Paco de Luci partituras La Fabulosa Guitarra de Paco de Lucia Primer volumen ae ia colecclén oficial de transeripeiones dela obra de Paso de Lucia,TTESULEEEEEE EE EEE EEE EEE DEEDES DOD ELE LUE Uke bee bbeES Prélogo Explicacién de simbolos Consejos utiles Foreword Symbols Some useful advices Prologue... : Explication des symboles Conseils utiles Barrio la Vita De madrugé Farruca de Lucia impetu Jerezana Llanto-a CAdiz Punta del Faro Punta Umbria Indice . INDICE 133 -13 7 19 2 25 27 29 33 47 61 15 93 Mt 121 141 153GUEEELUEEE REL EERE EEE EEE EDS IIDISISSSDDVEEEVIIIVIVEGTT FOREWORD When Juan Estrada, (manager of «DE LUCIA GESTION, S..», and a good friend), proposed me to transcribe Paco de Lucfa's music, I felt an extraordinary emotion. It was a blend of happiness, fear, joy, inability... I just didn’t know what to say; I had transcribed already Gerardo Nufiez music, (oops!), but this time was the Guitar Master himselfl, It was quite a responsability! Where will I begin? Which themes will be chosen?... I did not hesitate, my inmediate answer was YES. . Ramén de Algeciras, great guitarist too, and Paco's brother, encouraged me and recommen- ded to do it in chronological order, and so, this first book was born, (first from a serie of books containing the best music pages of this unique artist), In the history of flamenco music, Paco de Lucia means a point of no return. There is a «be- fore» and an «after» him. He brought the harmonization to the flamenco guitar, which have had a huge influence in all the flamenco world, because its musical forms began to change due to this «harmonical» enrichment; even singing melodies were modified and extended!!. He also improved the guitar technique in an astonishing way, and his «finding» of the Peruvian per- cussion instrument, the cajon, have affirmed a lot the flamenco rhythmic basis. All these, (and more!), are still having a great influence on all the flamenco expressions, dancing, singing, and of course, guitar playing, But that was not all, Paco de Lucia has been the «ambassador» of the flamenco guitar all cover the world. He opened doors to a lot of artists who began to get known because of him. Pe- ople interest for flamenco guitar grew up with him, and musicians from other cultures were «fascinated» by his «magic», and tried to blend flamenco soundings with their own musical ro- ots, (jazz, salsa, bossa—nova, and so on). Thave always been a fan of Paco, the Master from Algeciras, but now, after I have written his music «note by note», I realized he is much more. With this «much more», I am trying to say there is something special that only musicians can share, I’m sure you will get the same fe- ling after reading and playing any of these pieces. Thave not tried to transcribe the «magic» of this guitar sorcerer to the stave (impossible!), I have only tried to share with you a little bit of the great work of Paco de Lucia, a guitarist for guitarists Thank you, Paco. JoRoE BERGES, MARCH, ‘C2GSUVVUVULULELER DEERE DEEL EDSSISSSSSSSDDEREEESSSIIIS SYMBOLS It is necessary to use flamenco guitar techniques to play most of the rhythmic parts of the pie- ces shown in this book. These techniques have been created by flamenco guitarists all over the time, but in this case, we must observe particularly Paco’s personal technique. Thus, right hand playing is shown graphically in the stave and tablature through symbols. We know most of them are probably well known by you, but, anyhow, they are indispensable to practise the «to- que» (playing), and get a good flamenco sound. The «rasgueos», (strums), will be marked with one or several arrows placed under the chord, and with small letters showing the right hand finger used to play the «rasgueo». We have used ««e» for the little finger, «a» for the ring finger, «m» for the middle one, «i» for the index, and «p> for the thumb, The arrow means