Thank you for auditioning for Equinox Percussion.

We look forward to seeing you

showcase your talents and strengths through the technique packet and beyond. We
stress the need to read and understand all technical descriptions, as well as have all
music memorized, as a part of your preparation. We will strive to have a very strong
and educational audition process. The people who are the most prepared as well as
those who improve the most will be asked back until the ensemble is finalized.

In general, you will need to be:

• Mature
• Musically competent
• Technically proficient
• Teachable/humble
• Physically fit
• Able to afford the time and financial commitments

GENERAL APPROACH

In a phrase, Equinox plays with efficiency to produce the desired musical Intent.
Efficiency, referring to the amount of energy and way of approaching a physical or
mental task, is key to working intelligently, a staple of the Equinox pedagogy. Everything
we do is well thought out, reviewed, and intended to have the most comfortable and
effective manifestation in practice. We should aim to produce the most resonant,
articulate and clear sounds, given the requisite variables.

It is an important concept to understand that your energy is a significant factor in the

consistency and quality of the ensemble’s execution. In a short phrase, we must
rehearse the way we want to perform, and perform the way we rehearse. There should
be no such thing as an over or under hype. We must approach the smallest detail with
the mental and physical energy that is required to achieve at the highest possible level.

The Ensemble

In our activity, it is simple to forget that what we’re trying to do is play music,
competitively, at the highest level. It is also simple to get too wrapped up in technique
or the latest rudiment combo. Although we will be looking for people with chops and a
high level of understanding, we need competent musicians. Rhythmic accuracy and
control are the building blocks to achieving our goals, but a mature, musical ear is at
least as important. The more dialed in your ears are, the more you can blend, balance
and play clean.

We use heights to dictate dynamics. It is easy to get used to once you break down
each height and how it feels. When we say inches, we are referring to how many
inches (roughly, not with a ruler) away from the drumhead the tip of a stick or mallet is.
The idea is to think more about the angle in relation to the drumhead than the inches
away from the head. It gets everyone playing the same dynamic right away with little to
no effort. Also, a height may be referred to as happy or sad. Happy means that you can
be generous with your heights. Sad means that you should play just a shade below
what’s specified.
Dynamics/Heights

p = 3” (0º, or parallel with the surface)

mp = 6” (22.5º)
mf = 9” (45º)
f = 12” (67.5º)
ff = 15” (90º, or perpendicular with the surface)

Ensemble Etiquette
-Standby: The “ready” posture. Sticks will be in the hands, down at your side, and feet together. One
should be at this posture if called and/or if the directions have been stated.

-Set: The last posture before the rep starts. This should happen in 2 distinct steps/motions, and those
motions should be executed together with the group. Step 1, sticks come up to a “sticks-in” position, feet
will be together still. Step 2, sticks will move to the appropriate position (based on the chunk), and feet
will move to a minus one if a visual phrase is involved.
-Relax: after all checking, adjusting, and comments have been given, a designated member will give the
signal to go to a relaxed position to receive more information/instructions.

-Relax: after all checking, adjusting, and comments have been given, a designated member will give the
signal to go to a relaxed position to receive more information/instructions.

-Reset: after all relevant comments to the previous rep have been given, reset will be called. At this
point, no more talking should occur, and everyone should be fully focused on the next rep at hand.

-Sticks In/Down: Our standard is sticks out/up on beat 7 of the count-off, in/down on the following beat
3 after the last note. Scenarios will be varied and unique. There will be different scenarios defined and it
is expected that this definitions be executed as a part of each exercise/show chunk.

-Mark Time: A natural 45º turn out in music only scenarios. The whole foot (as opposed to heel only)
strikes the ground percussively at the designated rhythm/tempo. “Play the earth drum”- the same care
that is put into playing a kick drum on a kit should be put in here. Although the foot does not make a
sound intended to be in the score, you should approach it as if it does. A “Ski-Line” (both feet 0º) foot
position will be used for tracking to simulate visual rep foot positions. Heels should not touch the ground
during tracking. Foot timing should be thought about first and foremost, as it sets up the music to be
correct and consistent. Commitment to thinking about that pulse will allow your subdivision to be in the
correct place. At times, “rocking” (a one foot heel tap) will be implemented. Here, only the heel comes up,
and the heel hitting the ground is now the correct interpretation of the beat as opposed to the knee
bending or straightening. Throughout the show you will be asked to perform many body movements or
choreography and all of these movements and checkpoints should be treated the same as the mark
time. If you have a plié on the &-of-1, then that pose should be articulated precisely at that time, and the
hands should follow that interpretation.

-Stick Etiquette: Sticks will start where they are within that chunk, before the rep begins. If we start a
chunk sticks in or down, they will be there when set is called. If we are in the middle of a phrase, sticks
will assume that position (in/out, up/down) when set is called.

-Listening: Our brains and ear automatically hear anything within range of being interpreted. Listening is
the second conscious step of “repeating to one’s self” or evaluation of what the heard instructions mean.
It takes a mental rep to go from hearing to listening. It may seem trivial, but the actual conscious
reputation of this is very significant. The times that you don’t consciously make the decision are left up to
chance. Listening and receiving information and instructions is critical to the safety and success of the
ensemble.
 Awareness and Unlocking the “Flow State”

It is our firm belief that our ear are the most important instrument we have access to
and throughout the season we will be developing more interdependence of the hands
and the ears.

An inexperienced player will have difficulty determining if they are fast or slow if they
are not used to the concept of using their ears as they play. We are looking for
someone who can listen while they play in order to make quick adjustments to tempi,
dynamics, etc…Being able to have a strong ear will only help with accessing
Unconscious Competence..

“Unconscious Competence” or the “Flow State” in regards to this activity is the ability to
play music with ideal efficiency of motion, and effortlessness.

Unconscious Competence is the goal but is hardly the first step:

Unconscious Incompetence
-You are unaware of the skill and lack the required proficiency i.e. you don’t know what
you don’t know.

Consciousness Incompetence
-You are made aware of the lack of proficiency but may struggle to know how to fix it.

