FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band CFLUTE By ROBERT W. SMITH (ASCAP) I. Tone ‘Repeat three times with varied dynamic shapes as follows: neal aserg oe ease ‘arena deresceno for ‘Grice exch saan freight best fom a plang tf, 1 2 3 A. Slurs (Repeat as directed) B, Scales and Articulation 1, Pentaseale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4. Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6, Pentascale 2 (Slur and staccato) 1 205 BEL WN MILLS PUBLISHING CORE. (ASCAP) Al igh Ase al Comal by ALFRED MUSIC PUBLISHING CO, INC sDMos028 ‘AURghe Hered Pectin USAIII. Theory and Composition A. Seale Degrees B. Chords based upon Scale Degrees div. a C, Compose The Chorale 1. Corapove acho seguece king te Romsn ramets Forth band to perfore tach sle 2. Revise (dk) your chord seusnce afer you hea your chor div, IV. Courtland Chorale Freely (as conducted) div. 7 2 5 7 Ip) ee * ‘BDMsoa8FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band nae By ROBERT W. SMITH (ASCAP) I. Tone ‘Repeat three times with varied dynamic shapes as follows: | Saad mea = fneach ate nao, Shape cach susan with aerescendo ie {oar beat, dcrenceno i ou beat, °. Crescendo each ssa freight bets pzo to forts 2 2 2 Slurs (Repeat as directed) B, Scales and Articulation 1, Pentaseale (Tenuto and staccato) 2, Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) (©2005 BEL WIN. MILS PUBLISHING CORP (ASCP) Al igh Asgndto and Cond by ALFRED MUSIC PUSLISHDIG COIN, Bb Moso28 ‘AURighsResened Paella USA.Til. Theory and Composition A. Scale Degrees B. Chords based upon Seale Degrees ‘C. Compose The Chorale 1. Compose chord sequence using the Roman numeats | “or the and to prom ina caer 2, Revs edt) your ehord sequence ater you hear you choral, IV. Courtland Chorale Freely (as conducted) D.C. al Fine BDMISO28FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band Bb CLARINET By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with varied dynamic shapes as follows: 1, Satin cach note at rer fet. 2 Boginesch nests pane Shape cach usa with «crescendo in fear bet decesso fou be, 3. Crescent each ssn fr elt bets foe plan wo fre 2s ‘ 7 2 9 o u 2 1 2 3 IL. Technique A. Slurs (Repeat as directed) 1 2 3 ‘ 5 6 4 ‘ B, Scales and Articulation 1, Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4. Pentascale (Tenuto and staccato) 5.'Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) seers Ss . 2005 BELWINAI.Ls PUBLISHING CORP-(ASCAP) AUR Asie and Conley ALFRED MUSIC PUBLISHING CO. INC. ‘BoMasoas ‘ALRipha Reseed Pitdia USA.Il. Theory and Composition A, Scale Degrees B, Chord based upon Scale Degrees iv. Afgsreeeee eer: Hstisit 5 C. Compose The Chorale 1 chord sequence ung te Reman numerals and to perfom ina chal se (a) go chord sequen afer you hea your hore IV. Courtland Chorale Freely (as conducted) div. = pe Fine u 2 D.C. al Fine BpMoso2sFIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band BASSOON By ROBERT W. SMITH (ASCAP) I. Tone ‘Repeat three times with varied dynamic shapes as follows: 1, Sutin each note sta mezzo foe, 2: Begin each note at piano, Shape cach ssa with crescendo in foarte, dvrescanaa in fou es. 8. Gesend6 each ssn fer lg bes fom a plan oat. 2 2 2 T z 7 5 % 7 5 6 7 IL. Technique ‘A. Slurs (Repeat as directed) B, Scales and Articulation 1. Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentuscale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) {©2005 EL WILLS PUBLISHING CORP. (ASCAP) Al Rigs Aged ond Cooled by ALFRED MUSIC PUBLISHING CO, INC. BDM0s028 ‘ALR psteseed Pax iaUSA,Il. Theory and Composition A. Scale Degrees B, Chords based upon Seale Degrees C. Compose The Chorale Gxgreaetese eo 2d lb ao tee IV. Courtland Chorale Freely (as conducted) DC. al Fine BDMOS0~Tiveless'Cruscde for Music Education Through the Concert Band FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band ‘Bb BASS CLARINET By ROBERT W. SMITH (ASCAP) I. Tone ‘Repeat three times with varied dynamic shapes as follows: 1. Sustain each neat amex fore 2 Reglnesch note ats plano Shape cach sola with a resceao in fear bet, decencio fo Peat _3. Givens ech tin foregh ats em plano foe 1 a 3 2s 6 1 2 9 10 u 2. Il. Technique A. Slurs (Repeat as directed) 1 a B. Scales and Articulation 1, Pentaseale (Tenuto and staccato) 2, Two Per Pitch (Tenuto and staccato) 3, Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) 1 205 BELWIN. MILLS PUBLISIENG CORP. (ASCAD) Rie Age oan Cone by ALFRED MUSIC PUBLISHING CO, INC BDNOSO28 AURighsResered Pate USAIII. Theory and Composition A. Scale Degrees B. Chords based upon Scale Degrees C. Compose The Chorale |. Compose a cox soquence wing the Roman sues forthe ban to prin in corse ue 2 Revie (eh jor chow sguonce fer you Bea Your chorale, IV. Courtland Chorale Freely (as conducted) 1 2 3 “ D.C. al Fine ‘apesLhretess Crusaae jor muste Kaucation Lnrougn me oncert sana FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band Eb ALTO SAXOPHONE By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with varied dynamic shapes as follows: 2 Bienen gil, Sapa seal ih crscendoin 3. Crested ea asta fr elght bes om a pian oar, TI. Technique A, Slurs (Repeat as directed) B. Scales and Articulation 1, Pentaseale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3, Pentascale 2 (Slur and staccato) 4. Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) (©2005 BELWIN MILLS PUBLISHING CORP (ASCP ‘AU Rigs Aspe o ad Conroe hy ALFRED MUSIC PUBLISHING CO, INC. Liao A Rages Revere. Pasted in SA.Il. Theory and Composition A. Seale Degrees B, Chords based upon Seale Degrees liv . Compose The Chorale 1. Compote a chard soqcace ung he Roman acral Torte bad perarm aa core le 2. Revise ei) your chord seqsence afl you hes yourebrale div, IV. Courtland Chorale Freely (as conducted) div. mp D.C. al Fine ‘BpMos028Tireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band Bb TENOR SAXOPHONE ‘By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with varied dynamic shapes as follows: 1, Susiia each ate at mezzo fre 2 Begineach noe aa plano, Shape each sustain wit crescendo in ent bets decresceno ia four beat. 3 Crescendo each susan freight beats from a plano to forte 2 ——, 2 2 IL. Technique A. Slurs (Repeat as directed) 2 earns B, Scales and Articulation 1. Pentascale (Tenuuto and staccato) 2, Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4. Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato)TIL. Theory and Composition A. Seale Degrees B. Chords based upon Scale Degrees C. Compose The Chorale 1. Cony 08 chord sequence ang the Roman manera arto perfor nach 2. Revise (ed) your chord sequence aftr you hear your chow, ii Vv IV. Courtland Chorale Freely (as conducted) iTireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band Eb BARITONE SAXOPHONE By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with varied dynamic shapes as follows: 1, Sut cach ote ea ricz0 fre 2, Begins notes ar, Shape ac iin witha rscenc in four beats deseo feu et ‘3, Cscend cacti foe eas froma pag oo 2 2 T 7 7 5 ‘ 7 * ‘A. Slurs (Repeat as directed) B, Scales and Articulation 1. Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentaseale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) ‘Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) (© 205 BELTS PUBLISHING CORP (ASAP) Alig Aine oad Cool by ALFRED MUSIC FUBLISHING CO, IC, ‘BpMoso2n ‘igh, Pras in OSA,Ii. Theory and Composition ‘A. Scale Degrees B. Chords based upon Scale Degrees 1 2 03 4 5 ieee dare HeeEE v C, Compose The Chorale Compo hr se ing Homan mers Forte bad to pfomn ia chorle syle. 2. Revise (edi your chord sequence fe you Bear your chor. IV. Courtland Chorale ‘Freely (as conducted) 2 DO. al Fine ‘EDMoso28In Memory of My First Composition Teacher, Dr. Paul Yoder, and His Tireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC ‘A Warm-up and Fundamental Sequence for Concert Band Bb TRUMPET By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with varied dynamic shapes as follows: 1, Suntan each note at e mex fore 2 Begin each ne tpn Shape cch sean wth a crescendo in furtents, deaeacen a font bas 2, Crescent cach ses for eight bas fom a iso to Fe, 2 3 ® 7 2 3 ® u 2 1 2 A II. Technique Slurs (Repeat as directed) 1 2 3 4 5 6 1 2 B, Scales and Articulation 1. Pentaseale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6, Pentascale 2 (Slur and staccato) ©7005 BELWIN-MILLS PUBLISHING CORP (ASCAP) ot AI Riis Asigne and Cotald hy ALFRED MUSIC PUBLISHING CO, INC ‘ponanso7 "Ail Riots Resetoed. Proved in USA.Ill. Theory and Composition ‘A, Scale Degrees B, Chords based upon Seale Degrees div. C. Compose The Chorale 1. Compose acho sequence a “othe band to perform na cal se te Roman numerals 2. Reise (ed) youd Sequance ate You ear your chorale div. IV. Courtland Chorale Freely (as conducted) div, o _?_——$———S o_o BpMOSOaElreless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC ‘A Warm-up and Fundamental Sequence for Concert Band HORN in F By ROBERT W. SMITH (ASCAP) I. Tone ‘Repeat three times with varied dynamic shapes as follows: 1, Sosa each not sta mez ore 2 Begin cack neat pao, Shape ach sestin with acecendo a four bas, dees four bon 2 Graces each tain or sgt ras fom a piano tft ‘A, Slurs (Repeat as directed) B. Scales and Articulation 1. Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) (©2005 BELWIN-MILLS PUBLISHING CORP (ASCAP) ‘ADRs Asie onl Cooled by ALFRED MUSIC PUBLISAING CO, INC ‘BDMDso28 ADRApHSResened,Pnedin USAIll. Theory and Composition ‘A. Scale Degrees B. Chords based upon Scale Degrees C. Compose The Chorale 1. Commpoge a chord sequence using the Roman aunecls forte band to pererm na corte sy. 2. Revise (ei) your cher sequence ft: you hear your chorale oe oe IV. Courtland Chorale Freely (as conducted) 2 D.C. al Fine BD Mosoasttreues9 Cr uauuie UF nau: aL bievNgi nie Contec ie FIRST BAND CLINIC A Warm-up and Fundamental Sequence fot Concert Band ‘TROMBONE/BARITONE By ROBERT W. SMITH (ASCAP) 2 Beginesch ona pan, Shape cach sustain wth crescendo in fea bas, crescent it four beats 5, Cresend each susan fa gh bes rom a ping fe, T 7 7 + é 7 ° » 7 Il. Technique A. Slurs (Repeat as directed) B, Scales and Articulation 1, Pentaseale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3, Pentascale 2 (Slur and staccato) 4, Pentascale (Temuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) (©2005 BELWI MLS PUBLISHING CORP. (ASCAP) Al is Asta ul Celndty ALFRED MUSIC PUBLISHING CO, TNC ‘AURhs Ree Pane in USA, -RDMISO28III. Theory and Composition A, Scale Degrees B. Chords