The Manifesto Editedv5

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 01
JTC SAYS:
GENERAL NOTES
In case you didn’t realise, all of these licks fit together to create a full piece of music...
a ballad that Jack composed, called “Lonesome Night”. Even if you don’t learn the
whole piece, the licks will give you lots of ideas for playing melodic lines at slow
tempo.
LICK 01
The intro is played over a static A5 chord, which gives us lots of options. However,
we have to think about what comes next. The main theme is in A minor, so lets avoid
stuff like Lydian and Phrygian Dominant! The most obvious choices are Aeolian (A B
C D E F G) and minor pentatonic (A C D E G). Note the cool cascading pattern, where
Jack uses the B notes (E string 7th fret, G string 4th fret) as pedal tones.
www.jamtrackcentral.com
BUILDING THE BALLAD: LICK 1
As recorded by jamtrackcentral.com
(From the 2015 Album 20 LICKS: BUILDING THE BALLAD)
P = 71
V V
I 44 l l P V V V V
A5
1 V z
T
7 9 (9) 5 (5) 4
A 7
B
V V V V V V V V V V
sl. sl. sl.
I k V V V V V V V V
3 3
V V V V V
3
3 3
3 3
7 8 7 7 7 7 7
T 10 8
A 9 7 5 4 5 4 4 0
7 5
B 5 5 7 (7)
H H sl.
JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org
tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 02
JTC SAYS:
Here’s the first pass of the Theme A chord progression. This is completely diatonic,
which means the chords are all built from scale notes (in this case, A Aeolian: A B
C D E F G). However, minor pentatonic (A C D E G) is a subset of the Aeolian mode,
so you can also use that. With melodic playing like this, it’s important to choose
notes carefully, thinking about the chords. An F note will sound great over Fmaj7, but
horrible over Em7!
P = 71
I 44 k
Am Am/G
R V `PR f V R
} V V P V V P V V V V V
1
T
A 5
B 3 5 7 6 7 (7) 7 5 5
x
sl. sl. sl. sl.
I l V l V V l R
Fmaj7 Em7
V `P V V V R
W V } } V V V `P f V
3
T
A
B 7 7 6 5 3 2 (2)
x x 3 5 7 6 7
sl. P
H sl. sl. sl.
l R l k
Fmaj7 Am
I R V V
V V V V } P P V V V V V V V V
5
V V
T
A
B 5 7 3 5 (5) 7 3 7 7
`
(7) 8 5 x 5
sl. sl.
sl. sl.
Bm7 5 Am/E E
l V l gV c k
7
I V V V V V V l V l V l V V V
T
A 7 9 9 7 6 (6) 7 9
B 7
sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 03
JTC SAYS:
For the second half of the first Theme A, Jack plays some similar lines, but shifted up
an octave. This is a cool trick for any instrumental music. Your listeners have another
chance to hear an important melody, but without directly repeating it.
P = 71
V
1
I 44 j k
v
T
A 9
B
W V V V V W
Am Am/G
k V V
2
I
M
O
1/2
T 12 12 (12) 10 12 (12)
A 9 9
B
P
P V V V V l V V l Pz V V V l V V `P
l z V V V Vu k V V
fV V
Fmaj7 Em7
4
I z
T 10 12 12 (12) 13 10 13 15 (15) 13 12 (12) 11 10 8 8 8 10 12 12
A
B
sl. sl. sl. P sl. P H sl.
V V V V P V V V V V V V V V V
Fmaj7 Am
6
I l z l l l V V V V V
FullM
10 12 12
T (12) 13 10 10 13 (13) (13) 13 10
A 10
9 10 12
B
sl. sl. sl.
`
V V V V V V V V V V l V l V l V V
l V l gV
Bm7 5 Am/E E
V V V
8
I
M M M M
O O O O
1/2 1/2 1/2 1/2
T 12 (12) (12) (12) (12) (12) (12) (12) 10 9 (9) 10 12