Conscious Competence
-You are able to do the skill but only with effort; i.e. you’ve been made aware and have
made strides to become proficient but can only achieve the desired results with effort.
Unconscious Competence
-Your body has been trained to play in a consistent fashion to where it becomes muscle
memory- at that point your mind does not have to think about every little thing.
Naturally you’re still engaged in what’s going on but it takes less effort from the brain
to do so. Your body essentially goes on autopilot while your ear listens for slight
adjustments.

Exercises and Audition Material

All material found in this packet should be prepared to the best of your ability. All
fundamental exercises will played in a group and individual settings during all musical
and visual rehearsals. We look forward to seeing you at auditions!
 Snare Grip
Right Hand:

Your fulcrum should be at the back third of the stick. We use a 3-finger fulcrum. Faster diddle passages
call for more pulling in the index finger. For most other music, we will use index/middle finger together
for most of the work. The ring finger and pinky come along for the ride, but they don’t do as much work
as the other two fingers. There will be a small gap between your thumb and index finger at tacet. The
gap will close as pressure in the fulcrum is added for high velocity vocabulary. The gap/crease they
create should be at a 45-degree angle in relation to the drumhead. We utilize strengths from both
German and French grip this way. The thumb will run along the side of the stick with all of it touching.
The thumb never leaves the stick. The stick should be angled two fingers above the rim. There will be a
straight line from bead to thumb and thumb to elbow.

Left Hand:

The left hand stick will rest in the fleshy/webbed area between the thumb and palm. We will apply only
enough pressure here to ensure a consistent grip and the connection of the stick’s motion to the wrist’s
turn. From here, with the fingers we will make a “C” shape. Through this, the thumb will connect to the
index finger at the last knuckle joint of the index finger. The stick will then rest on the ring finger’s cuticle
(where the skin meets the fingernail). Your ring finger and pinky need to stay together and work together
as much as possible. When they come apart, it causes unneeded/unwanted tension in the back of the
hand. The angle of the stick, while at the set position, will sit so that there is a straight line formed from
the thumb to the elbow.

Quads
Fulcrum:

Your fulcrum should be at the back third of the stick. We use a 3-finger fulcrum. Faster diddle passages
call for more pulling in the index finger. For most other music, we will use index/middle finger together
for most of the work. The ring finger and pinky come along for the ride, but they don’t do as much work
as the other two fingers. There should be no gap between your thumb and index finger. The crease they
create should be at a 45-degree angle in relation to the drumhead. We utilize strengths from both
German and French grip this way, but look to French grip to help us look better moving around the
drums. The thumb will run along the side of the stick with all of it touching. The thumb never leaves the
stick. The stick should be angled two fingers above the rim.

Home Base:

The sticks in playing position over drums 1 and 2 are what we call "home base." After everything we play,
the sticks return to home base. No matter which drum the last note of an exercise or phrase ends on,
the hands will immediately go back to drum 1 and 2 as if the sticks had just come out. This, just like
every other part of our approach, should be controlled and relaxed.

Quad Zones:

Your beads need to be together on drums 1 and 2, 1 2 inch away from each other, and 1 2 inch off of
the drumhead. The beads should be centered about 1 1/2 inches away from the bearing edge. When
playing on drums 3 or 4, the beads will have slight separation of about 2 inches. Be sure to maintain the
same distance from the head and bearing edge. When “sweeping” at faster tempos we use alternate
playing zones. These zones are as close to each other as possible on two adjacent drums without
getting too close to the bearing edge. Train your ears to hear and understand the differences in sound
between the correct and incorrect zones.
 Bass
Playing Position:

Approach the drum with your arms relaxed at your sides. Next, raise your forearms so that they are
parallel to the ground. Think about giving a good hand shake, in order to find the proper wrist angle, not
too flat, not too vertical. Getting the mallet head to the center of the drum should, at this point, only
require moving your forearms forward or backward. The height of the drum should be determined by
this technique.

The Stroke:

Our technique is a relaxed rotation. This is based in rotation, but not anti-wrist break. The grip on the
mallet should be as relaxed as possible to hold/move the mallet with a slight majority of the pressure at
the fulcrum. Your hand should be able to feel the weight of the mallet more toward the fulcrum. The
stroke starts with the moving your fulcrum/mallet head toward the ground, peeling down (like a
banana). Gravity should be a friend as you allow the mallet head to orbit down around your hand. Let the
mallet rotate until it is parallel to the ground in the same way as your forearm. This is known as axis 1.
To extend further, allow your forearm to be peeled down (axis 2) and out (axis 3). This should engage the
biceps as if you were preparing to do a curl at an angle. Your elbow should not have moved inward as a
result of axis 2 and 3. Furthermore, axis 4 is the addition of the twitch muscles (finger muscles) to
assist on subsequent notes.

Axis 1 should always be used first on every initiating stroke. Axis 2 and 3 will be used to varying degrees
in conjunction with axis 1 on initiating strokes. Axis 4 will be used as a supplement to axis 1 on
subsequent strokes, but should not be used to initiate a stroke. Each stroke should feel like throwing a
bouncy ball at a wall, working against the weight toward the front of the hand rather than pulling the
bottom of the mallet around. Breaking the wrist, while acceptable in this technique should never be the
impetus behind the stroke. Avoid tension on the top of the forearm (behind the back of your hand).

Battery:

The Movers of the Stick

There will be 3 parts of the body used to move the stick, and every skill set we will use
employs some combination of the 3. The wrist is the primary and most frequent mover
of the stick. The fingers and forearm are also occasional movers, but generally are
supporters of the wrist’s initiation.

Active vs. Passive

Refers to the part of the body that moves the stick and their intention of involvement.
The wrist, the forearm, and/or the fingers are the three possible initiators/motivators
of the stick. This distinction is to be more specific about the movement of each and
what their role is. An active part of the body means that it is the initiator of the stick;
the part of the body that generates the/some of the energy to set the stick in motion.
A passive part of the hand moves as a result of one of the active parts of the hand and
their effect (rebound) of the stick. One could think of these as “shock” absorbers.