a stroke from the low notes to the high ones, (6%, to 18% strings), and the arrow shows the opposite, (1*. to 6). Thus, it will be possible to link the mo- vements and make several different rasgueos, if you know the chord, the adequate finger and the direction of the stroke. The (1) symbol, arrow in parenthesis, is a «muffled» stroke (toque «apagando»). It means a stroke performed with the index or with index, and/or other fingers but inmediately after the stroke, we have to muffle the sound with our right hand palm. The ! symbol shows the action carried out simultaneously by the thumb, index, middle and ring finger with the «tirando» technique, or any other combined action with the thumb and ot- her right hand fingers. The X symbol placed above the stave, means a percussive tap on the soundboard, done with the ring finger. ‘Suspension points (...] placed near a small letter, mean that we should go on playing with the same finger the letter says. When the suspension points are separate from the letters, it me- ans we should continue playing the last used finger sequence shown on the stave. (arpeggio, alzapiia, picado, rasgueo, etc.) Left hand action symbols: The most important ones are referred to the use of the barre. (The index finger presses several strings). Roman numerals show the fret where the barre should be placed, and the numbers inside a circle show which strings the index must press... (if there aren’t any circles, the barre will be complete, with the 6 strings). Slurs, (ligaduras), are shown by a curved line over the notes, Numbers (0, 1, 2, 3, 4) placed beside a note show which left hand fingers are used to play it. ‘This symbol appears only if there are doubts, Most of the notes fingering is clear, looking at the previous bars of the piece. (0 = open string). Jorce BercesWUVVVELLLLLLLEEEESESREESSSIISSISISSDADEREEEIIIS SOME USEFUL ADVICES ‘We recommend, even for a trained musical reader, to look both stave and tablature because one is complementary to the other. Stave let us value the «tempo», measure and timing of each note, and tablature tell us which part of the fingerboard the artist is playing on. It is also very interesting to observe the fingering used in each piece. Two main reasons: Right fingering is almost essential to achieve a good performance and to obtain the «flamenco sound». The second reason is that the transcription becomes a «true» method of learning fla- menco guitar if fingering is performed as the stave says. We believe that anyone who leams to play «Punta del faro» as it is shown in the book, is able to play the «bulerias» style, and the same thing may be said about the other pieces. In flamenco music, tremolos are played in groups of four notes in the same string preceeded by a low note played with the thumb. That makes a sequence of five sounds in one beat (p-i-a-m-i), so this technique is performed in quintuplets. (for the english readers, p=thumb, isindex, m=middle finger, a=ring finger). These three fingers must not rest on the next string after playing, («apoyando» technique). The thumb may do it to emphasize a note, but we do not recommend it because you'll get a better sound and a more homogeneus playing with the «tirando» technique. Arpeggios must be played in the same way, («tirandos), as in the classi- cal guitar To get a good sound in the «rasgueos» (strums), it is important that our fingers strike the strings individually. This means that a finger does not «attack» the strings until the one before has not finished its stroke. Let us say two little «tricks» which will help us to get a better ras- gueo sound. On one side, it is preferable to play on the strings «striking», better than «rub- bing», so, the sound will be shorter and more percussive; on the other side, we must not try to play ALL the strings of the chord, this is not so important, but we should have in