A 9 9
12
B

BUILDING THE BALLAD: LICK 3 - jamtrackcentral.com Page 2 of 2
ggg U
A
1
I
FullM
T 12
A
B

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 04
JTC SAYS:
Now we come to Theme B, or the “chorus”, if you like. What’s happening here? If you
read standard notation you might have noticed that the key signature (those three #
signs at the start of each line) has changed. We’re now in the key of A major.
However, the chords are not completely diatonic here. For the A chord, it’s a simple
matter of using A major (A B C# D E F# G#) but the Fmaj7 is quite a jump out of key.
This works, though, partly because we remember it from Theme A. For this chord,
Jack uses F Lydian (F G A B C D E) which has the same notes as our original A
Aeolian scale.
P = 71
gg W V V V V V V V V V V V fV V V V V V V V
A Fmaj7
1
I g 44
M M
O O
Full 1/2
T 12 12 12 (12) 10 12 (12) 12 12 (12) 10

A 10 9 (9) 10 9 7
B
P P H P sl.
gg V V V V V V V
A Fmaj7
Ig V V V V V V V V P f V P V V V Pz W
z z
3
T
9 7 9 7 6 7 9 7 9
A 7 (7) 7 7 9 7 9 10 9 10 9 7
B 9
H P sl. sl.
sl. sl. sl. sl. P sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 05
JTC SAYS:
Continuing with Theme B, we still have a mixture of tonalities. For the F#m we can
stick with A major (A B C# D E F# G#), once again returning to F Lydian for the Fmaj7.
Jack sticks to this scale for the G chord, and then plays a bluesy A minor pentatonic
(A C D E G) lick over the D.
P = 71
ggg 4 j l V V V
1
I 4
T 10
A 9 11
b
B
sl. sl.
V V V V V V V V V V V V fV
F m7 Fmaj7
ggg V V V V V V V V
2
I 3 3 3 3
M M
3
O
1/2 Full
12 14 9 7
T 9 12 14 9 10 12 12 12 (12) 10 15 15 (15) 13
A 9
11
B
sl. sl. sl. P sl. sl. P P
V fV V V V V V V fV V fV V V P V
G D
ggg V aPz V V P V f V V V V V V
4
I z
M
1/4 M 1/4M
1/4
12
T 15 13 15 13 13 13 13
14 12 14 14 12 14 12
A 14 14 12 10 10 12 14
B 12 12
H H H sl. P sl. sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 06
JTC SAYS:
For the next part of Theme B, we’re alternating between E/D and D chords. In case
you didn’t know, E/D just means an E major chord with a D bass note. Remember
that term “pedal tone”? That’s what the D bass note is doing here... remaining static
under the chord change. For both chords, Jack uses A major (A B C# D E F# G#) but
the continuous D bass will probably make it sound more like D Lydian (same notes,
but D root).
P = 71
E/D D
ggg 4 V V V V V V V V V f V gV k
8va
V V V V V V
1
I 4 V V u
3 3 3 3
3 3
10 14 17 14 15 16
T 12 10 10 14
A 13 11 11
12 14 12
B 11 14
12
sl. sl.
E/D D
V V V V V V V V V V V
8va
g g V V V V V V V V V V V V V V V V }}
2
Ig V
3 3
6 3
6 6
17 16 14 12
T 17 15 14 17 15 14 10 14 12 10 9 10
A 16 14 13 16 14 13
16 14 12 11 14 12 x
B x
sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 07
JTC SAYS:
This lick basically continues the idea from Lick6, using the A major scale (A B C# D
E F# G#). The lines are starting to become more difficult now, so take things slowly.
The Bm chord is the start of a new chord idea...
P = 71
gg V V
D E/D
I g 44 R V V V
3
V V P V V V V V V V V V V
3
V V
V V V V
1 3
V
T
A 11 13
4 7 4 6 (6) (6) 7 6 9 7 9
4 7 5 9 7 9 11
Cbm Fbm7
B
2 4 5
sl. H P sl. sl. sl. sl.
ggg V V V V V V V V V
VVV P V P VVV
V VVVVVVVVVVVVVVVVVV
8va
3
I z z VVV
M
3 3 3
1/2
O
let ring
9 12 16 12 9
T 10 12 10 12 12 10 9 10 12 12 14 9 12 9
13 14 11 13(13)(13)11 9 13 11 13 14 11 11 9
A 11 11 14 11 9
B 12
sl. sl. H sl. P sl. sl. P sl. sl. P P P
gg
Bm
Ig j
8va
5
V
T
A 11
B
sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 08
JTC SAYS:
We’re now nearing the end of Theme B, and this descending pattern shifts us into
more of a B minor tonality. Jack is still using the notes of A major, but the scale is
now working as B Dorian (B C# D E F# G# A). The exception here is the Gmaj7, and
Jack simply changes the G# to G, making G Lydian (G A B C# D E F#).
P = 71 b `
Bm Bm/A G m7 5 Gmaj7
ggg 4 j V V V V
8va
V V V
5 5
V V V V V V V V V fV
3 3
I 4 V V V V V V V V V V V
V V V V V V V
1
M M
3
3 3
O
Full 1/2
12 16 12 9
T 12 14 15 9 12 9 7 12 14 14 (14) 12 14 12
A 11 13 14 11 13 14 11 7 11 14 12
12 14 9 11 12
b
B
P sl. P sl. sl. P
W
Fmaj7 11
ggg
3
I
M
Full
T 15
A
B