Soft Hands
A maximally relaxed hand should be employed at all times. This means a different
amount of relaxation depending on the specific scenario, but, as much as possible
nonetheless. As much resonance from hands, to implements, to drums as possible.

Stroke Types-The stroke types outlined here are guide-points and ways of discussing
and coming to a clear understanding of the way in which a stick motion should happen.
Some stick motions may be exactly as defined here, but many will be somewhere
between those and in some combination of these stroke types. An understanding of
each will encourage successful communication from and to the staff about desired
ways of playing.
Legato- a stroke in which the stick motion is “smooth”; “It does not stop”/“it stops only
for minimal time”. The velocity of the stick varies proportionately with the
rhythm/tempo of the stroke. The characteristic sound of the drum may be lighter and
less voluminous than the staccato and marcato stroke of the same tempo and rhythm.
This often applies to what we do to the stick between strikes of the head. The rebound
should be unaffected after the stick is set in motion towards the head (free rebound),
but we may assist at times after the rebound to continue the up-stroke.

Staccato- a stroke in which the stick is moving with “maximum” velocity. There should
still be “free” rebound, meaning that the stick is allowed to completely react to the
velocity put in at the beginning on it’s way to the head. There may be a pause at the top
of the stroke given enough velocity and enough time before the next stroke. The
characteristic sound of the drum may be a bit brighter than a legato or marcato
stroke of the same height. A phrase associated with this you may here is “Wait longer,
move faster.”

Marcato- a stroke in which the stick is moving with the weight of the hand and forearm
being a part of the initiation of the stroke. In each initiation towards the head, the
natural weight of the hand and forearm will be transferred through the stick to provide
a way to stop the stick without squeezing, and may cause a characteristic change in
the sound of the drum. It will produce a bit more volume, be a little darker, and be an
overall more full sound than a staccato or legato stroke of the same height. The energy
it takes to hold up the forearm or hand should be zero at the end of each stroke and
should be reset on the upstroke. All down strokes are some form of marcato stroke.

Scientific Method of Drumming

1) Ask a Question
2) Formulate a Hypothesis
3) Test with Experiments
4) Analyze the Results
5) Formulate a Conclusion

Each member of the ensemble should see themselves as a scientist in the field
of percussion. All of us are in different stages of our study. Some of us are just
beginning, and some of us are well down the path. No matter our position on the path,
a healthy curiosity and scrutiny is necessary to discover the “truth” in our field. Any
problem you come across should begin with an observation. There is some goal to be
attained and a “best” way of doing it. After identifying the subject, one should form a
hypothesis of how to solve that issue. After coming up with a hypothesis, one should
begin to test and study the outcomes. After referencing past material, consulting with
colleagues and authorities, and testing possible variables, one can confidently apply
those findings. No answer should be taken for granted and is always open to further
scrutiny and refinement. All members taking on this role in conjunction with the staff is
the way to make the ensemble its strongest version, as well as the strongest
individuals. Don’t wait for the answers and solution to be handed to you! Be proactive in
your search!
 ADDITIONAL VOCABULARY

Multiple Bounce: Employs the marcato stroke type. The stick will use a fulcrum of some sort and
bounce multiple times per “stroke” Skill-sets: double/triple stroke rolls, double/triple beats, “buzz” rolls

Velocity: Speed and direction of the stick. the stick can move “slow”-“fast” (on a continuum) and it can
move in the direction of the head, away from the head, or lateral above/next to the head (zones or drum
accuracy).

Blend/Balance: Refers to the character of sound, dynamics, and overall nuance of the notes being
played together or as a part of a phrase or moment. We want to blend/balance our sound in a way that
gets across the musical intent clearly and effectively. Lots of time this will mean trying to “perfectly”
match your sound to another musician. Sometimes this will mean knowing how to play the “correct”
combination of style and dynamics to create the overall desired musical aesthetic. The first step to
blending your sound with someone else is playing rhythmically with them (or correctly rhythmically
spaced if the parts are not tutti). If the notes themselves are not in the appropriate space, then the
character of them will not matter. The next level to blending would be playing appropriate dynamics.
Again, this can mean that you are matching the “exact” volume of the person you are playing with, or
playing at an appropriate volume above or below. Sometimes you may be the featured voice, and
sometimes you are the accompaniment to the featured voice. The final layer to blend and balance is to
play your notes with the appropriate touch. The lightness or heaviness or your touch can change the
character of your sound enough that an audience member or judge may not be able to clearly hear or
understand your role in the phrase of music.

Articulation: Refers to the start of a new note. The very front, or attack of a note.

Tone/Resonance: Refers to the resonant effect of a note articulation. the secondary effect of striking
an instrument. Vibration of matter is key here. The more that an implement or instrument is allowed to
vibrate, the more resonant the sound will be. That means squeezing or restricting motion of the
implement or instrument will create a shorter and sometimes “harsher” resonant tone.

Weight: Refers to the natural mass and force that the body parts initiating and receiving the stroke
provide to the stroke. The more weight behind the stroke, the “heavier” and “darker” the sound will be.
Imagine the difference in the sound of a metal street light being struck with a triangle beater vs a metal
baseball bat at the same velocity. The bigger/heavier the implement, the more sound. When using an
implement, the more you allow your arms and hands to relax while moving the stick, the more
weight/force will be applied to the drum. This will affect the resonance of the note as well. Moving the
stick with the arm and wrist locked in place and only moving with fingers produces a different sound than
locking the arm in place and only using the wrist to move the stick; and yet a different sound than when
all three parts work together and are allowed to move efficiently at all times. This will be the main force
involved in “stopping” stick motion on accent tap figures.

Natural Decay/Tenuto: Refers to a multiple stroke on the same hand in which the height of the stick is
allowed to diminish comfortably according to the height, velocity and rhythm of the stick. Faster rhythms
will typically decay to lower heights to accommodate the lack of time between notes. Slower rhythms will
typically decay less, staying closer to the height of the original stroke. These strokes will be noted in the
music with a tenuto marking.

