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Table of Contents

1998 JS Productions All Rights Reserved


Any duplication of this material for any reason requires express written consent
Good Times (Class of '84). . . . 1
Passages. . . . . . . . . . . . . . . 12
Bells of Freedom. . . . . . . . 21
By Moonlight. . .. . . . . . . . 31
Sacred Ground. . . . . . . . . 39
Ridin' West. . . . . . . . . . . . . 44
Winter Wind. . . . . . . . . . . .53
Jon Schmidt Catalog . . . . .63
1
Good Times
written by Jon Schmidt
(from the album ) Walk in the Woods
Good Times 1998
Side Notes: Helpful Hints:
copyright 1998
Better if played before Sept. '98
=125-145
I owe an awful lot to the great group of kids I went
through high school with. This song was written way
back then and it's dedicated to all of them.
(I know it sounds silly, but the subtitle has the year our class was born
(Class of '84)
5
2
simile
6
Having this underlying beat in your mind makes playing the song twice, no, three times as nice.
9
1 2 3 4 6 7
instead of the year we graduated.)
Pedal ad-lib
| | |
One unusual thing you'll find in this song is what I call subliminal
notes. Subliminal notes are notes with a rhythm function that find
their way into my music because I'm feeling a percussion part in my
mind as I play. I think it makes for a fun style of piano music, but I
did notice that some of these notes bothered some of my student testers
at first. Therefore, I've marked the potentially bothersome subliminal
notes so they can be deleted, if you want, without really hurting the
song. After you've learned the song, you might put the subliminal
notes back in. For best results keep the subliminal notes subtle.
| | |
etc.
These #s are for rhythm help. I like letting the = 1 beat so
you can avoid the dreaded "ee- and-ah."
5

8
2
Good Times 1998
12
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(play R.H. notes an octave higher)
15
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
5
5
3
18
21
24
End of 8 va
May I recommend the accents this evening?
1 2
The more you count like the tick of a metronome, the better these numbers
work. (Use the word "apple" to keep the beat steady through a double flag.)
3 4 5 6 7 8
ap- ple
5
1
5
3
Good Times 1998
27
5
1
4
1
5
1
5
1
1 2 3
30
34
37
40
1 2 3 4 5 6 7 8
Certain notes can sound downright awful until you arrive at a
reasonable tempo (in other people's music too - not just mine).
1 2 3 5 6 7 4 8
ap- ple
3 1 2 5 6 7 4 8
4
Good Times 1998
43
1 2 3 4 5 1 2 3 4 5 6 7 8
46
5
2
1
5
3
1
5
4
2
49
(see Helpful Hints for explanation)
( )
"subliminal notes" marked like this:
52
2 on top
55
( )
5
2
1
5
3
1
5
4
2
6 7 8 1 2 3 4 5 7 6 8
etc.
5 6 7 8
(use thumb for C&D)
For a shorter performance skip
to measure 82 .... now.
5
Good Times 1998
58 4
1
2 1
61
64
( )
4
5 4
2 1
67
70
The fingering is your .
5
1
4
1
friend
2 1
legato
cresc.
6
Good Times 1998
73
5
4
1 2
3
2
If this part gives you trouble, try the accents.
76
2
5
5
79
1 2 3
( )
4 5 7
82
85
6 8
1 3 2 4
etc. 8
1 2 3 4 5 6 7 8 1 2 3 etc. 8 1 2 3 4 5 6 7 8
7
Good Times 1998
88
5
2 3
1
4
1
6 8
91
( )
94
1 2 3 4 5
( )
6 7
( )
8
( ) ( )
97
1 2 4 6 8
You might want to delete these two measures. (They're not very interesting without the orchestra.)
100
2
3 1
Left hand crosses to upper stem until measure 116
L.H. etc.
5 7
ap- ple
( )
3 4 5 6 7 8
1 2 3 4 5 6 7 8
3 5 7
cresc.
(use thumb for C&D)
8
Good Times 1998
103
106
108
1 2 3 4
4
2
1
5
4
2
6 7
( )
8
110
113
5 6 7 8
5
( )
5 6 7
( )
8
9
Good Times 1998
116
1 2 3 4 8
119
122
Maybe do this part the same as measures 26-27 if it's still sounding bad after 100 tries.
1 2 3 5 6 7 8
3
124
127
8 va- - - - - - - - - - - -
cresc.
5 6 7
( )
4
10
Good Times 1998
130
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End
8 va
133
136
139
decresc.
rit.
You might be interested to know that
I let go of the R.H. "G" so that it dis-
appears on the second pedal lift.
Advertisement
The Syncopation Angst Institute is currently accepting new candidates for research. Those eligible will
qualify for FREE counseling and therapy sessions.
You qualify if you meet the following criteria:
You get flustered, hopeless, or go into denial whenever the music requires you to perform
weak-beat eighth note rhythms that tie in this fashion:
Therapy sessions will include the following:
The Sha-Boom Treatment: Mentally or audibly say the word sha-boom
to get the right feel, thus:
Simply say sha-boom in perfect eighth note rhythm.
(You have to feel the word boom on the strong beat
even though you dont play anything.)
Sneeze Inducement Therapy:
Sneeze where indicated with metronome -like
precision.
Hi-Hat Imagery Training: (For patients that are able to identify and
imagine the hit-close combination of a hi-hat when heard in pop music.)
The hi-hat is the open flying saucer cymbal that is
often hit on the weak beat and then silenced on the
strong beat with a foot-pedal.
Patients will also learn to apply any one of these same treatments when weak-beat eighth notes appear in the
following manner:
To respond to this ad, please dial 1-800-A-CHOOOO
12
Passages
written by Jon Schmidt
(from the album ) Walk in the Woods
Passages 1998
Side Notes: Helpful Hints:
copyright 1998
un poco moderato largamente presto wafflemaker
=95-115

