Middle-Eastern music: Difference between revisions
Wikispaces>hstraub **Imported revision 398028548 - Original comment: Reverted to Dec 9, 2012 6:58 pm: Spam** |
Wikispaces>hstraub **Imported revision 432292286 - Original comment: ** |
||
| Line 1: | Line 1: | ||
<h2>IMPORTED REVISION FROM WIKISPACES</h2> | <h2>IMPORTED REVISION FROM WIKISPACES</h2> | ||
This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | This is an imported revision from Wikispaces. The revision metadata is included below for reference:<br> | ||
: This revision was by author [[User:hstraub|hstraub]] and made on <tt>2013- | : This revision was by author [[User:hstraub|hstraub]] and made on <tt>2013-05-17 03:18:59 UTC</tt>.<br> | ||
: The original revision id was <tt> | : The original revision id was <tt>432292286</tt>.<br> | ||
: The revision comment was: <tt> | : The revision comment was: <tt></tt><br> | ||
The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br> | ||
<h4>Original Wikitext content:</h4> | <h4>Original Wikitext content:</h4> | ||
| Line 17: | Line 17: | ||
=Maqamat in equal temperaments= | =Maqamat in equal temperaments= | ||
There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a [[http://www.ozanyarman.com/files/34%27ten_79%27a.pdf|paper by Ozan Yarman]]. However, none of these have been really successful (at least not as successful as 12edo in Western music). [[24edo]] has found a certain dissemination, | There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a [[http://www.ozanyarman.com/files/34%27ten_79%27a.pdf|paper by Ozan Yarman]]. However, none of these have been really successful (at least not as successful as 12edo in Western music). Given the subtleties sketched in the above mentioned podacst, this task is certainly nontrivial, if not finally impossible. | ||
Depending on the accurateness that is wanted, we can distinguish different levels | |||
==Level 1== | |||
An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows: | |||
* There have to be minor and major seconds, minor and major thirds, pure fourths and the octaver complements of all these. Preferably organized in a pythagorean structure. | |||
* Additionally, at least one type of neutral second and neutral third is necessary. | |||
The smallest EDOs that fulfill these conditions are [[17edo]] and [[24edo]], which are indeed both used for maqam music. Especially 24edo has found a certain dissemination. | |||
The [[maqamic]] tempreament reflects this concept in the framework of [[regular temperaments]]. | |||
==Level 2== | |||
Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the Bayati tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a "major" wholetone, while the minor second should be a "small" semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome) - minor seconds will be available in two varieties, too. | |||
Important EDOs that meet these requirements are [[53edo]] and [[72edo]]. Both of these have found a certain dissemination in middle-eastern music. | |||
For turkish musik, Ozan Yarman also proposes [[34edo]] and [[41edo]] as acceptable compromises. These have the property that the larger neutral second has a character close to a minor wholetone, and, playing the Rast maqam with it, the third note is less a neutral third than a 5/4-style major third. This matches the turkish variant of Rast which indeed has such a third - the arabic variant, however, is lower. 41edo and 34edo can thus be considered suited for turkish music but less so for arabic music. | |||
And here we see another nemesis of the tentatives to establish a common tuning standard: there is not one middle-eastern system but many. There are not just differences between arabic and turkish systems bt also regional differences within the respective cultures... | |||
==Level 3== | |||
Even [[53edo]] and [[72edo]] do not cover all details. For these. there are some other, still larger subdivisions that have been investigated. | |||
A system that meets the tuning needs to a satisfactory degree is proposed in [[@http://www.ozanyarman.com/files/doctorate_thesis.pdf|Ozan Yarman's dissertation]] (also summarized in the mentioned [[@http://www.ozanyarman.com/files/34ten79a.pdf|paper]] ): a 79-tone [[MOSScales|MOS]] subset of [[159edo]]. A short description (quoting a post to the tuning list) is also [[79MOS 159edo|here]]. | A system that meets the tuning needs to a satisfactory degree is proposed in [[@http://www.ozanyarman.com/files/doctorate_thesis.pdf|Ozan Yarman's dissertation]] (also summarized in the mentioned [[@http://www.ozanyarman.com/files/34ten79a.pdf|paper]] ): a 79-tone [[MOSScales|MOS]] subset of [[159edo]]. A short description (quoting a post to the tuning list) is also [[79MOS 159edo|here]]. | ||