Slur: A marking in our music meant to indicate (1) A big legato motion and hang time between the
marked notes. Could be same hand or hand-to-hand; or (2) The intention of a hand to prep or float in a
musical space that could have that hand be tacet or at rest. To express a clear physical motion.
 Exercise Notes:
Buzz Jam

Buzz quality is a very important, fundamental technique that affects all other aspects of what we do. That
is one reason that we play them first in warm ups. In addition to getting the blood pumping and warming
the hands, it sets up the touch for all of our exercises. When approaching any buzz figures in exercises,
we should use this “functional” buzz roll as opposed to buzz technique meant for a sustain in a musical
context. The functional buzz roll produces the multiple bounce by persistent downward pressure
towards (or inwards) the drum head, with MINIMAL pressure by the hand into the stick. Meaning we
should strive to achieve the buzz stroke by turning the wrist and allowing the stick to bounce within the
grip as opposed to squeezing or pinching the fulcrum and allowing the back fingers to lose contact from
the stick. This may result in “choppier” (less connected) buzz sound initially, but as stated before, these
are functional rolls. This technique bridges the gap between singular stroke and multiple bounces with
minimal change in pressure or parts of the hand used. As a default length, each buzz stroke should last
as long as the space between the hand that initiated it, and the next hand to play. For example, if the
single hand speed is a quarter note triplet, then the buzz should last for the length of an eighth note
triplet. Correct execution of this should result in a sustained and connected buzz sound. This way, the
check of the roll can be very similar to the legato or marcato hand speed of that roll. For this exercise
between checks and buzzes, we should switch between legato strokes and marcato strokes respectively.

Tap Jams
Equinox’ take on the classic exercise, Tap Pyramid. Legato strokes are to be used for phrases at 3
inches (or one height in general). This sets up our low end and wrist turn chops technique. Grip should
be as relaxed as possible and the wrist should be allowed to be the sole initiator, with the forearms and
fingers passively supporting. The natural decay/marcato stroke should be used when accents start the
phrase, but still if there are multiple taps in a row, legato strokes should be used. All motions between
strokes should be as smooth as possible.

Old School Sixes

Serves as our stick control exercise. The strokes from the beginning to [A] should be legato strokes up
strokes and staccato down strokes. Plenty of velocity with a big, warm sound. [A] to [F] should implement
a combination of marcato strokes and legato strokes. Marcato on the accent tap and multiple strokes
that are accented, and legato on the same hand accents. We should strive for maximum clarity of
articulation throughout.
EQX Rolls
-The roll technique is directly related to buzz jamz. All of the buzzes and diddles should
be played with this technique. There are a few skill sets that add on that basis
(paradiddlediddles, ruffs/drags) but that should not change the basis of the technique, only
add responsibilities to what you already set up.

top-[A]: Basic roll set up. Take advantage of the back and forth check, buzzes, and diddles. Hand
speed is consistent, so pressure changes are the focus. Be very precise. Bass drums, use the
stacks in m.9 and 10 to set up the single splits in m.11 and 12.

-[A]-[B]: This section adds in accents and tap spaces. Bass drums, focus on attacking unisons
together through big open spaces.

-[B]-[C]: This section applies our triplet diddles to dynamic shaping. Strive to keep the multiple
bounce approach applied appropriately across the heights and zones.

-[C]-end: This section is for application of this concept in many different skill sets. Take
advantage of the length of the roll figures. It is important to have consistent technique over
time and demand.
 EQX BASICS

8-8-16

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° œ œ œ œ ‹ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
/
R l l l R l l l r l r l R l l l R r r L R r r L R L l l R L l l R R L L R R L L R r r r L l l l R
>>>>>>>>>>>>>>>> >>>>>>>>>>>>> > >
> >> > > >
œœ œœ > > > > > > >œ >œ œ œ œ œ
¢/
Œ ‹™ VV V ‹ V™ œ
œœ œœœ œ
œœ œœœ œœœœœœ œœœœœœœœV V V Œ Ó
2

16th Timing
3 Note

/ œœœœœœœœœœœ œœœ œœœœœœœœœ œœœ œœ œœœœœœœœœœ œœœ œ œœœœœœœœ≈œœœ≈œœœ

r l ... r l r r l r r l ... r r l r r l r l ... r l l r l l r l ... l r l l r l

/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ œ ™™ œ Œ Ó
r l ... r l r r r l r l l l r l r l r r r l r l l l r l r l r r r l r l l l r l r

2 Note

/ œ œ œ œ œ œ™ œ œ œ œ œ œ™ œ œœ œ ≈ œ œ œ œ œœ ≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ™ œ œ œ œ œ œ™ œ
r l ... r l r l r l ... l r l r r l ... r l r l ...
r l ... r l r l

12
/ ™™ œ œ œ œ œ œ™ œ œ œ œ ≈ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ™ œ ™™ ™™ œ œ™ ≈ œ œ ‰ œ œ œ™ œ œ œ™ ≈ œ œ ‰ œ œ œ™ œ ™™ œ Œ Ó 8
r l ... r l l r r l r l r l l r r l r l ... r

Triplet Timing
1 Note

12 j j
/ 8 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ™™
R L ... R ... R L ... L ...

j 12
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ œ ‰ œ ™™ œ™ Œ™ Œ™ Œ™ ∑ 8
R L ... R ... R L ... L ...