1
8 va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
End 8 va
5
9
1 2 3 4
This piece is one of the more serious ones I've written.
I guess it's because it came to me during a serious time.
Although I was optimistic about the future, I began to
realize my carefree days that I had loved as a "youngster"
Pedal ad-lib, except where noted
would soon be gone forever. (Don't worry, I got better)
1 2 3 4 5 6 7 8
For best results, stick only to the notes that are written.
Remember the sha-boom trick.
Honor all the ties.
Honor all your commitments.
1 2 3 4 5 6 7 8 5 6 7 8
1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 ap- ple 56 7 1 2 3 4
Here's a pedal lift that really makes a difference
5 6 7 8 5 6 7 8
1 2 3 4 5 6 7 8 1 2 3 4 1 2 3 4 5 6 7 8 5 6 7 8
13 Passages 1998
13
3
2
1
18
Some have found the ties in the first few pages to be quite ... onerous, shall we say. It might be helpful to take a highlighter and mark the notes that actually do get played.
21
24
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
5 6 7 8
14 Passages 1998
28
31
5
4
2
1
3
1
5
4
2
5
3
1
fingering saves lives
34
38
4
3
2
1
1 2 3 4 5 6 7 8
3 4 ap- ple ap- ple ap- ple 5 6 7 1 2 3 4 5 6 7 8
1 2 3 4 1 2 3 4 5 6 7 8 5 6 7 8
1 2 3 4 5 6 7 8
15 Passages 1998
42
45
48
51
5 5
1 2
3
R.H.
R.H.
1 2 3 4 5 6 7 8
2 1 3 4
ap- ple
5 6 7 8 1 2 3 4 5 6 7 8
5 1 3 2 1
16 Passages 1998
54
57
5 1 2 3 5 1 2 3
60
64
4
2
1
3
1 2 3 4 1 2 3 4 5 6 7 8 5 6 7 8
3 4 ap- ple ap- ple 5 6 7 8
1 3 4 56 7 8 ap- ple
17 Passages 1998
68
72
75
L.H
L.H.
78
HAZARDOUS AREA AHEAD: USE THE FINGERING OR TAKE THE DETOUR. (leave out the parentheses notes)
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
cresc.
1
1
5
2 1 3 2 1
5
1
3
2 1
5
2
1
3 2
( )
1
( )
18 Passages 1998
81
Those taking the detour may find it helpful to highlight the notes that actually do get played.
( )
(G)
( )
( )