based upon Scale Degrees div. 2. Revie (et) jour chord sequence fe You Ber your hoa. div. Courtland Chorale Freely (as conducted) div. 5 7 7 ‘¢ tp a 2 DC. al Fine ‘BDMOSI28Tireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC ‘A Warm-up and Fundamental Sequence for Concert Band BARITONE Treble Clef By ROBERT W. SMITH (ASCAP) (World Part TROMBONE in B> Treble Clef) L Tone Repeat three times with varied dynamic shapes as follows: 1 esas each ste ata mezzo foe 2. Begincach naa plano, Shape each sue with crescendo ia Ie bes, dosesentn nfs bss 23. Gescendo each usa or eghbeis fom piano to fore. 2 as 2s 6 12 6 w u 2 — IL. Technique A. Slurs (Repeat as directed) 1 a B. Scales and Articulation | 1. Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentaseale 2 (Slur and staccato) 1 2005 BELWIN.MILLS PUBLISHTNG CORP. (ASCAP, Al igh Asso aCe ty ALFRED MUSIC PUBLISHING CD, IN, TADRige Reseed, stdin SA BD MOS0REantone 1.U.= 2 Il. Theory and Composition ‘A. Scale Degrees B. Chords based upon Seale Degrees div. C. Compose The Chorale 1. Conse hod eaves i Ye Roma seals Sorte bans to pera ina evar ee, 2 Revi (ee your choc ene ADE Yu hear your cor, div, IV. Courtland Chorale Freely (as conducted) div, ——_—S—= i ™p 2 2 D.C. al Fine RD Moso2tTireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band TUBA By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with varied dynamic shapes as follows: { getoacachot wane ete 2 far tans decease fou Bea 4, Greased each sta fr eg bets om piano to fore 1 2 3 2 5 5 7 2 5 0 u 2 ‘Shape cach utain with acresceed a o_o A. Slurs (Repeat as directed) B, Scales and Articulation 1. Pentascale (Tenuto and staccato) ‘Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6, Pentascale 2 (Slur and staccato) (© 200 BELWMDLOMTLS PUBLISHING CORP (ASAP) ‘Ris Asad al Comal by ALFRED MUSIC PUBLISHING CO, INC ‘BDMOsoa8 AURIS Reseed, Pted in USATil. Theory and Composition ‘A, Scale Degrees B, Chords based upon Seale Degrees C. Compose The Chorale 1. Compose a chord reqance wing the Roman numerals Sor the band opis ina chorale se. 2. Revise (edi yor chord sequence ale You Bear You choral IV. Courtland Chorale Freely (as conducted) 2 2 n 2 DC. al Fine ‘BDMosoaETireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band MALLET PERCUSSION By ROBERT W. SMITH (ASCAP) (Bells, Xylophone, Vibraphone, Marimba) I. Tone Repeat three times with varied dynamic shapes as follows: 1} Siaeahnoe emer fa each aoe at pan Shape ach mal with crescendo in foo benscocrescnt nfo es. 2. reser each suai rege Seis fon a plano w fe, 2 2 TRRRRRRERRRRRRRR § 2 TLELLELIGC ‘EEL EtLL ® "RL RR LR R RRL RR RLERLR II. Technique A. Slurs (Repeat as directed) B, Scales and Articulation 1. Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3, Pentascale 2 (Slur and staccato) 4, Pentaseale (Tenuto and staccato) (© 2005 EL WIN. ILS PUBUSHING CORP, (ASCAP) AlRigh Asigretio sl Cae by ALFRED ASC PUBLISHING CO, INC.» ADR eee Prise in USA BBDMaso285. Two Per Pitch (Tenuto and staccato) 6. Pentaseale 2 (Slur and staccato) Ill. Theory and Composition A. Scale Degrees B, Chords based upon Scale Degrees C. Compose The Chorale 1. Compote x chord sequence wing the Roman meals ‘rile bani patom ina choses. 