2 Note

12 œ œ œ œ œ œ œ ‰ œ œ ‰ œ ™™ 18
/ 8 ™™ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ ‰ œ œ ‰ œ œ 8
r l r l r l r l l r r l r l r l l r r l r l r l r l r r l l

18 9 4
/ 8 ™™ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ ‰ œ ™™ 8 ™™ œ œ ‰ ‰ œ œ œ ‰ œ œ œ ‰ ‰ œ œ œ ‰ œ ™™ œ™ Œ™ Œ™ 4
r l r l r r l r r l r l r l l r l r l r r l r l r l l r

Grids
16th
> > > > > > > > > > > > > > > >
4
/ 4œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
R l r l ... L L L L R R R R L L L L

> > > > > > > > > > > > > > > >
12
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó 8

Triplet
> > > > > > > > > > > >
12 œ œ œ œ œ œ œ œ œ œ œ œ 18
/ 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8
R l r L r l R l r L r l L R L R R L R L

> > > > > > > > > > > >
18 9 4
/ 8 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 8 ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ œ™ Œ™ Œ™ 4

5-let
> 5 > 5 > 5 > 5 > > 5 > > 5 > > 5 > > 5 > >5 > >5
4
/4œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R l r l r L r l r l ... R L L R ... R R L L

> > > > 5

> 5> > 5> > 5> > 5> 5
> 5 >> 5 > > 5 >> 5 > >
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ œœœœœœœœœœ œ Œ Ó
... R L L R ... R R L L ... R
 3
Meter Change
3 3 3 3 3 3 3 3
° 4
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ ™™ œ Œ Ó 4
r l r l ... 3 3 3
3 3 3 3 3
™œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ ™™ ™™ V V œ œ œ V V œ œ ™™ V Œ Ó 4
¢/ ™ œ œ œ œ œ
œ œ œ œ œ œ œ 4

Shady Tree
° 4 œæ œ œæ œ œæœ œæ œ œ œæ œ œæ œ œæ œ œæ œæœ œæ œ œ œæœ œæ œæ œ œæœ œ œæ œ œæ œæœ œ œæœæ œ œ œæ œæœ œ œæ œæœ œ œæ œæœæ œæ œæ œæ œæœæ œæ œæ œæ œæœæ œæœæ œæ œæ œ Œ Ó 12
/4 8
R L R L ...
4 œæ œ œæ œæœ æ œ œæœ æ œæœ œæ œæœ æœ j æ æ œæ æ æ æ œæ œ æ æ œæ æ æ æ œæ j ææææ œ 12
¢ 4
/ œ œœ œœ œ V V VV‰ V œœœœ œœœœœœœ œ œœœœ œœœ V V V V ‰ V œ œ œ œ œœœ Œ Ó 8

Short-Short-Long
° 12 œ œ œ œ œ œ œ7 œ7 œ7 œ7 œ7 œ7 œ œ œ œ œ œ œ7 œ7 œ7 œ7 œ7 œ7 œ œ œ œ œ œ œ œ œ œ œ œ œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ œ œ œ œ œ œæ œæ œæ œæ œæ œæ
/ 8
r l ...
f p p f
p
p f f p
f
12 œ œ œ œ œ œ œ7 œ7 œ7 œ7 œ7 œ7 7 œ7 œ7 œ7 œ7 œ7
œ œ œ
œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 œ7 777777
¢/ 8 œœœ œ œ œ œœœ œ œ œ œœ œ œ VVVVVVVVVVVV

° æ æ æ æ æ æ œ œ œ œ œ œ œ œ œ œ œ œ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œ™ Œ ™ Œ™ Œ™ 4
/ œ œ œ œ œ œ œ œ œ œ œ œ 4
p f p
f p f

œœœœœœœœœ œ œœœœ œ œæ œæ œæ œ œ œ œ œ œ œ™ Œ ™ Œ™ Œ™ 4
¢/ œœœœœœœœœœœœœœœ œœœ œœœ œœœœœœœœœœœœ 4

Paradiddle Breakdown
A
> > > > > > > > > > > > > > > > > > > > > > > > >
4
/ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœ œ œœ œ œœœ œœœ œ œœœ œœœ œœœ œœœ œ œœ
R r L l R r l R r L l R r l R r L l R r L l r L l R r L l r L l R l r L r l R l r l R l r L r l R l r l R l r L r l R l r L r l r L r

B
> > > > > > > > > > > > > > > > >
œ œ œ œ œ œ œ œ œ œ œ œ æ œ œæ œ œæ œæ œ
œ œæ œ œæ œ œæ œæ œ œæ œ œæ œ œæ œ œæ œæ œ œæ œ œæ œ œæ œæ œ œæ
/
l R l r L r l r L r l R r L l R r l R r L l R r l R r L l R r L l r L l R r L l r L l

C
> > > > > > > > > > > > > > >
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
R l r r L r l l R l r r l l R l r r L r l l R l r r l l R l r r L r l l R l r r L r l l r r L r l l R l r r L r l l r r L r l l R

Flam Vocabulary
Flam Accent Cheese Flam Drag Flam Five
> > > > > > > > > > > > > > > >
j j j j j æ j æ j æ j æ j æ j æ j æ j æ j æ æ j æ æ j æ æ j æ æ
/ ™
™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™

R l r L r l R l r L r l ...

Swiss Flam Flam Tap Invert Flam Tap

> - > - > - > > - > - > - > - > - > - > > > > > >
j j j j
/ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ™
œ ™™ ™™ œ œ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œ ™™ ™™ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œ œj œ œ ™™
œ
j

R r l ... R r L l R r L l R r L l R l L r R l L r R l L r
L l r

Cheese Invert Flam Tap Choo-Choo

> > > > > > > - > - > - > - > - > - >
™ æ œ œj œæ œ œj œæ œ œj œæ œ œj œæ œ œj œæ œ ™ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ™
œ œ
j
Ϊ Ϊ Ϊ
/ ™ ™
... R l r r L r l l R l r r L r l l R l r r L r l l R
 Rhythm Etude

Dynamics apply to left hand

> >3 > > >3 > > 3 > > >> 3
> > >3 > > >3 > > >3> > > >3> > > >
° 4 œ œ œ œ œ œ œ >>œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ
>
œœœ œ
> >>
œœœ œ œ œ œ œ œ œ œ
Snare /4
p f
R R R R R R R R L R R R L R L L L L L L L L R L L L R L R R ... b r r B r r B r L L ...
f
Dynamics apply to left hand
> >3 > > >3 > > >>
3 3 3 3
> > >> > > > > > > > > 3 >3> > > > >>
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > >œ > > œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Quad
¢/ 4 œ œ œ œœ œ œ œ œ œ
R R R R R R R RLR R RLR L L L L L L L LRL L LRL R R ... b r r B r r B r L L ...
p f