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 09
JTC SAYS:
This is the last part of Theme B, and watch what happens... Jack is slowly moving
us from A major back to A minor. We’ve already moved from B Dorian (3 sharps) to
G Lydian (2 sharps) and now we drop to F Lydian (F G A B C D E) for the Fmaj7#11.
This starts a stepwise ascent through G to our target A minor chord. Technically, this
could be the hardest lick so far... work slowly on that last arpeggio pattern, making
sure you can connect the positions smoothly.
P b= 71
V V V V V V V fV V V V V V
l V V
Fmaj7 11
ggg 4 u k f V V f V V V gV
1
I 4 3
M M
3 3
O O
Full 1/2
T 15 15 10 12 13 12 12 (12) 10 12
A 14 14 (14) 9 9
10 10 11
B 8 12
sl. sl. P sl.
g f V V V fV V V V V fV V V V V V V V V fV
G
gg V V
3
I V V V V V V V V
3 3 3 3
T 10 12 13 0 10 12 0 8 10 0 6 8 6 5 6 5 5
A 9 12 7 7 5 5 4 5
12 7 7
B
H P sl. P P P
Am
8va
ggg V V V V V V V V fV V fV V V V fU
I fV V fV V V V VV VVVVV VVV
V
4
fV
FullM
7 10 7 7 10 15 12 12 15 15
T 8 8 8 13 13
A 4 4 7 4 7 9 9 7 9 14 12 14
5 5 5
B 7 3 7
H H sl. P H sl. P H H

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 10
JTC SAYS:
When Themes A and B repeat, Jack uses them as an opportunity to stretch out,
more as a solo backing. The scale choices are the same, so for this first extract
from Theme A2, we’re back in A Aeolian (A B C D E F G). Check out the open-string
pull-offs in measure 3... it’s always good to know which open strings will fit the scale
you’re using, as they provide the opportunity for different intervals and melodic
shapes.
P = 71
V V V V V V V V V P V V V V
Am Am/G
z V V V V V V V
1
I 44 j l
M M M
3
3 3
O
Full Full Full
T 15 (15) (15) (15) (15) 13 13 15 13 15 (15) 8 10 8 3 5 3

