazz, it's time to look at how to play bass lines in the left hand. Walking bass lines came into prominence in the 1940s. In solo and duo settings where bassists were not present, pianists have often felt inspired to play walking bass lines. Pianists such as Lennie Tristano and Dave McKenna have explored this concept deeply, and are leaders in the field. Today, solo jazz pianists often use this technique, finding it provides a subrle driving impetus to their improvisations without the weightiness of chords. Part II explores this linear concept in a codified, graduated manner, to help you master the fundamentals of contrapuntal improvisation. These exercises and etudes will help prepare you to improvise bass lines while playing the melody, comping, and soloing. 33 Solo Jazz Piano: The Linear Approach = O Chapter 3. Half-Note Motives THEORY A common motive in cut-time and ballad (2/2) playing is the half-note motive. The simplest form is to have the chord root on every half note. This is used when the chord changes every two beats. Roots Only 0-7 [x] 8-7 é AbMAÇT o The most important and commonly used half-note motive is the root-five, where the root is on beat 1 and the fifth is on beat 3. It is used when the chord changes every measure. Root-Five 07 7 BAT When the chord changes every measure, you can also use root-octave or root-five-five-root: Root-Octave Root-Five-Five-Root 34 Chapter 3. Half-Note Motives Exercise 3. Root-Octave Ens) Exercise 4. Root-Five-Five-Root 8 Solo Jazz Piano: The Linear Approach — Exercise 5. Combination EMasT EMAT Comping Practice Create your own righr-hand comping part over each set of chord changes (see chapters 1 and 2), Practice them along with the given bass lines. Focus on voice leading and rhythmic drive. Try different tempos. Exercise 1. Comping: Roots Only 07 87 eq :9 €-765) Exercise 2. Comping: Root-Five eq 7 BhMag7 EMA A-745) 8-7 67618) Chapter 3. Half-Note Motives Exercise 3. Comping: Root-Octave A Ab 8-7 eo FMag7 07asá E Mad €7418) Exercise 4. Comping: Root-Five-Five-Root q-7 07 EMA C7us4 ElMad7 049 Exercise 5. Comping: Combination EMA] EMA ge E | Arrow Sheet: “A Night At Play” Create your own half-note motive bass line to the tune “A Night At Play” using the arrow sheet as a guide. Your primary goal is to play the chord root on the first beat of each chord. Play the appropriate root or fifth, depending on the melodic direction of the arrow. The arrow sheet looks like this: 8Mag] 8 EMA A Your completed bass line should look something like this: 8MA 87 EbMaMT A RL & eu = st h2 39 Solo Jazz Piano: The Linear Approach À Nigur AT PLAY Neil OLMSTE SLON SALLAO FegL, MOLTO Legaro d = 54 BMaM7 8 EMA AbTançá 3 Wrra PeoaL SMA? 8 EbMaç7 4245) A-9 6-7 7 1—, E-7 8 EbMadT 42 Chapter 3. Half-Note Motives Solo Jazz Piano: The Linear Approach Lead Sheet. “A Night At Play” 2 Create your own arrangement to “A Night At Play.” Use the CD as a reference. 1, Use each type of half-note motive as frequently as possible throughout two cho- ruses of the tune. Then play another chorus, and improvise a bass line that com- bines these motives. 2. Play the tune as a ballad (2/2), using straight eighths in the right hand. Then play itas a swing (4/4) tune, syncopating the melody and swinging the eighths. A Nigur Ar PLAY Bhuas “ema * emu Gh60s4 GhTeusá A65) Bhsusa Chapter 4. Ballad to Swing Exercise 3. Shifting Time Feels BALLO , 7 Ne 0749) E, 87 9 [ Dea QMaM 849) 7 7 e Tv SWING, A 07 + 87 é A-7 07 QMA 87 &7 CHALLENGE When you are comfortable moving from ballad to swing, play each exercise again, but observe the repeats so that you can practice moving from swing to ballad. 47 T+ Mee Mano: lhe Linear Approach Arrow Sheet: “Cabernet” Play the arrow sheet based on “Cabernet” using h of the arrow when Playing the missing hal easily. Then add a comping part in your ri etude to “Cabernet.” They should be simil alf-note motives. Follow the direction f notes, Practice this until you can play it ght hand, Check your bass line against the ar. EMA Em 07 Chapter 4, Ballad to Swin JNES de. “Flora” This etude, based on the chord changes to Johnny Mercer's standard “Laura,” moves from ballad to swing with a constant half-note motive in the left hand, The modulation from ballad to swing is much more typical of what you will find in actual arrangements. * The shift occurs only after the ballad groove is fully established. Play it as written until you are comfortable with the two time [eels. Then, for an added challenge, play it read- “ing the bass line and chord symbols, but improvising the right hand. Shift freely between the two time feels. 49 Solo Jazz Piano: The Linear Approach Tip When lcarning any tuncs, practice two fecls: ballads as swing tunes and swing tunes as ballads. Then practice moving from one feel to the other. Etude. “Cabernet” This piece, based on the chord changes to Henry Mancini's tune “The Days of Wine and Roses,” is an example of an improvisation that moves berwcen swing and ballad feels. Note that the straight eighth notes and the quarter-note triplets help to slow the groove for the ballad feel. Then note how easy it is to get back to the “four” feel by simply swinging the phrase group of the last two bars. Practice this etude until you are comfort- able with these rhythmic shifts. CasECNET Neil Oui GUING d=58 , EMA Em 07 Db EA - e a 3 4 AR Sis bp, s PU 40 Is SAE e ff = b = = E E Ê E P Fo Gol 14 8 82 em Pe 52 Chapter 4. Ballad to Swir STRAQUT ElquTaS Sa E aq 6-7 8-7 eb d APMad7 a, 0-169) [E suina eiguras TER ar. AbMAdT Aba GPMAÇ] EMA APMATT$LO 53 Solo Jazz Piano: The Linear Approach Lead Sheet. “Cabernet” 6 Practice “Cabernet” from the lead sheet, using it to create your own bass line and comping part. Note the tonal modulation in the middle of the tune. In the 1979 recording session of Bill Evans” CD Affinity, Toots Thielemans introduced an arrange- ment of “The Days of Wine and Roses” that included this modulation. CASERNET Neil OLMSTELO MAM EMA 079) 49 8 em e) AW9 0-1 q1 q 1 87 em tá ú AMA Mad ;7 8-7 j 9 6-9 045) q 0-7 ;7 4 8-7 ém APMAÇT 09 q 07 APMAST 54