mind that the ‘strums played with an indexstroke must have the same force and sound volume in both direc- tions, up or down. It’s also important to practise the p. a. i. Rasgueo, (in Spanish, it is called abanico. =fan). This type of rasgueo has three strokes: first, the thumb nail strikes from high to lower strings J, second, the ring finger strikes from low to high strings 7, and third, the index strikes from low to high strings too T. Our wrist must be very relaxed to get a «round» and homogeneus sound. Percussive taps on the soundboard x are made with the ring finger in the pickguard, betw. cn the rose and bridge. They can be studied in three main different ways: one is doing it si- multaneously with a indexstroke rasgueo from low to high strings, another one is the same but using a thumbstroke instead of the index, and finally we can practise it individually, without other finger movement. ‘The Alzapiia is a thumb technique with three movements: 1. bass note thumbstroke, 2.- low to high strings thumbstroke 7, 3.~ high to low strings thumbstroke J. Sometimes this techni- que begins in the second movement. (this second one can be accompanied by a tap in the soundboard). To obtain a «clean» sound with the alzapia, it is necessary to rest the thumb on the next string under the played one on the first thumbstroke, (bass note). The thumb joints should be blocked to let all the finger muscles work together against the strings (the force i creases). As we have said before, we should not attack all the strings, itis better to do it with less of them, we will get a more percussive sound. 2«Punta Umbria is a «fandango de Huelva». This style has a _ marked rhythm, very diffe- rent from the «natural fandango», a free style, a lot more impressive due to the contents of its lyrics, and the dramatic way it is usually sung. It was imperative to include in this book a piece considered as a «Classic item in flamenco music. We are speaking about «Lmpetu», a «bulerias» theme written by the great guitarist Mario Escudero. These «bulerias» are composed with an unrivaled mastership, and they have a very interesting harmonization we recommend to be studied by any guitarist (beginner or ad- vanced), because of the sonority and speed of its «tiring» arpeggios. ‘The pieces called «Jerezana», (bulerias), and «Llanto a Cddiz» (tientos) belong to Paco’s first recordings. We can see here the force and «rage» of his youth. We have also included «Punta del faro», another buleria, and you may observe the great differences of style between both bulerias. Jerezana is performed very classical, in pure «erezan» style, and «Punta del aro» is filled up with all the innovations Paco brought to bulerias. Those innovations were in- mediately «adopted» for most of the guitarists of that time. ‘The tientos piece is aa true «gem» in Paco’s music, due to its very flamenco sound, In the recording, it seems that Paco wants to slow the rhythm,» (compds), giving to the listener a fe- eling of an aparent delay. This makes the rhythm to improve in beauty and flamenco sensations. At the end, the piece increases the rhythm with those raged «picados», (fast phrasing techni- que done with two fingers),from Paco’s unrivaled ability, and because it is usual to finish the tientos in tangos style. At the very end, he surprises us again turning back to a «sweet» and slo- wer rhythm. The farruca is a very emotive piece and has been recorded with an orchestra. The beauty and blues of its music is due to the use of the minor tonalities, the ritardandos and tenutos, and the D tuned sixth string, The tremolo is «heart-rending». Paco’s guitar seems to «ery» with those stops in the «tempo» and the changes from minor to major modes. With the strong «rasgueos» it seems the guitar wants to «wake up» and flee from that sad feeling. «Barrio La Vita» is 4 popular and flamenco Cadiz