Dynamics apply to right hand

8 > > >> j j >> j j > > >5> > > > > >5 ^ > >
°
/ œœœ œ œœœ œ œœœ œ™ œ ‰ œ ≈ œ™ œ™ œ œ œ œ œ™ œœ™™œ œ œ œ™ œ ‰ œ ≈ œ™ œ™ œ œ œ œ œ™ œ™ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ
p f f
b l l B l l B l R R ... l r l r B r l r L L ... r l r l B l r l R R R L R R sim ...
p p
f
Dynamics apply to right hand
>> j j >> j j > > >5> > > > > >5 ^ > >
œ œ œ œ œ œ œ™ œ ‰ œ ≈ œ™ œ™ œ œ œ™ œ ™ œ œ œ™ œ ‰ œ ≈ œ™ œ™ œ œ œ œ œ œ œ œ‹ œ œ
¢/ œ œ œ œ œ œ œ œ™ œ œ™ œ œ œ œ œ™ œ ™ œ œ œ œ
f f
b l l B l l B l R R ... l r l r B r l r L L ... r l r l B l r l R R R LR R sim ...
p p p
f

15 > > >5> > > > > >5 ^ > > > >3 3 > 3 3 > >j > 3 >j ^ 3 >3 3
°
/ œ œ œœœ œ œ œ œf œ œ œ Œ Ó ∑ œ œ œ œ œ œœ œ œœ œ œ œ œœ œ œœ œ œ œ œ œ œœ f œœ œ œ œ œ œœ œœ œ œ œ œ
L L L R L L sim ... r l r l R l r l r l r l R l r l r l R l R L r l R L r l r l R l r l r l r l r l
p
5
> > >5> > > > > > ^‹ > > >
œ œ œœœ œ
¢/ œ œœ œœ œ Œ Ó
L L L R L L sim ...

23 > -3 > -3 ^ 5 > -3 > 5 > 3 > 5 ^ 3 > 5 5 ^ 3 > 5

/ œ œ œ œ œ œ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ ≈ œ œ f œ œ œ œ œ œ œ
R r r L l l R l r l r L l l R l r l r L r r L r l r l R l l R l r l r L r r L r l r l
f
fp

27 > > > ^ 5 > 5 > > - 5> - ^ > -5 >5 - ^ > - 5> - >
/ œ œ œ œ œ œ œ œ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ œ ≈ œ œ f œ œ œ œœœœœ œ Œ Ó
R l r L r l R l R l r l r l r l r L r l r l R l r l R r r l l R l r l R r r l l R l r l R r r l l
f
 Old School Sixes Ransom

q = 132
>>>>>> >>>>>> > > > > > > > > > > > > >>>>>>>> >>>>>>>>
° 6œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ ™œ ™ œ ™ œ ™œ ™œ ™ œ ™ œ ™ œ ™œ ™ œ ™ œ ™œ ™œ ™ œ ™ œ ™
Snares / 4

R R R R R R R R R R R R L L L L L L L L L L L L R R R R R R R R R R R R R R R R

>>>>>> >>>>>> > > > > > > > > > > > > >>>>>>>> >>>>>>>>
6œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ ™œ ™ œ ™ œ ™œ ™œ ™ œ ™ œ ™ œ ™œ ™ œ ™ œ ™œ ™œ ™ œ ™ œ ™
Tenors /4
R R R R R R R R R R R R L L L L L L L L L L L L R R R R R R R R R R R R R R R R

>>>>>> >>>>>> > > > > > > > > > > > > > > > > > > > > > > > > > > > >
6 ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™
Bass ¢/ 4 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
R R R R R R R R R R R R R R R R R R R R R R R R R R R R L L L L L L L L L L L L

7 A x=e
° œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ œ ™ 12 >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ -œ œ
> > > > > > > > > > > > > > > >
S / 8
L L L L L L L L L L L L L L L L R l l R l l R l l R l l R l l R l l R l l R r r

> > > > > > >

> > > > > > > > > > > > > > > > 12 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > -
T / œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ œ™ 8 œ œ œ œ
L L L L L L L L L L L L L L L L R l l R l l R l l R l l R l l R l l R l l R r r

> > > > > > > > > > > > > > > > > > > > > > > > >
™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ ™ 12
B ¢/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 8 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
L L L L L L L L L L L L L L L L R l l R l l R l l R l l R l l R l l R R R

11
° > > > > > > > >- > > > > > > > >-
S / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ
L r r L r r L r r L r r L r r L r r L r r L l l R l l R l l R l l R l l R l l R l l R l l R r r

> > > > > > > > > > > > >
œœœœœ œœ œœ œœœœœ œœ >- > >
œ œ œ œ œ œ
T / œ œ œ œ œ œœœ œœœ œœ œœœœœ œ œœ œ œ œœ œ
L r r L r r L r r L r r L r r L r r L r r L l l R l l R l l r r L r r L R l l R l l r r L r r L

> > > > > > > > > > >j > > > >j > >
œœœœœ
B ¢/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ???? ? ? ???? œ œ
? œœ œ ?
L r r L r r L r r L r r L r r L r r L L L R l r l L L R l r l L L
2

15 B
° > > > > > > > >- > > ^ > > >^ >
S / œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™
™ œ œ œ œ œ œ f œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ
L r r L r r L r r L r r L r r L r r L r r L l l R l l r r L R l l r r L r r L r r L R l l r r L

> > > > > > > > > > ^ > > >^
œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ ‹ œ œ œ ‹ >
T / œœ œœ œœ œœ œ œ œ œ ™ œœ H H
œœ œ œ œœœœœ
R l l R l l r r L r r L R l l R l l r r L r r L R l l R l l R l l r r L r r L r r L R l l r r L

> >j > > > >j > > > j >j > > > > > > > >
œœœœœ ™ œœœœœ œ
B ¢/ ? ? ? ? ? ? ???? ? œ œ œ œ œ ? ™ ? ? ? ? ? Œ™ ?™ œœœœœ
R l r l L L R l r l L L R l r L L R