[[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. | [[Tsaharuk]], as proposed by [[Jacques Dudon]], can be realized in [[77edo]], [[94edo]], [[111edo]], [[128edo]], [[145edo]], [[171edo]], [[359edo]]. | ||
[[Maqamat in maqamic temperament]] can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for [[17edo]]), [[24edo]], [[31edo]], and [[55edo]]. | The mentioned [[Maqamat in maqamic temperament|maqamic temperament]] can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for [[17edo]]), [[24edo]], [[31edo]], and [[55edo]]. | ||
=Unequal temperaments for maqamat= | =Unequal temperaments for maqamat= | ||
| Line 72: | Line 93: | ||
The use of microtones in these systems can be extremely subtle, as is demonstrated in a <a class="wiki_link_ext" href="http://shumays.libsyn.com/index.php?post_id=177745" rel="nofollow">podcast</a> by Arabic violin player Sami Abu Shumays: by his count, there could be 12 different notes within a half step.<br /> | The use of microtones in these systems can be extremely subtle, as is demonstrated in a <a class="wiki_link_ext" href="http://shumays.libsyn.com/index.php?post_id=177745" rel="nofollow">podcast</a> by Arabic violin player Sami Abu Shumays: by his count, there could be 12 different notes within a half step.<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextTocRule: | <!-- ws:start:WikiTextTocRule:18:&lt;img id=&quot;wikitext@@toc@@flat&quot; class=&quot;WikiMedia WikiMediaTocFlat&quot; title=&quot;Table of Contents&quot; src=&quot;/site/embedthumbnail/toc/flat?w=100&amp;h=16&quot;/&gt; --><!-- ws:end:WikiTextTocRule:18 --><!-- ws:start:WikiTextTocRule:19: --><a href="#Maqamat in equal temperaments">Maqamat in equal temperaments</a><!-- ws:end:WikiTextTocRule:19 --><!-- ws:start:WikiTextTocRule:20: --><!-- ws:end:WikiTextTocRule:20 --><!-- ws:start:WikiTextTocRule:21: --><!-- ws:end:WikiTextTocRule:21 --><!-- ws:start:WikiTextTocRule:22: --><!-- ws:end:WikiTextTocRule:22 --><!-- ws:start:WikiTextTocRule:23: --> | <a href="#Unequal temperaments for maqamat">Unequal temperaments for maqamat</a><!-- ws:end:WikiTextTocRule:23 --><!-- ws:start:WikiTextTocRule:24: --> | <a href="#External links">External links</a><!-- ws:end:WikiTextTocRule:24 --><!-- ws:start:WikiTextTocRule:25: --><!-- ws:end:WikiTextTocRule:25 --><!-- ws:start:WikiTextTocRule:26: --><!-- ws:end:WikiTextTocRule:26 --><!-- ws:start:WikiTextTocRule:27: --><!-- ws:end:WikiTextTocRule:27 --><!-- ws:start:WikiTextTocRule:28: --> | ||
<!-- ws:end:WikiTextTocRule: | <!-- ws:end:WikiTextTocRule:28 --><hr /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Maqamat in equal temperaments"></a><!-- ws:end:WikiTextHeadingRule:0 -->Maqamat in equal temperaments</h1> | <!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Maqamat in equal temperaments"></a><!-- ws:end:WikiTextHeadingRule:0 -->Maqamat in equal temperaments</h1> | ||
<br /> | <br /> | ||
There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34%27ten_79%27a.pdf" rel="nofollow">paper by Ozan Yarman</a>. However, none of these have been really successful (at least not as successful as 12edo in Western music). <a class="wiki_link" href="/24edo">24edo</a> has found a certain dissemination | There have been various endeavors, also in recent history, to establish a common tuning standard. A few of these are described in a <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34%27ten_79%27a.pdf" rel="nofollow">paper by Ozan Yarman</a>. However, none of these have been really successful (at least not as successful as 12edo in Western music). Given the subtleties sketched in the above mentioned podacst, this task is certainly nontrivial, if not finally impossible.<br /> | ||
<br /> | |||
Depending on the accurateness that is wanted, we can distinguish different levels<br /> | |||
<br /> | |||
<!-- ws:start:WikiTextHeadingRule:2:&lt;h2&gt; --><h2 id="toc1"><a name="Maqamat in equal temperaments-Level 1"></a><!-- ws:end:WikiTextHeadingRule:2 -->Level 1</h2> | |||