district. These alegrias take its name from it,, and this piece can be considered as a true pattern in this flamenco style. Paco shows here his mastership, using minor and major mode changes constantly. These alegrias are indeed a true concert work. This piece is not performed like alegrias for dancing with a fixed rhythm, but you can listen how Paco «widens» sometimes the «tempo», while he remembers us with the same «compas», he is playing «por alegrias». «De madrugd» is an incredible siguiriya. Pay attention to its particular rhythm that makes the siguiriya to be different style (palo) in flamenco, outside the group formed by soled, bule- rias, alegrfas and soled por bulerias. Usually, It is necessary to change the metric cycle from 3/4 to 6/8 to write properly the falsetas, (short phrases), in this style. Thus, the rhythmic cycle of siguiriyas should be as follows: mrddiehb dd dso As you see, the first beat is «silent», but this does not mean it is a «weak» beat, on the op- posite, it usually has a tap on the soundboard. Notice the silence is only in the first beat of the 3/4 bar, and not in the next one (6/8 bar). Bulerias metric cycle is as follows: 2 « e e « e e « e ce ec ec e ec e e e e e e e e e e c e ce e e a e e e 5 ia a a e « e c e a e e e e © . . « «WUUSUEE EEL EEE EDD SEED EHH DIDS DSHS SPSS EES ISISSSSST wdididddindsidsids The strong beat is the first one of each bar, although we use to count the beats (specially in dancing), in this other way: 10203 4 5 6 7 8 9 10 HW one, two, three, four, five, six, seven, eight, nine, fen, one, two This is only a «rhythmic» way of counting beats in order to ease the practising work, due to the flamenco development has been made without any musical theory knowledge. But, to wri- te it on the stave, we must use the «musical laws»and notation, thus, we will always use the 3/4 compas : sedddiddiisidisds Another very common bulerias style rhythm (compds), should be: See eens In the next book, we will continue speaking about other flamenco styles, (palos), and you will enjoy new trascriptions from Paco de Lucia’s work. We hope you can «face» the works of this unique artist better with these few advices, and, of course!!! learn how to play flamenco guitar from its true technique and essence. Good luck! JORGE BERGES 2BWUVVVELELELEEE DEED DEEEE EADS SSSSSSSSSLEDEDES ITS PROLOGUE Quand Juan Estrada ~ami et manager de «DE LUCIA GESTION. S.L.»-~ ma proposé de transcrire la musique de Paco de Lucfa, j'ai ressenti une émotion spéciale, C’était un mélange de bonheur, de peur, d’impuissance, de joie...., je ne saurais pas le dire avec des mots. Déja, avant cela, j'a- vais transcrit des pices de Gerardo Niiiez (sacré boulot!), mais 12 il s’agissait du «génie de la guitare». Comment le faire?... Ma réponse fut immédiatement out. Ramon de Algeciras, guitariste d'exception et frére de Paco, me conseilla de commencer par ordre chronologique et ainsi naquit ce premier volume de la série de livres avec transcriptions de l'oeuvre de cet artiste singulier. Paco de Lucfa marque pour le flamenco un «avant» et un «aprés». Il a apporté I"harmonie & la guitare et celle-ci a influencé considérablement le panorama flamenco en général puisque les formes ont changé de fait, et comme conséquence de cet élargissement harmonique les mé- lodies dans le cante (Je chant) se sont entichies. Il a perfectionné aussi la technique d'une ma- nigre «endiablée» (au meilleur sens du mot), et grace & son apport dun instrument de percus- sion comme le cajén péruvien les bases rythmiques se sont énormément consolidées. Tout ce perfectionnement influenga et continue d'influencer toutes les modalités du flamenco, que ce soit la danse, le chant ou le toque («touché» ou «jeu» de la guitare), Mais les choses n’en sont pas restées 1a car Paco a «mis & la mode» la guitare pratiquement dans le monde enter, et il a ouvert des portes & nombre d’artistes apparus apres lui, L'intérét pour Ia guitare a grandi grice & Paco, et des musiciens aux styles les plus variés sont restés fas- cings par sa magie et ont tenté de fusionner les sons noirs de notre flamenco avec leurs racines artistiques (comme il est arrivé avec le jazz, la salsa, la bossa, pour ne citer que quelques exem- ples). Si, avant, j'étais un admirateur de ce génie de Algeciras, maintenant, aprés avoir analysé sa musique note par note, je me suis rendu compte de beaucoup plus. Par ce «beaucoup plus» je me référe (si vous me le permettez) & ce quelque chose que seuls les musiciens pouvons parta- ger, et que vous comprendrez aprés avoir lu et interprété un de ces morceaux, quel qu'il soit. Je ne prétends pas avoir transcrit la magie de ce sorcier dans la partition, mais seulement par- tager avec vous, de cette manitre graphique, un petit bout de l’oeuvre de ce guitariste des gui- taristes. Merei Paco. Jorce Berces, Mars 2002 25BARRIO LA VINA PACO DE LUCIA Trans.Jorge Berges civ a «CVI 33 BRTTUCUUCUCUS CL OCOC TULL LEIS IISSLVLULLELBELLELLELEULELULULULULEULELLLULULULULULUULLLULULE Barrio la VifiaBarrio la Vifia 35 cm -. eee STALL ALATA MAAS ACSC CCE T SSPE dTTP aaAaaneFHUVUUVUBLLLULULLELLLLELLULEULEUCEEULUUULUCUCUCUULY Teen Barrio la Vifia 36Barrio la VifiaFRVUVUUVOUUUUEULELELUULULLULELELUDLULUL ELLE UUULES Barrio la Vifia acu.Barrio la Vifla cil cu 39 cil TTTTATTTATTTAVVAVVTTVAVT ATA TT ATT AVAVVIVAVAVAVAVAVIVAAAAAGSFOSOUVYUUSEUEULUBERELLULLULLLELLEULELULULLELULELLULLUUE Barrio la Via4 Barrio la Vifia MEE RPC aanqeeFERUULEEEELLELEVELLULULULULULULLLLULELELULLULLLUL Barrio la VinaDhbbbbbbbbELbEELEEELELLLEDSDDDALIDDEEEEEELEDEEESES Barrio la Vifla 43 Tattttit 4 camiVUUUUESEELE LEE LLU LULULULULLULEULULUULLULULELUS Barrio la Vifia ttttite tttti tl tit cmBarrio la Vifia mmc eee mae OOOOH TFET AATAAATAVAVAARCasOMVUUUUULLULLLLULELLELLELELE SIE EEEEELED ELECT EEEV TUTTO DE MADRUGA PACO DE LUCIA Seguiriyas Cejilla al I ‘Transe. Jorge Berges Gen = @ ra eee ce pimapima oe 47THESSOOUESSEEELESEESLELLLLLLLL ELL DELELEEEL De madrugé| 4 CVI --- Goo 49 De madrugé cul -. i beam TATA AA TAATAAATATTT ATTA TATABHVELESSELELLEEELELELUELLLUERLEL ELL DELELLELEEE De madrugaimei neon +e st De madrugé eo + +e ee te a en ce te - | ans - | eA UT TAL TAAL TATED TTA AA aaaaaann cm UkTEOVVVVUOLULUULEUULLUELULULLULULULELULULLLLLLLLULY De madrugé cmDe madrugé cm cl cv ci 3FESOVVUEVELULLULULBULLLLLLULULULULEY C ¢ De madrugé 34De madrugé cil TUVLVLVVVVAALEFERVUVUELELUUUBULLUELULULULULULLELULLULLL L De madrugé Jeb inanSsababsanoedicDe madrugé AO INR N RE CN IM eT cm cl clSERVVUUVELLLVUELELELELULULLLLLULLUL | BH De madrugéDe madrugé 59 Rema AAAAMAAA AAA aaaaaaaaaaaaaaaaaaaaaaaaceFARRUCA DE LUCIA PACO DE LUCIA Farruca 6° cuerda en Re ‘Transc. Jorge Berges Tranquillo = LLL re LELEEEL pocoa aS ritardando 6FTEVVULUBLULULLLULULULULLULULEULUVULULUUUL . lh Til Ah ail: aWh - coiMabadaianescertisoncn! at eval bowen htt: dabetentih mania mak bib Toe mimeo ONFarruca de Lucfa 68 cvu Hiese Mimmmmnnnan tte ssscatisserssaaaaaaaaaaaaaaaaaaaaasaceGELEUUULELULLULLELULLLULLUUULUULLLELULELLULUES cm... diminuend Farruca de LuciaFarruca de Lucia ETO OANA ERNE 05 ts RNR A is ca foes diminuend 65 mrrnenna 00 0 000909000040009000000004 04444 aaaaaaaaananeeTEUUVUVELULUULLEULLLULUULULLLELEULD cm Clil-s Farruca de Lucia tempoFarruca de Lucfa ten. | = = * 2 oe ee re ee a ee ee “4 2 = = = = SI so = ritardando ten a tempo 5 5 5 5 cm... = ten, a tempo 0 DEVULEULULELELELELELELELELELEDELELELELELELILYEGEVUUUUBLULUVLULULLLLLLLULL | - 5 a 3 « ie ee a 3 E Ay) od 4! i = t Hil i)Farruca de Lucfé a tempo ritardando P 69 DTVTTVAVAVVAVAVVAVANAEFarruca de Lucia i p.m pimamia 41111111111111111911919940949949R CeBRVVUULUULLLELLLELULLELLLLLLELELELLLULL Farruca de Lucfa CVI. CVI... a Pitardando ire = | a a a m p i om i m p pimamip iami poco a c vill cvm.., CX 5 a tempo