adie el Drum Tutorials FastStrings.comReading Practice Introduction Reading is always a problem for drummers of all ages, however | believe that it is not a problem if the basic issues are addressed right from the beginning. This set of 20 “Reading Practice” sheets is designed to help students learn the basics of reading music, with very little to confuse them, so they can concentrate on reading and counting the note types accurately. There is quite deliberately no dynamics, accents or articulation markings on them, and they are all in 4/4 time signature. | believe that students can learn these other things independently afterwards, but itis firstly of utmost importance that they know the note types and they can count rhythms correctly first. Many drum teachers probably disagree with me on this, indeed | would have myself when | first started teaching, however in my experience of teaching drums Ihave found this to be the most effective way of teaching students to read music. In this package have also supplied the snare drum solos and reading expansion sheets which deal with dynamics, accents and other time signatures. Tips for teaching rhythm reading... Students must COUNT OUT LOUD. this is vital to being a good reader. have not written in counts on any of the sheets, however they can be written in if the student is having trouble learning them. | insist that the student gives a note-perfect performance of each exercise before they can proceed to the next sheet, without any assistance from me. | also sign off each exercise as the student completes it, this gives them a sense of achievement, and a goal to complete the whole course. Kevin Tuck Feb. 2000Reading Practice #1 Crotchets and Quavers Quarter Notes and Eighth Notes ws Se PS SS SS pals/=FFR FRE ep lp Copyright 1998,2000 Kevin Tuc this copy licensed from World Perc http:/www.worldpercuss!Reading Practice #2 Crotchets, Quavers and Semiquavers Quarter Notes, Eighth Notes and Sixteenth Notes GG LR TR GG ey Copyright 1998 Kevin Tuck ‘This copy licensed from World Percussion Music and Resources http:/iwww.worldpercussion.com.auReading Practice #3 Quaver Rests Eighth Note Rests (ee SS aaa ate Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources: http:/iwww.worldpercussion.com.auReading Practice # 4 Mixing Quavers and Semiquavers (1e+) Eighth notes and sixteenth notes pap GaGa aE Saas Sse a a aii GL hy EEG SG ta Copyright 1998 Kevin Tuck ‘sed from World P ssic and http:wew.worldperReading Practice #5 Mixing Quavers and Semiquavers (1 +a) Eighth and Sixteenth Notes | Ca OR oo oe se [ede dyevesiacescace Copyright 1998 Kevin Tuck this copy licensed from World Percussion music and resources http:/www.worldpercussion.com.auReading Practice #6 Minims, Dotted Minims, Dotted Crotchets Half Notes, Dotted Half Notes, and Dotted Quarter Notes Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources, http:/www.worldpercussion.com.auReading Practice #7 Dotted Quavers, and Semiquavers Dotted Eighths, and Sixteenths | eS ee Se Fer few 0 0 eeeee [eee eevee (ee eevee Copyright 1998 Kevin Tuck this copy licensed from World Percussion music and resources http:/www.worldpercussion.com.auReading Practice #8 Revision eM TS eS 1G) FG Rd GL Copyright 1998 Kevin Tuck ‘sed from World P ssic and http:wew.worldperReading Practice #9 Quaver Triplets Preliminary Exersizes 28 8 2 2 eo ome So eS Copyright 1998 Kevin Tuck this copy licensed from World Percussion music and resources http:/iwww_worldpercussion.com.auReading Practice #10 Revision Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources: http:/iwww.worldpercussion.com.auReading Practice #11 Semiquaver rests Sixteenth note rests Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources: http:/iwww.worldpercussion.com.auReading Practice #12 Mixing Quavers and Semiquavers