19 C
° - - ^ > > > ^ > > > > >
S / œ œ œ œ œ œ f œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ ™ ™
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Q / œœœ œ œœœ œ œœœ ‹ œj œ œæ œæ œæ œæ œ œj œ ‹ œj œ œæ œæ œæ œæ œ ™ Œ ™ Œ ™ Œ ™
R L r l r l r l r l R L r l r l r l r l R L r l R L r l R L R L R L R L sim ...
mp f ff
j j j j > >j >j > >>>>>æ >æ >æ >æ > >j >j > >>>>>æ >æ >æ >æ >
œœ œ œ œœ œœ œœ œœ œœ œœ
œ œ œœ œœ V V V V V V V V œ œ œ œ
œœœœ
V V V V œœœœ
œ œ œ œ ™ Œ™ Œ™ Œ™
B
¢ / œœ VVV V VV V V
mp
 Buzz Jam

> >> >> > 4

> > > > > > > > > > > >
° 4 œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7 œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7 œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7 œ7 œ7 œ7
Snare /4 ‘ ‘ ‘
R L R L R L R R L L etc
mf
> >> >> > > > > > > > > > > > > >
7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7œ7 777777777 777 7777 7 7777 7 7 7
4 œ 4
œ7œ7œ7œ7œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7œ7œ7œ7œ œ œ œ œ œ œ
Quad /4 ‘ ‘ ‘ œ œ œ
R L R L R L R R L L etc
mf >
> > > > > > > > > > ^ >> > > >
4 7777777777777777 4
œæœæœæœ ≈ œæœæœæœ œæœæœæ œ ‹ œ7
Bass / 4 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
¢ ‘ ‘ ‘ œ œ œ œ œ œ œ œ œœœœ œœœœ
R R R L L L p ff p ff p ff mp mf
mf

7 2 > >> >> > 4

° œ œ7œ7œ œ œ7œ7œ œ œ7œ7œ œ7œ7œ7œ7
S / • ‘ ‘ ‘
R LR LR L
> >> >> >
2 œ œ7œ7œ œ œ7œ7œ œ œ7œ7œ œ7œ7œ7œ7 4
Q. / • ‘ ‘ ‘
R LR LR L
>>-- >>-- >>-- > > > >>>>>>> > > > > > > 4
œœœœœœœ ≈ œ œ œ œ œ œ œ
B
¢/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ ≈ œœ œœ œœ œ œ ? ? ? ™ ?≈ ? ? ‘ ‘
p p p p p R R R L L L ‘
ff ff ff ff ff ff mf

13 > > > > > > > > > > > >
° œ 7 œ œ7 œ7 œ œ7 œ œ7 œ7 œ œ7 œ œ7 œ7 œ
œ œ7 œ œ7 œ7 œ œ7 œ œ7 œ7 œ œ7 œ œ7 œ7 œ7 œ7
S /
R R L L etc
> > > > > > > > > > > >
7 7 7
œ 7
œ 7
œ 7 7 7 7
œ œ7 œ7 œ7 œ œ7 7 7
œ 7
œ œ7 œ7 œ7 œ7
Q.
œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ œ
/ œ œ œ
R R L L etc
> > ^ > > > > >
> >
œæ œæ œæ œ ≈ œæ œæ œæ œ œæ œæ œæ œ
> ‹ œ7 œ œ œ œ
B
¢/ œ œ œ œ œ œ œ œ œ œ œ œ
p ff p ff p ff mp mf

15 2 >
° œ
S / • Œ Ó
2 >
Q. / • œ Œ Ó
>>> > > >>> > > >>>>> > > >>> > >>> > >>>>>>>>>>>>>>>>>>>> >
œœœ œ œ ≈ œœ œ œœ œ œ œ œ œœœœ œœœœ œœœœ œœ Œ Ó
B
¢/ œ œ œœœ œœœ œ œœ œœœ œœœœ œ œœ
ff
 Tap Jams

° 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœ œ œ œœ œœœœœœ œ œ

Snare /4
r l r l ... r r r r r l l l l l r r r r r l l l l l r r r l l l r r r l l l rl r l r l r l r l l r l r
p mp
œ œ œ œ œœœœ œ œ œ
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœ œœœ œœœ œœ œ œ œ œœ œœ œœ œœ œœ œ œ
Quad /4 œ œœœœ œœœ œœœœ œœœœ œœœœ œœœ œ œ œ œ œ
r l r l ... r r r r r l l l l l r r r r r l l l l l r r r l l l r r r l l l rl r l r l r l r l l r l r
p mp
> >r >
4 œœ œ œ œ œ œ œ œ œ œ œ œ
Bass
¢ / 4 VVVVVVVVVVVVVVVV œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ œœœ œœœœ œ œœ œœœœ œœœœœœœœ œ V ‰™ VŒ V
f

7 >- >- >- >

° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
S /
f
l r l r l r l r l r l r l r l r l r l ... R L R L
p
> - > - >-
œ œœ œ œ œ œ œ œ œ œ œ O œ O œ O œ œ œ œ œ œ œ œ œ œ œ œ œ œ >-
Q / œ œ œ œœœ œœœ O O œœ œ œœœO œ œ œ œ œ œ œ O œ œ œ O œ œœœœœœœœœ œœœœœ œœœœ
f
l r l r l r l r l r l r l r l r l r l ... R L R L

> >> >> >>>> >>>> >>>> >>>> >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>> > > >>> > > >> >> >>
p
>j
™ œ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ
œ œ œ œ œ œ œ œ œœ œœ œœ œœ 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 V V
B
¢/ V Œ
≈ V VV≈VV œ œœ œœ œœœ œ œ œ œ œœ

12 >- >- >- >- > - >- >- > >- > - > - > - > > > >
° œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœ œ œ œ
S /
R L R L R L R L R L R L R l l l L r r r R l l l L r r r

>- >- >- > >

>- >- >- > > - >-
œœœœœœœœœœœœ œœœœœ
> - > - > > >
œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Q / œœœœœœœœœœœœœœœ œ
R L R L R L R L R L R L R l l l l L r r r r R l l l l L