nFarruca de Lucia vitardando 1 F + imapimamip dies imap --Farruca de Lucia a tempo vitardando SS Bitterman ne 0309100000711 TA AAA Tada asaaanTaacnnenee ee ee ee ee eee eee ee eee ritardando cul —. " Farruca de Lucia imaimiTransc, Jorge Berges MARIO ESCUDERO 15 Bulerias _ ee bec ieee 08080 4 AAA TAT 8 0k aanaaaanaae oVECCUUUBUUUUUULULUULLULULTUUUUL cu -. cm mpetu Oecit cm fmpetu cv > oO pete nn a a a AAANAAANANAAAAATETAANAAAAAANAAATANTAAAANANGAGEAPOTS VUY PVVUVUUUYUUULUUUUUUULLEILU impetafmpetu ) fa Mirena kana naaanaaaaaagaaaanaaanaaananananannaanesa BES UES EU UU UU UC een | {mpetu cv 80 CVI cm cvfmpera afmpetucit cl fmpetu 83 C Pata aa aaaaaaaaaaaaaaaaaaananaeevRVV VV VU CVU UU UU OU fmpetufmpetu 85 nets 93900 04.111.41.14.11111111919111119191919929144944488TEVVUVVUVUEVULULUULLUL {mpewucm fmpetu 87 LAULATTTT TTT TT ATA TATAVAVAVAVAVAVAVVAVANAAVANTEWV VVC VUUUUUUUUUUUU cm -. fmpeta crTUVVULLLL {mpetu 89{mpetu AANAANA111112411919088{mpetu a MERRSLIIABAAL a aaaaaaaaaaaaaaaaaiasaewveU {mpetw 92JEREZANA PACO DE LUCIA. Bulerias Cejilla al IIT Transe.Jorge Berges x x x x — 4H <- + Trttittt tut cami-.cam i 93‘ PRALINE SERS ATL ALERT IDL AEE Ui SARIN 7 Jerezana 95 Bietenae.eo1 ss conennnseeiteii1e si 1iaaaaaaaaaaaaaaaaaaaaaace °°VUOVVUVUUUUUUUUULLUUUULUTUTUUT Jerezanarit) ttt 97 Jerezana Sanam aaatadadaaaniaaaaanaaanaaaaaaaaaaaaasaann aleTHUVVVUUBUUUUUVUUUULUULULTUUUTU Jerezanaee ee eee ee 7 | . | + i x Jerezana 00 cami...Jerezana Clee cm... 101 VAVVVVAVVVAUVAVAVAVAVVVVAL LEJerezana J TEI LTT pain ty oe se ee woo 02103 AAAARANAANAAANADANAAAANAAANANAAAAAAAANAAAANAAAA OOMJerezana 105 AVVVVVVAVTVVTAVEVATAVTVVTVVTAVADDADAD A OeJerezana Trttlitt tL cami-cam ivJerezana ose 107 Tttti th TAUTTTTATAT AT ATA TTT TTT TTA TTA 910414 leFFROUULULLLLUULULLULLLUUUL JerezanaJerezana 109 VVVVVAVAVAVVVVAA AVULVULULULLLLLULULLULLLLLULULULL Tientos Cejilla al II cn LLANTO A CADIZ PACO DE LUCIA un Trans. Jorge BergesLlanto a CAdizCH. U3 Llanto a Cédiz 999199199919991919999119191999999949 leLlanto a CadizVvut VU VULULELULLLULL LU 2! WSSLLLUULELULEL Llanto a Cadiz CU usLlanto a Cédiz 111211111119441141144488nT Llanto a CadizLlanto a Cadiz Gio 5 pe cj TE —T Lr 7 ae pm pm i 419111111111111794991194408 us& g a n9 49991911919919191119111911999 ChLlanto a Cadiz 120PUNTA DEL FARO PACO DE LUCIA Transe. Jorge Berges Bulerias Cejilla al IITPunta del Faro Src lees cl cm . cu cm cl 12Punta del Faro cm cm V1191919191.991911194499994944449% 123Punta del Faro 124cll Punta del Faro cu 125 19.91.9.9.91991911919919444949999994949 00 alPunta del Faro cul cl alee leader 126Punta del Faro 127 4919991991919119111111.9911922199.444008.008THUCVUUUSTUUUUUULUULUUYU 5 cm. Punta del FaroPunta del Faro 129 cil 19.19.19119999991197919.212929299212129994494999949440 0 OllePunta del FaroPunta del Faro cm 131 VUVAVAVVVVVAVAVATV ATA AAAPunta del FaroUS ULULULLLLLLELULULULELLULULLUUL ect coreg [ep Bung, moPunta del FaroUSE EULLULL EU ELE LULL UULELELEULELLULLELIUL sel ore Jap wiungPunta del Faro 136eee eee bee EEO E CUCU Coe ee e = = ler coreg [ep wring, itdPunta del FaroUC UUUUULLLULULULLUULLLLLLLULLULLE +a So a aS 5) ares eo a3 =o = > ect xe Jap wiung1 Punta del Faro41999199129999999999999921999999940 2 * td al eeaeet ee 8 seBiog o8:0f ‘osuesy BalonH ap soBuepuey VION ad COV Wridn V.INOdPunta Umbria € < < e « « € € © e < o ¢ ‘ pimamip a pimami a pamipami p =MS UUUUUUL UL ULE ELLE UU UU LULULUL LLL LL ULELLLULLL ru eu d eri d Buquin eiungeee | ay I 144 Punta Umbria imaimim.. cm P FQeuquin wungPunta Umbria nannnaneannnaane 146PITT UUUUUUUULUL LL ULULLLLULUULUULLLEE Fn fe Lt euquin eung moPunta Umbria 4WSTULUULU RULE LULL LL LULULULULULULLLELEUL 2 3 ¢ 2 q orlPunta Umbria 12712711279441111908ESS VUUUUUUULELULELELULELULUDELELELELULLLELL 5 ort = Byquin mungPunta Umbria brrtittt eami..cam ° < 11111244114144¢6 i oe 5 eree st geiccred - nd — Cul - o a = ra ij. i fd a . : a5 r ie Ltt - e pai