A 14 9 5 4
B
P sl. sl. H sl. H sl.
V V V
Fmaj7 Em7
V V V V V V V
I V V V V V V V V V V V V V V P eV V
3 3
3
z V V V
M
3 3
M M
1 1/2
O
Full Full
7 0
T 5 0 10 (10) (10) (10) 8 10
A 7 5 4 0 9 7 5 4 0
5 2 5 7 7 8 7 5 7
B
sl. P P sl. P sl. sl. sl. P sl. sl. sl. P sl. H

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 11
JTC SAYS:
Jack starts this lick with the minor pentatonic (A C D E G) but adds the flat 5th ( Eb)
to create the blues scale. In measure 2 he plays a simple A-B-C-E pattern, and then
moves it up an octave, then two octaves (using a bend to reach the C note).
P = 71
k V V V V V V V V V V V V V V V
Fmaj7
1
I 44 v V eV V V V V V V
M
Full
5
T 8 5 8 5
A 7 7 7 5 7 5
7 7 5
B 5 6 5 3 3 5
5 3
P P P P P sl. sl. P sl.
P
V V V V V
Am
V V V V
I V V V V V
V
2
V V
M
O
1/2
T 10 12 12 (12) 10
A 9
7 9 10
B 7 7 7 7
Bm7`5
5 5 7 8
sl. sl. P
sl.
V V V V V V V V V V V V
Am/E E
I V V V k j V V V V V V V c k
3
u V V V
7 10 7
T 12 10 10 6
A 10 9 (9) 7 9 7 9 7
9 (9) 9 7 9 7
B 8 7
sl. sl. sl. H P P P P P P

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 12
JTC SAYS:
There’s nothing new here, but watch the technique... Jack starts with more smooth
position shifts within the lick. You always need to be thinking ahead with licks like
this, making sure you have a spare finger to change to the next note!
P = 71
V V V V V V V V V V V V V V V V V V V V V V V
Am Am/G
4 k V V V V V V V l
1
I4 V V V 3 3
3 3
M M
3 3 3 3
O
Full Full
3 5 7 10 12
T 3 5 8 8 5 8 10 13 13 10 13 (13) 13 (13) 10
A 7 9 5 4 0 4 7 9 12
7
B 7 8
H sl. P P sl. sl. sl. P
V V V V k V V V V V V V V k l V V V V
Fmaj7 Em7
3
I u u j
M
O 10 8
1/2
T 10 13 10 10 12 13 12 (8) 8 10 5
A
B
H P H sl. sl. sl. sl. sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 13
JTC SAYS:
Now, remember what we said about diatonic chords... all the chords that live in a
scale? You can also use these chords in your solo lines, superimposing them over
underlying chords. In this lick, Jack plays a series of arpeggios over the Fmaj7
chord... A minor, G major, A minor, G major.
P = 71
V
1
I 44 j l V V
T 5
A 5 7
B
H
V V
l V V V V l V V V V V
Fmaj7 Am
V V V V V V
I V V V V V V V V V
V
2
V
M
Full
8
T 5 3 8 10 10
A 5 4 4 2 5 7 9 7
7 5 2 5 7 5 7 9
B 3 5 7
`
5 7
sl. sl. H
sl.
W V l V V V V gV V V V V V V V V V
Bm7 5 Am/E E
4
I j
M M
O
Full Full
T (10) 10 (10) (10) 9 10 12