An absolute minimal rule set a tuning system for maqams has to fulfill could be summarized as follows:<br /> | |||
<ul><li>There have to be minor and major seconds, minor and major thirds, pure fourths and the octaver complements of all these. Preferably organized in a pythagorean structure.</li><li>Additionally, at least one type of neutral second and neutral third is necessary.</li></ul><br /> | |||
The smallest EDOs that fulfill these conditions are <a class="wiki_link" href="/17edo">17edo</a> and <a class="wiki_link" href="/24edo">24edo</a>, which are indeed both used for maqam music. Especially 24edo has found a certain dissemination.<br /> | |||
<br /> | |||
The <a class="wiki_link" href="/maqamic">maqamic</a> tempreament reflects this concept in the framework of <a class="wiki_link" href="/regular%20temperaments">regular temperaments</a>.<br /> | |||
<br /> | |||
<!-- ws:start:WikiTextHeadingRule:4:&lt;h2&gt; --><h2 id="toc2"><a name="Maqamat in equal temperaments-Level 2"></a><!-- ws:end:WikiTextHeadingRule:4 -->Level 2</h2> | |||
Systems that just fulfill level 1 are still generally considered bad compromises. An additional quite basic requirement for a more accurate maqam system is the availability of two kinds of neutral seconds, a smaller one for the Bayati tetrachord and a larger one for the Rast tetrachord. Moreover, the major second whould preferably be a &quot;major&quot; wholetone, while the minor second should be a &quot;small&quot; semitone - as a consequence, the wholetone is to be divided into a smaller semitone (limma) and a larger one (apotome) - minor seconds will be available in two varieties, too.<br /> | |||
<br /> | |||
Important EDOs that meet these requirements are <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a>. Both of these have found a certain dissemination in middle-eastern music.<br /> | |||
<br /> | |||
For turkish musik, Ozan Yarman also proposes <a class="wiki_link" href="/34edo">34edo</a> and <a class="wiki_link" href="/41edo">41edo</a> as acceptable compromises. These have the property that the larger neutral second has a character close to a minor wholetone, and, playing the Rast maqam with it, the third note is less a neutral third than a 5/4-style major third. This matches the turkish variant of Rast which indeed has such a third - the arabic variant, however, is lower. 41edo and 34edo can thus be considered suited for turkish music but less so for arabic music.<br /> | |||
<br /> | |||
And here we see another nemesis of the tentatives to establish a common tuning standard: there is not one middle-eastern system but many. There are not just differences between arabic and turkish systems bt also regional differences within the respective cultures...<br /> | |||
<br /> | |||
<!-- ws:start:WikiTextHeadingRule:6:&lt;h2&gt; --><h2 id="toc3"><a name="Maqamat in equal temperaments-Level 3"></a><!-- ws:end:WikiTextHeadingRule:6 -->Level 3</h2> | |||
Even <a class="wiki_link" href="/53edo">53edo</a> and <a class="wiki_link" href="/72edo">72edo</a> do not cover all details. For these. there are some other, still larger subdivisions that have been investigated.<br /> | |||
<br /> | <br /> | ||
A system that meets the tuning needs to a satisfactory degree is proposed in <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/doctorate_thesis.pdf" rel="nofollow" target="_blank">Ozan Yarman's dissertation</a> (also summarized in the mentioned <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34ten79a.pdf" rel="nofollow" target="_blank">paper</a> ): a 79-tone <a class="wiki_link" href="/MOSScales">MOS</a> subset of <a class="wiki_link" href="/159edo">159edo</a>. A short description (quoting a post to the tuning list) is also <a class="wiki_link" href="/79MOS%20159edo">here</a>.<br /> | A system that meets the tuning needs to a satisfactory degree is proposed in <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/doctorate_thesis.pdf" rel="nofollow" target="_blank">Ozan Yarman's dissertation</a> (also summarized in the mentioned <a class="wiki_link_ext" href="http://www.ozanyarman.com/files/34ten79a.pdf" rel="nofollow" target="_blank">paper</a> ): a 79-tone <a class="wiki_link" href="/MOSScales">MOS</a> subset of <a class="wiki_link" href="/159edo">159edo</a>. A short description (quoting a post to the tuning list) is also <a class="wiki_link" href="/79MOS%20159edo">here</a>.<br /> | ||