84
5
( )
1
( )
2 2
( )
( )
( )
( )
87
90
2
1
( )
5
2
1
5
2
cresc.
5
2 1 3 2
( )
1
( )
2
( )
3
4
2
( )
1 3
( )
2
2
1
( )
G sounds better here if you take the detour
2 1
( )
2
4
1
3
2 1
( )
2
5
2
1
3 2
( )
1
5
2
1
4
3
( )
2
( )
1
( )
2
5
( )
1 2 1 1 2 3 4
4
( )
1
3 2 1
cresc.
5
( )
2
1
2 1 2 3 4
5
( )
2 1 3 2 1 2 3
4
2
( )
1 3
( )
2 1
G sounds better here if you take the detour
( )
2 1
( )
2
4
1
4
3 2
( )
1
( )
3
19 Passages 1998
93
( )
( )
R.H. notes
96
99
102
Important
8 va - - - - - - - - - - - - - - - - - - - - - - - - -
,
5
2
1
3 2 1
( )
2
( )
3
5
2
1
4
2
1 3 2
decresc.
5
2
optional
1 2 3 4 1 2
( )
( )
A

20 Passages 1998
106
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va
109
112
114
A
3
For a more "pleasant" effect, please allow me to call your attention to the ties, rests and pedal lifts in this area.
Ah-ha! It doesn't say to flat it this
time, now does it?
molto rit.
a tempo
1 - 5
B


rit.
8 vb

No pedal lift
1/2
Lift pedal half way so that the
low note stays ringing a little.
21
Bells of Freedom
written by Jon Schmidt
(from the album ) Walk in the Woods
Bells of Freedom 1998
Side Notes: Helpful Hints:
copyright 1998
sehr klinghaftig
=135-150
1
I guess my German roots had a lot to do with this song being
dedicated to the fall of the Berlin Wall in 1989. Try to
recreate the scene of that day: Bells ringing through the
country side, people joyfully hammering away at the wall,
and a performance of Beethoven's 9th with chorus and
symphony from both sides of the wall joined together.
6
11
(This means keep doing it throughout the song so I don't have to keep pasting it in.)
The song just doesn't feel right unless ya do this.
Keep these repeated notes subtle. (Make them part of the wash)
Pedal ad-lib
Are you often tired....?
Do you lack energy....?
Maybe you need food....
Try food, for that extra touch.
drop lift
drop
lift
simile
simile
22 Bells of Freedom 1998
16
21
26
30
5
4
5
4
23 Bells of Freedom 1998
33
4 on top 3 on top
1
1
2
3
37
42
46
(thumb on C&D)
24 Bells of Freedom 1998
50 accent simile
L.H. over
55
L.H. L.H.
59
4 on top
3 on top
L.H. over
L.H. L.H.
64
(thumb on C&D)
(thumb on C&D)
25 Bells of Freedom 1998
69 2
1
2
1
( )
73
77
4
2
1
5
1
1
81
Like "Good Times," this song has some "subliminal notes."
Please see explanation in Helpful Hints section on p. 1.
5
4
2
4
2
1
5
4
2
1
( )
4 on top
5 on top
R.H.
option
2 1
cresc.
1
1
2
1
cresc.
(thumb on C&D)
cresc.
26 Bells of Freedom 1998
85
3 on top
(thumb on G&A)
L.H. over
89
L.H. L.H.
93
5 on top 4 on top
( )
1
3
1
4
2
L.H.
97
L.H. L.H.
(thumb on C&D)
3 2
1
(thumb on C&D)
27 Bells of Freedom 1998
102
2
1 1
106
110
4
1
5
4
1
1
114
5
4
2
4
2
1
5
4
2
4 on top
R.H.
option
1 2 3
cresc.
4 2 1 1 1 1
1
cresc.
(thumb on C&D)
28 Bells of Freedom 1998
118
3 on top
122
127
3
132
this means quite a lot of cresc.
molto cresc.
( )
( )
(thumb on G&A)
( )
( )
( )
( )
( )
( )
3 2 1
5
1 2 1
2
( )
1
G sounds better at slower speed
5
1 2 1
2
( )
1
(thumb on C&D)
5
1 2 1
2
( )
1
5
1 2 1
2
( )
1
29 Bells of Freedom 1998
137
142
147
3 on top
2 2
2
3
5
151
(thumb on C&D)
slow cresc.
30 Bells of Freedom 1998
155
159
163
167
3
1
fingering rather necessary at top speed
1 5 1 1 1 5 1
accent simile
cresc. allarg.
allargando: slowing and broadening
31
By Moonlight
written by Jon Schmidt
(from the album ) A Day in the Sunset
By Moonlight 1998
Side Notes: Helpful Hints:
copyright 1998
With a flowing, yet rubato feel
=65-72
(while it's cheap)
Attention beginners: If this song looks too hard, start at measure 10
asterisk notes may be played with R.H. if you like
4
6
A friend of mine met a very pretty Fijian woman on
a trip to the island. One warm clear night they found
themselves walking hand in hand by a river. The
moonlight was reflecting off the water and into her
beautiful long black hair, etc., etc., etc.. They fell in love
Pedal ad-lib, except where noted
and ended up gettting married. As a wedding gift I tried
to capture in music that perfect night for them.
*
* *
The rhythm on this song looks like it could be scary.
Just take it one column at a time and the rhythm will take care
thought to be an excellent essay on Rubto in Book 1 (in an effort to
be a little more up to date politically). Let me just mention that the
gist of "Rubato" is that you have the permission to speed up, slow
down, or even stop the tempo if you feel it will help you to express
the phrase more, uh, expressively.
To the great relief of many, I've decided not to reprint what I had
of itself.
(And also, dig it.) girls
It's Not.
* * *
*
32 By Moonlight 1998
8