A 9 (9) 10 9 7 9 (9)
B
H P sl. sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 14
JTC SAYS:
Back to Theme B, and this section is great for working on the kind of scale changes
you need in jazz and fusion. Again, we’re using A major (A B C# D E F# G#) for the A
chord and F Lydian (F G A B C D E) for the Fmaj7 chord. The aim is to move smoothly
between the two scales... you don’t want it to sound like “A major lick - STOP - F
Lydian lick - STOP”. Try to find notes that work across both chords, or move smoothly
to a target note when the chord changes.
P = 71
ggg 4 j V fV V V V V V fV
1
I 4
T
A 9 10 9 9
12 12 9 10
B
H P
ggg V V V V V V V V V V V V V V V V V fV V V V V V V fV V
A Fmaj7
2
I
M M
O O
Full 1/2
12 10
T 10 12 12 12 12 10 12 (12) 12 12 (12) 10 10 8
A 9 9 10 9 10 10
11
B
P sl. sl.
ggg V V V
A Fmaj7
I V V V V V V V V P f V P V V V Pz V V V
V V V z z
4
T
9 4 6 7 9 (9)
A 7 6 7 7 9 7 9 10 9 10 9 7
B 7 4 (4) 9
sl. sl. P sl. sl. sl. sl. sl. P sl. sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 15
JTC SAYS:
There’s a cool little pattern in measure 3, which Jack uses a couple of times, over
F and G chords. It’s only A Aeolian again, but he’s only using five notes... A B D E F.
This is the same pattern as the Japanese In Sen scale (this example would be the
In Sen on E). Breaking down scales into little subsets is a great way of finding new
melodic ideas... it’s essentially the same principle as the familiar major and minor
pentatonics.
P = 71
ggg 4 P V eV V
1
I 4 j l z
T 10 12 11 10
A
B
b
sl. P P P
V V V V V V
F m7
g g V V V V V V V V V V V V V V
2
I g V V V V V V V V V V
3 3
9 12 9
T 9 9 10 10 9 10 9
A 9 9 6 6 9 11 9 11 9 9 7
11 7 6 7 11 9 9 7 9
B
sl. H H H P P P P P H
V V V V V V V V V V V V V V
Fmaj7
ggg V V f V V V V V V fV V V V V V V
3
I V V fV
7 10 7
T 6 10 6 6 10 10 6
A 7 9 9 7 9 9 7 9 7 9 10 9
9 7 9 7 9 10 12 10
B 12 8
H H P H H H P P P P P sl. H H H P P H
g g f V V V V V V V V V V P V
8va
V V V V V
4
I g V fV V V V V fV V V z
12 15 12 12 15 17 (17) 19 15 17
T 13 13 13 17 15
A 9 12 9 12 14 14 12 14
10 10
B 12
H H sl. P H sl. sl. sl. P
ggg
8va
I fV V V V V V V V V V fV V
V
5
M M
1 1/2
M M
O O
Full Full 1/4
T 13 15 (15) (15) (15) 13 15 13