> > >> > > > >>>>>>>> >>>>>>>> >>>>>>>>

>> >> >> >> > >j > > > > >>>>>>>>
œ œ œæ œæ œ œ œ œ œ œ œ œ œœœœœœœœœœ œ
B
¢/ V V V V V V V V V V V V V V V V
œ œ œ œ V V œœœV ≈V™ œœœœœœ œ œ ≈
œœ V VV V
œœœœœœœœ

16 > > > > > > > > > > > >
°
S / œ œ œ œ œ œœœ œœœ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ
R l l l l L r r r r R l l l l L R l l l L r r r R l l l L r r r R l l l l L r r r r R l l l L
> >
œ œ œ œ œ œ œ œ >œ > > > > > > œ œ œ >œ œ œ œ >œ œ œ œ >œ
Q / œœ œ œ œ œ œ œœœœœœœœœœœœœœœœ œ œœœ
R l l l L r r r R l l l L r r r R l l l l L r r r r R l l l l L R l l l L r r r R l l l L r r r

>>>>>>>> - - ------------ > > >>>>>>>> >>>>>>>>

>> >> >> >>>>>>>>œ œ œ œ > > >
œœœœœœœœ--- - -- œœœœœœœœ œ œ œ œ œ œ
B
¢/ œœœ œ œœœ œ V V V V V V V V V V V V V V V V œœœœ œ œœœœœœœœœ œ œ œ œV V V

19 >>>>^ > ^ > > >> >>>> > > > > ^ > > >>>
°
S / œœœœ‹ œœœœœœœœœœœ ‹ œœœœœœœœœœœœœœœ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœf œ œ≈œœœ ∑
R L R L ... p f

>>>>^ > ^ > > >> >>>> > > > > ^> > > > ≥
Q / œœœœ‹ œœœœœœœœœœœ ‹ œœœœœœœœœœœœœœœ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœ‹ œ œ≈œ ‹ œ Œ Ó
R L R L ... p f mute
>>>>> >
œ
> > >
œ œ œ œ œœ œœ --- - >>> > > > > >
B
¢ / V VVVV™ V ≈ œ œ œ œ œ œ V V V V V V V V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ V ™ V ‰ V V ∑
p f
 Flow Arounds

Pattern 1

7 œ œ œ œ ™™ 13
Quads / 8 ™™ œ œ œ œ œ œ œ œ œ œ 8
r l ... l r ...

Pattern 2
2
13 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ 15
/ 8 ™™ œ œ œ œ œ œ œ œ ™ 8
r l ... l r ...

Pattern 3
3
15 œ œ œœœœœ œ œ œ œœ œ œ ™ 19
/ 8 ™
™ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ ™ 8

Pattern 4
4
19 ™ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ 25
/ 8 ™ œœœ œœœ ™ 8

Pattern 5
5
25 œœ œ œ œ œœœœœœœœœ œœœœœœœœœœœœ œ œ œ œœœœœ ™ 4
™
/ 8 ™ œœœ œœœ œœœ œœœœœœœ ™4

6
4
/4œ Œ Ó
 Show Excerpts
Quads

2018 Excerpt

I
q = 102
--- - - --- --- - - --- --- - - > - ^ > > > >> > > ^ >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ æœ œj œ œj œ j > j œæœæœ œ ‹ H œæœæ œœ œ œ
4 œ ‹ œ œ œ œ Hœ œœ œ œ œ œ œ œœ
/4
r l r l r l r l r l r l r l r l r l r l l R r r r L r r ll r L r L r R R L L R L R L r l rr ll r r l l r r l l
f

> - >>>>-- >> >>

æ æ æ æ œœœ œ œœœœœœœœœ œæ œæ œ œ œæ æ > > > > >
/ Hœ œ œ œ œ œ œ œ œ œjH œ œ œjH œ œ œ
H H H œ
rr ll rr ll r r l l R r r l R L R L r l r l r RR LL r l RR LL R l R l R l R l R l r l
mp f

> 6 > 3 > > - - > > - - > > 3 j> j>3æ > 3 > >3 3 ^
œ H œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ jœ jœ œœ œœ œ œj æ œ œjœæ œ œj œj> œ œ H
3
œ œ œœ œH œ Œ ‹‹
œ œ
/ œ œ œ œ œ œœ H
R l l R l l R l l R L r l r l R L r l r l R l R l l R R l LL r RR l L L mp f ff
mf f

2019 Excerpt

C
^ > >5 > > > R pancake down ^ 3 >3 > >3 ^3
> > > > > > > > > > > œj>œj>œj œj œj œæœæœæœæœæœæ ‹ œ
q = 160 5 3 3
5 5
‹ jœ œ œ œ æ æ‹
4
/ 4 œ œ œ œ œ œjœ œ œ œ œ œ œ œ œ œ œ œ œ H Hœ œ œ œ ∑ œœ œ œ œ œ œ œ
R L R L R L R L R L R L L L l l rr ll rr ll rr ll R L L L R R r l l l R l r r L r L r L rr ll R l
ff p ff f p f

^ ^3 3 ^ ^
3
> ^
æœ > > 9 > > ‹
6
> -3 > 3 > 6> > 3
æ æ
æ æ æ æ æ æ æ
3 3
‹ > ‹ œ
œ œ œ œ œ œ œ œ H œ œ œ 46 œ œ
j œ œ œ ‹ j ‹ œœœœœœœœœœ
/ œœ œ H œ H œ œ œ œ œ œ œ
R r r L r L r r ll R l r r l l R L R ll rr ll R ll r r ll r r ll rr ll R L rr L r l l r l l R l l R R
mp f

> > -6- 3 ^ ^ > > -6- 3 ^ ^ 3 > > 9 > > - > 9 - > - ^‹ >
œ œ œ œ œ œ œæ œæ ‹ ‹ œ œ œ œ œ œ œæ œæ ‹ ‹ œ œ 4 œ œ œ H œ œ œ œ œ H œ œ œ œ œ H œ œ
/ 4 œœ Ó
R L r l r l rr ll R L R L r l r l rr ll R L r l R l r L r l R l r L r l R l r L r l R B
mf f mf f mf f ff