I find it funny that people are fine with 6-8 time, yet they have a problem with 12-8 and 9-8 time. This is quite useless bec
The =1 The =2 The =3.
1
Isn't that easy? Oh, and sometimes you might need to know that
2 3 1 2 3
ause they all work the same. Remember, whenever the bottom # is 8:
I use this system almost all the time because I don't like saying "ta te ta" or "ee and a".
The =4 The =6 and The =8
(It can be used with 4-4 time!...or 3-4!.. or 2-4 or 2-2 or 7-8

11
14
17
You might want to start on this measure the first time. If you do,
look at measure 2 to see what the asterisks mean.
or 5-8 ........
pedal simile
33 By Moonlight 1998
20
23
26
29
*
F#
* *
E
* *
*
*

|
cresc.
A
34 By Moonlight 1998
32
35
38
40
decresc.
*
L.H.
cresc.
R.H.
cresc.
decresc.
dolce
*
*
*
1 2 3
* *
35 By Moonlight 1998
42
45
48
Cross R.H. thumb under to avoid collision
1
51
*
pp
|
cresc.
decresc.
5 3 2 1
*
cresc.
|
Do a 3 against 2 rhythm if you like.
|
36 By Moonlight 1998
54
57
60
4
1
5
1
63
cresc.
decresc. * *
*
cresc.
E
molto allarg.
a tempo
A
*
*
37 By Moonlight 1998
66
69
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(play R.H. notes octave higher)
72
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
End 8 va
75
cresc.
decresc.
dolce
* *
cresc.
decresc.
38 By Moonlight 1998
77
79
82
84
important hold
G
A
1 2 3 4 molto rit.
(a division of Molto Meal ) a tempo
E
cresc.
decresc.
F
molto rit.
no pedal lift
a tempo * *
rit.
39

Sacred Ground
written by Jon Schmidt
(from the album To the Summit )
Sacred Ground 1998
Side Notes: Helpful Hints:
copyright 1998
Freely, but not dragging
=60-70
(different key version can be downloaded free of charge at www.jonschmidt.com)
1
This is a favorite piece of mine. To me it is a scene
out of a movie. I see a lake surrounded by trees, with
shafts of light coming through clouds after a storm.
The feeling is perfect stillness.
matas.
you paint. I have marked some possibilites with ritards and fer-
4
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(play R.H. notes an octave higher)
7
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
1
Pedal ad-lib, except where noted
These #s are for rhythm help. I like letting the eighth note equal 1 beat so you can avoid the dreaded "ee-and-ah".
2 3 4 5
Try to paint the picture I describe in the side notes. Don't be
afraid to adjust or suspend the demands of tempo to fit the picture
1 6 7 8 2 3 4 5 1 6 7 8 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 1 6 7 8 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
R.H.
40 Sacred Ground 1998
11
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - -
15
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
18
- - - - - - - - - - - - - - - - - - - - - - - - - -
End 8va