<br /> | <br /> | ||
<a class="wiki_link" href="/Tsaharuk">Tsaharuk</a>, as proposed by <a class="wiki_link" href="/Jacques%20Dudon">Jacques Dudon</a>, can be realized in <a class="wiki_link" href="/77edo">77edo</a>, <a class="wiki_link" href="/94edo">94edo</a>, <a class="wiki_link" href="/111edo">111edo</a>, <a class="wiki_link" href="/128edo">128edo</a>, <a class="wiki_link" href="/145edo">145edo</a>, <a class="wiki_link" href="/171edo">171edo</a>, <a class="wiki_link" href="/359edo">359edo</a>.<br /> | <a class="wiki_link" href="/Tsaharuk">Tsaharuk</a>, as proposed by <a class="wiki_link" href="/Jacques%20Dudon">Jacques Dudon</a>, can be realized in <a class="wiki_link" href="/77edo">77edo</a>, <a class="wiki_link" href="/94edo">94edo</a>, <a class="wiki_link" href="/111edo">111edo</a>, <a class="wiki_link" href="/128edo">128edo</a>, <a class="wiki_link" href="/145edo">145edo</a>, <a class="wiki_link" href="/171edo">171edo</a>, <a class="wiki_link" href="/359edo">359edo</a>.<br /> | ||
<br /> | <br /> | ||
<a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament"> | The mentioned <a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament">maqamic temperament</a> can be realized in any equal temperament that supports 2.3.5.11 maqamic, including 17c (the important non-patent val for <a class="wiki_link" href="/17edo">17edo</a>), <a class="wiki_link" href="/24edo">24edo</a>, <a class="wiki_link" href="/31edo">31edo</a>, and <a class="wiki_link" href="/55edo">55edo</a>.<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:8:&lt;h1&gt; --><h1 id="toc4"><a name="Unequal temperaments for maqamat"></a><!-- ws:end:WikiTextHeadingRule:8 -->Unequal temperaments for maqamat</h1> | ||
<br /> | <br /> | ||
In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and a manageable pitch count. One possible way out of this dilemma is use of unequal temperaments. These allow for playing of multiple maqamat with comparatively few notes, with, on the other hand, restrictions in the possibilities to modulate.<br /> | In equal temperaments, as seen above, there is always a tradeoff between the diverging requirements of high pitch accuracy and a manageable pitch count. One possible way out of this dilemma is use of unequal temperaments. These allow for playing of multiple maqamat with comparatively few notes, with, on the other hand, restrictions in the possibilities to modulate.<br /> | ||
| Line 106: | Line 146: | ||
<a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament">Maqamat in maqamic temperament</a><br /> | <a class="wiki_link" href="/Maqamat%20in%20maqamic%20temperament">Maqamat in maqamic temperament</a><br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:10:&lt;h1&gt; --><h1 id="toc5"><a name="External links"></a><!-- ws:end:WikiTextHeadingRule:10 -->External links</h1> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:12:&lt;h3&gt; --><h3 id="toc6"><a name="External links--Arabic"></a><!-- ws:end:WikiTextHeadingRule:12 -->Arabic</h3> | ||
<a class="wiki_link_ext" href="http://www.maqamworld.com" rel="nofollow">Arabic Maqam World</a> (Johnny Farraj, Sami Abu Shumays <em>et al</em>)<br /> | <a class="wiki_link_ext" href="http://www.maqamworld.com" rel="nofollow">Arabic Maqam World</a> (Johnny Farraj, Sami Abu Shumays <em>et al</em>)<br /> | ||
<a class="wiki_link_ext" href="http://www.classicalarabicmusic.com/scales.htm" rel="nofollow">Classical Arabic Music</a><br /> | <a class="wiki_link_ext" href="http://www.classicalarabicmusic.com/scales.htm" rel="nofollow">Classical Arabic Music</a><br /> | ||
| Line 115: | Line 155: | ||
<a class="wiki_link_ext" href="http://foredofico.org/CERMAA/" rel="nofollow">CERMAA</a> (academic research for arabic and related music, namely various articles by <a class="wiki_link" href="/Amine%20Beyhom">Amine Beyhom</a>)<br /> | <a class="wiki_link_ext" href="http://foredofico.org/CERMAA/" rel="nofollow">CERMAA</a> (academic research for arabic and related music, namely various articles by <a class="wiki_link" href="/Amine%20Beyhom">Amine Beyhom</a>)<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:14:&lt;h3&gt; --><h3 id="toc7"><a name="External links--Turkish"></a><!-- ws:end:WikiTextHeadingRule:14 -->Turkish</h3> | ||