A 14 14 12 14
14
B
P sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 16
JTC SAYS:
Over the D Lydian section of Theme B, Jack expands on the idea of open-string pull-
offs.
P = 71
E/D D
V V V V V
8va
ggg 4 V V V V V V V V V V
3 3
I 4 V V V V V V V
V V V
1
3 3 3 3 3
14 16 17 14
T 15 17 15 14 12 0 10 0 9 0 7 0 9 0
A 13 14 14 11
14 16
B 14
sl. P P P P P
V V V V
V V V V V V V V V V V V V V V V V V V V V V V V
E/D D
ggg V V V V
2
I
12 0 10 0 9 0 7 0 9 0 7 0
T 0 0 0 0 0 0 10 9 10 9 10 9 10 9
A 11 9 11 9
11 9
B
P P P P P P P P P P
gg V V
D
3
Ig
M
Full
T 12 (12)
A
B
sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 17
JTC SAYS:
There’s quite a complex bending technique at the start of this example. Bend the
B note (12th fret) up a whole tone to C# and then release it. Make sure you’re using
your 3rd finger to bend (supporting it with your 2nd and 1st fingers). Then bend
again, and while holding the bend, reach with your 4th finger and play the 13th fret.
Normally that’d be a C, but the string is bent a whole tone, so you hear a D. Then do
the regular bend a third time.
P = 71
g4 V V V V V fV V V V V V V V P V V V V V V V V V
D E/D
gg z l V V
1
I 4 3
M M M
3
O O
Full Full Full
12
T 12 12 (12) 13 12 (12) (12) 10 10 12 10 12 10 12 10 9 10 14
A 11
11 12
b b
B
P sl. H P P sl.
g V V V V V V V V V V V V V V V V
Cm F m7
gg V V V V
I V V V V V V V V V
V V V V V V V
3
3 3
T 12 10 9 9 7 9 10 9
A 9 9 11 11 9 13 9
11 9 7 6 7 7 6 11 11 9
B 7 7 9 11 12
9 7 5 4 5 7
sl. sl. sl. sl. P P P
sl.
ggg V j
Bm
5
I
T
A 11
B
sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 18
JTC SAYS:
The line over Bm starts with a fragment of an F#m arpeggio, creating a Bm11 sound,
and Jack does a nice little chromatic pull-off on the G string. Notice how he plays a
simple Bm arpeggio over the G#m7b5 - this works because the notes of G#m7b5 (G#
B D F#) are so similar to Bm (B D F#). In fact, Bm6 contains EXACTLY the same notes.
Add an E and you have E9... music theory is fun!
P = 71
V V V V V fV V
Bm Bm/A
ggg 4 j V V V V V V V V V V V V V V V gV V
1
I 4
9 12 9 5 9
T 10 7
A 11 10 9 9 7 6 7 6 6 7 9
11 11 9 9 7 9
b `
B
H P P P H P H H H H
ggg V fV
G m7 5 Gmaj7
V V V V V V V V
2
I V V fV V V
7
T 7 7 8
A 7 6 7 9
9 7 7 9
b
B 9 10
ggg W V
Fmaj7 11
3
I u k j
T 10 (10)
A
B
sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 19
JTC SAYS:
Once again, the end of Theme B takes us back to the A minor tonality. Note the
stacked 5th intervals between the notes in measure 1.
P b= 71
V V V V V V
Fmaj7 11
ggg 4 V fV V V V V V fV P V V V
1
I 4 V V V V V fV V z
3
T 10
7 7 9 9 7 9 9 10 7 9
A 7 7 7 10 9 9 10 12 10
B 5 7 8
sl. sl.
V V V V V V fV V V V V V V
G
g g aP V } V V
3 3
V V
Ig z fV V V V V V V fV
3 3
V V V V V
3
3 3
M M M M
3 3
Full 1/4 Full Full
5 7 5
T 8 (8) 8 5 8 5 5
12 14 14 16 12 (12) x 7 5 7 5 7 5 5 4
A 7 7 5 5 7
B 7 5 7
sl. sl. sl. sl. H sl.
gg
A5
5
Ig V fV V V j
T
A 9 10 7 (7)
B
sl. sl. sl. sl.

tab
Jack Thammarat
20 LICKS:
BUILDING THE
BALLAD
Lick 20
JTC SAYS:
Like the intro, the ending is played over a static A5 chord, but Jack sticks to A
Aeolian (A B C D E F G). Note how he gradually slows down the phrasing, playing
more sparsely to reflect the way the whole piece is coming down from the climax
and reaching its end.
P = 71
V V V V P V V V V
A5
V
I 44 j k V z
3 3
V V V V V V
3
V V V
1
T 10 12 (12) 13 10 12 (12) 10 8
A 9
7 9 7 9 10
B 7 10 10
7 8
H H H sl. sl. H sl. P
k Vv V V V V V V V
H
3
I
V V V V V V l V PR V
M M
O
Full Full
T 8 (8) 8 (8) 5 5
A 9 7 5 7 5 4
5 7 9
B
P H sl. H sl. sl.
5
I V j
T
A 7
B
sl.


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tab

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

T 12 (12) (12) (12) (12) (12) (12) (12) 10 9 (9) 10 12

JamTrackCentral Ltd 2015

Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org

T 12 12 12 (12) 10 12 (12) 12 12 (12) 10

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

T 15 (15) (15) (15) (15) 13 13 15 13 15 (15) 8 10 8 3 5 3

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

T (10) 10 (10) (10) 9 10 12

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

T 13 15 (15) (15) (15) 13 15 13

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

JamTrackCentral Ltd 2015

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