21
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
gentle
( )
- - - - - - - - - - - - - - - - -
1 2 3 4 5 6 7 8 1 2 3 4 5 1 6 7 8 2 3 4 5 1 6 7 8 2 3 4 5 6 7 8
1 2 3 4 5 1 6 7 8 2 3 4 5 1 6 7 8 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5 1 6 7 8
optional note
2 3 4 5 6 7 8
41 Sacred Ground 1998
24
- - - - - - - - - - - - - - - - - - - - - - - - - - - End of 8 va
27
( )
( )
( )
( )
30
33
& &
1 2 3 4 5
1
6 7 8
2 3 4 5 6 7 8 &
1 2 3 4 5
gentle
gentle
6 7 8
1 2 3 4 5 1 6 7 8 2 3 4 5 1
slow cresc.
6 7 8 2 3 4 5 6 7 8
42 Sacred Ground 1998
36
39
42
ap- ple
45
1 2 3 4 5
slight rit. a tempo
6 7 8
keep cresc.-ing
(broaden as you rit.)
allarg.
(pull back)
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
1 2 3 4 5
slight rit.
1
a tempo
6 7 8 2 3 4 5 6 7 1 8 2 3 4 5 6 7 8
43 Sacred Ground 1998
48
8 va- - - - - - - - - - - - - - - - - - - - - - - - - - - - -
51
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - -
54
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - -
important
56
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End of 8 va
1 2 3 4 5 6 7 8
slight rit.
1
a tempo
2 3 4 5 6 7 8
rit.
a tempo
molto rit.
44
Ridin' West
written by Jon Schmidt
(from the album )
Ridin' West 1998
Side Notes: Helpful Hints:
copyright 1998
CCC Caaa arrr rlll l www waaa asss s hhh heee errr reee e
=145-160
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(play R.H. octave higher) 5
- - - - - - - - - - - - - - - - - - - - - - - - - - -
4
4
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4
2
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
7
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4 4
_
5
4
2
1 2
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
1
This song is a great example of what can happen when
some dumb 16 year old finally grasps the possibilities of
I, IV, V.
then was: "Jon, when I was your age, I was about 16."
Something meaningful my Dad used to say to me back
Pedal ad-lib
( ... and the VI ... and the pedal tone ... and the IV over 2.)
1 2 3 4
practice till you get it right. To be great, practice till you never
This is another song with subliminal notes (please see explanation
of subliminal notes in the Helpful Hints section of Page 1). Again,
potentially bothersome subliminal notes are marked with
parentheses and may be deleted without hurting the song.
A deep thought on the subject of practicing: "To be average,
get it wrong ... and drive the family crazy."
Author unknown (adapted)
1 2 3 4 5 6 7 8 5 6 7 8
August End
These darn rhythm numbers are a royal pain to put in. You all wouldn't mind figuring it out on this one, would ya? (Don't worry, It's nothing like "Good Times")
45 Ridin' West 1998
10
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4 4
2
13
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
4 4
_
16
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
End 8 va
19
22
( )
4 5
4
1
1
1
46 Ridin' West 1998
25
28
( )
31
34
37
( ) ( )
( )
( )
( )
47 Ridin' West 1998
40
8 va - - - - - - - - - - - - - - - - - - - - - - - -
5
3
1
2 1
4
43
- - - - - - - - - - - - - - - - -
End 8 va
3
5
3
1
2
1 4
3
46
8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
49
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va
3
52
3
48 Ridin' West 1998
55
58
Some people turn their bench sideways right here
(as if riding a horse, I guess).
61
( )
64
( ) ( ) ( ) ( ) ( )
67
( ) ( ) ( ) ( ) ( ) ( ) ( )
cresc.
( )
( )
( ) ( )
( )
( ) ( )
49 Ridin' West 1998
70
( )
( )
( ) ( ) ( )
73
( )
( )
( )
( ) ( )
76
80
84
( )
( )
1 2 3 4
cresc.
5 6 7 8
50 Ridin' West 1998
87
90
93
Sometimes, especially at slower speeds, it feels
better to skip from measure 93 to 104.
( ) ( ) ( )
( ) ( ) ( ) ( ) ( )
96
( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )
99
( )
( ) ( )
( )
( ) ( )
( )
51 Ridin' West 1998
102
105
8 va - - - - -
109
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
112
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
115
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
52 Ridin' West 1998
118
( )
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
121
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
( )
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
rit.