<a class="wiki_link_ext" href="http://www.hinesmusic.com/What_Are_Makams.html" rel="nofollow">Tetrachords and Makams of Turkey</a> - another theory site<br /> | <a class="wiki_link_ext" href="http://www.hinesmusic.com/What_Are_Makams.html" rel="nofollow">Tetrachords and Makams of Turkey</a> - another theory site<br /> | ||
<a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a> - listening<br /> | <a class="wiki_link_ext" href="http://www.turkishmusicportal.org" rel="nofollow">http://www.turkishmusicportal.org</a> - listening<br /> | ||
<a class="wiki_link_ext" href="http://www.turkishmusic.org/index.html" rel="nofollow">http://www.turkishmusic.org</a> - listening<br /> | <a class="wiki_link_ext" href="http://www.turkishmusic.org/index.html" rel="nofollow">http://www.turkishmusic.org</a> - listening<br /> | ||
<!-- ws:start:WikiTextUrlRule: | <!-- ws:start:WikiTextUrlRule:176:http://www.turkishmusic.org/index18.html --><a class="wiki_link_ext" href="http://www.turkishmusic.org/index18.html" rel="nofollow">http://www.turkishmusic.org/index18.html</a><!-- ws:end:WikiTextUrlRule:176 --> - listening<br /> | ||
<br /> | <br /> | ||
<!-- ws:start:WikiTextHeadingRule: | <!-- ws:start:WikiTextHeadingRule:16:&lt;h3&gt; --><h3 id="toc8"><a name="External links--Persian"></a><!-- ws:end:WikiTextHeadingRule:16 -->Persian</h3> | ||
<a class="wiki_link_ext" href="http://240edo.googlepages.com/persianmusic" rel="nofollow">http://240edo.googlepages.com/persianmusic</a> - a list of links related to Persian music, maintained by <a class="wiki_link" href="/Shaahin%20Mohajeri">Shaahin Mohajeri</a><br /> | <a class="wiki_link_ext" href="http://240edo.googlepages.com/persianmusic" rel="nofollow">http://240edo.googlepages.com/persianmusic</a> - a list of links related to Persian music, maintained by <a class="wiki_link" href="/Shaahin%20Mohajeri">Shaahin Mohajeri</a><br /> | ||
<br /> | <br /> | ||
<span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;"> <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=7&amp;limit=2_3_5_11&amp;key=7_11_16_24" rel="nofollow">7</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=24&amp;limit=2_3_5_11&amp;key=24_38_56_83" rel="nofollow">24</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=31&amp;limit=2_3_5_11&amp;key=31_49_72_107" rel="nofollow">31</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=14&amp;limit=2_3_5_11&amp;key=14_22_32_48" rel="nofollow">14c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=17&amp;limit=2_3_5_11&amp;key=17_27_40_59" rel="nofollow">17c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=38&amp;limit=2_3_5_11&amp;key=38_60_88_131" rel="nofollow">38</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=10&amp;limit=2_3_5_11&amp;key=10_16_24_35" rel="nofollow">10c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=21&amp;limit=2_3_5_11&amp;key=21_33_48_72" rel="nofollow">21ce</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=45&amp;limit=2_3_5_11&amp;key=45_71_104_155" rel="nofollow">45e</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=55&amp;limit=2_3_5_11&amp;key=55_87_128_190" rel="nofollow">55</a></span></body></html></pre></div> | <span style="display: block; height: 1px; left: -40px; overflow: hidden; position: absolute; top: 734px; width: 1px;"> <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=7&amp;limit=2_3_5_11&amp;key=7_11_16_24" rel="nofollow">7</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=24&amp;limit=2_3_5_11&amp;key=24_38_56_83" rel="nofollow">24</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=31&amp;limit=2_3_5_11&amp;key=31_49_72_107" rel="nofollow">31</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=14&amp;limit=2_3_5_11&amp;key=14_22_32_48" rel="nofollow">14c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=17&amp;limit=2_3_5_11&amp;key=17_27_40_59" rel="nofollow">17c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=38&amp;limit=2_3_5_11&amp;key=38_60_88_131" rel="nofollow">38</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=10&amp;limit=2_3_5_11&amp;key=10_16_24_35" rel="nofollow">10c</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=21&amp;limit=2_3_5_11&amp;key=21_33_48_72" rel="nofollow">21ce</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=45&amp;limit=2_3_5_11&amp;key=45_71_104_155" rel="nofollow">45e</a>, <a class="wiki_link_ext" href="http://x31eq.com/cgi-bin/rt.cgi?ets=55&amp;limit=2_3_5_11&amp;key=55_87_128_190" rel="nofollow">55</a></span></body></html></pre></div> | ||