2.Rvie (et) your chord sequence afte You hear your chorale IV. Courtland Chorale Freely (as conducted) no rolls on Bells T 7 4 ‘9p a pMosoas‘Direless Crusade Jor music paucation 1 nrougn ine Loncers puna FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band TIMPANI By ROBERT W. SMITH (ASCAP) I. Tone Repeat three times with viried dynamie shapes as follows: Ty Sutin ech note ata mez 2 Benen go tao Sasa sen witha endo in 3, Gencad sch saan fret bas fom piano fre, 7 SRE RRR RRR «RE RRR RR 7 LLLLELLL 2 TL LkbLEreL ® Tg LOR R LOR R RRL RR RERLR A. Slurs (Repeat as directed) IL. Technique use sticking pattern as directed by the conductor (© 205 BEL WINMLLS PUBLISHING CORP (ASCAP) ‘Ai ies Ange ond Conta by ALFRED MUSIC PUBLISHING CO, INC BDMOS028 "AU Rigs Reeve, Psted ia USA,B. Scales and Articulation 1, Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) Ill. Theory and Composition A, Scale Degrees B. Chords based upon Scale Degrees ‘Timpani tacet - Play notated Keyboard Percussion for Section 3 1 2 3 5 C. Compose The Chorale “Geeta cetnee sce 2. Revo) your chor sore aout yor ale 4 1 Vv v IV. Courtland Chorale Freely (as conducted) ~~ —$—?— Fin D.C. al Fine -BDMOSOaSAire1699 Wr woUuE JUF nals RuLAun sinemgin nee wontons FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band PERCUSSION I By ROBERT W, SMITH (ASCAP) (Snare Drum, Bongos, Bass Drum, Triangle) I. Tone Repeat three times with varied dynamic shapes as follows: 2 Begipampow pr, Stape ch in wih cei {oe dora io s, Qesccnd each enn aright bas roma pan fone. S.D./Bongos 2 4 5 7 v . BDRRRRER RR RRERRRR DOOLECLOL oat te eee ROR R DR RR RL RR RERLR II. Technique A, Shurs (Repeat as directed) use sticking pattern as directed by the conductor (02005 BELIMILLS PUBLISHING CORE (ASCAP) A Ris Aspe ond Corel by ALFRED MUSIC PUSLISAING CONC, -BDMOSO28 ‘AU Rigid Pratl in USAB. Scales and Articulation 14. Pentascale (Tenuto and staccato) 2. Two Per Pitch (Tenuto and staccato) 3. Pentascale 2 (Slur and staccato) 4, Pentascale (Tenuto and staccato) 5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) oS oo a et *So cee Il. Theory and Composition A, Scale Degrees B. Chords based upon Scale Degrees Percussion tacet - Play notated Keyboard Percussion for Section 3 Nettie are see. 5 C. Compose The Chorale "Coen ard apne ne Ran ac 2. Revs (etn your chord squence iter you hes your cho I it iti Vv v IV. Courtland Chorale Freely (as conducted) Teel 7 amp? 3 + + Fine D.C. al Fine{ireless Crusade for Music Education Through the Concert Band FIRST BAND CLINIC A Warm-up and Fundamental Sequence for Concert Band PERCUSSION I By ROBERT W. SMITH (ASCAP) (Wood Block, Cowbell, Suspended Cymbal) I. Tone Repeat three times with varied dynamic shapes as follows: 1 Sunead nae anette reg * Bilan gecono ls outa 3, Gescend ac stain fx eg bes rom plano oe 2 7 7 “Lt CORR ER RR KERR ERR Ceo. roer. 2 RODORTR COR RR ROTOR R RERLR CECE He: Il. Technique A. Slurs (Repeat as directed) tse sticking pattern as directed by the conductor £6 2005 BELWIN-MILLS PUBLISHING CORP. CASCAP) ‘Ais Ase nd Comme by ALFRED MUSIC PUBLISHINO CO, 1, -BDMOS028 ‘APRighis Reseed, Pstdin USAB, Scales and Articulation 1. Pentascale (Tenuto and staccato) 2. Two Per Piteh (Tenuto and staccato) 3, Pentaseale 2 (Slur and staccato) 4, Pentaseale (Tenuto and staccato) ‘5. Two Per Pitch (Tenuto and staccato) 6. Pentascale 2 (Slur and staccato) III. Theory and Composition A, Scale Degrees B. Chords based upon Seale Degrees Percussion tacet - Play notated Keyboard Percussion for Section 3 necette C. Compose The Chorale 1. Compose acho sequeae ung he Ronan numerals Tortie bad to pti ia corele ye 2 Renin (ei your chord sequoce afte you bear your chore 3 1 ii Vv v IV. Courtland Chorale Susp. Cym. 2 Freely (as conducted) 2 a D.C. al Fine ea 2 ?>_—