with syncopation (1e a) SS SS SS SS | dedeeseces oe «| we see eee wee o| Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources: http:/iwww.worldpercussion.com.auReading Practice #13 Mixing Quaver Triplets with other notes Preliminary Exersizes EEL PRR ES SS SS SS Copyright 1998 Kevin Tuck this copy licensed from World percussion music and resources http:/www.worldpercussion.com.auReading Practice #14 Crotchet Triplets 1/4 Note Triplets (SS SS SS aa Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources: http:/iwww.worldpercussion.com.auReading Practice #15 ‘Semiquaver Triplets 1/16 Note Triplets eso993 993 9 2 2 2 CSC CRO Sos Cee ceo Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources http:/iwww_worldpercussion.com.auReading Practice #16 Preparing for Syncopation aq eGR Aa ah as ee ee ee | moh bh} so vege ye yee eee P| NO} by « . w Hy « . . 3 3 oT) GGG Gey ‘copyright 1997, 2000 Kevin Tuck this copy licensed from World Percussion Music and Resources, http:/www.worldpercussion.com.auReading Practice #17 ‘Syncopation Doe ye ee ee ‘copyright 1997, 204 this copy licensed from World http:/www.worldpercuss!Reading Practice 18 = Syncopation with Ties ogi pO _e 3 3 SS SS eee ee weve eee eee! copyright 1997. 2000 Kevin Tuck this copy licensed from World Percussion Music and Resources http://www. worldpercussion.com.auReading Practice #19 Syncopated Semiquavers ESTEE aE as OS Oo ees oe ee ee weeeeee se @ eee ‘copyright 1998, 2000 Kevin Tuck this copy licensed from World Percussion Music and Resources, http:/www.worldpercussion.com.auReading Practice #20 Revision Soo FS oe ee oe 2 oe oe oe) Copyright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources http:/www.worldpercussion.com.auRockin the Suare ‘Snare Drum Solo pee ee eee fe en] Nee en ee | de fee ele teeta ete des | weeeededs ft aE eS Ee Copyright 1998 Kevin Tuck This copy licensed from World Percussion Music and Resources http:/twww worlpercussion.com.auDywamically Speaking. ....... Snare Drum Solo oe = Por Ee ee Je oe eees fe ere | aaa Sd le See See] PP P nf f SF ———_ if f PP So SSeS ee |e ee eee «| ceccecece a Copyright 1998 Kevin Tuck this copy licensed from World Percussion !ntpywwu.worldpercussion.com.auSemi Madness Snare Drum Solo a aang aa aa pee oR Ry Pe) EL pt eae fated eanstl [asateasaseeslaee eee selDrum Kit Notation Guide For Drum Kit Exersizes by Kevin Tuck Hi-Hat Ride Crash Splash Kick Snare Rim Click x al = = 2 F y + Closed open 3 Toms. 4 Toms 5 TomsBasic Kock Patterns Sheet | ee eee ee) The Basic Rock Pattern : Bass Drum Variations: I 2 © Copyright 2000 Kevin Tuck This is a licensed copy from World Percussion http:/iwww.worldpercussion.com.auBasic Kock Patterns Sheet 2 be F Bass Drum Variations with 8th note/Quaver Rests Copyright 1998, 2000 Kevin Tuck This copy licensed from World Percussion Music and Resources http://www. worldpercussion.com.auRock Patterns 2 bar Patterns ‘This copy licensed from World P: http:wwew.worldperBasic Rock 4 Bar Phrasing Ta CO FE Ts Stir otto at coor MH BS er ootRock. Patterns Stage 2, Sheet 1 - "Snares in the Middle" _ 2 aT =F 4 2 this copy licensex http:/www.worldpercusRock. Patterns Stage 2, sheet 2 - "Bass and snare in the middle..." 1 a ——— = co ce Copyright 1998, 2000 Kevin Tuck ‘This copy licensed from World Percussion Music and Resources http:/iwww.worldpercussion.com.auRock. Rhythms Stage 2, Sheet 3 a oe ms Copyright 1998, 2000 Kevin Tuck This copy licensed from World Percussion Music and Resources hittp:/www.worldpercussion.com.auRock. Rhythms Stage 2, Sheet 4 rrr errr™ SS Copyright 1998, 2000 Kevin Tuck This copy licensed from World Percussion Music and Resources hittp:/www.worldpercussion.com.auKock PRIASES 2 bar Patterns 1_ ao a, S - rs, notre ‘i :Rock. Rhythms Stage 3, Adding Semiquaver Triplets 1 s Copyright 1998 Kevin Tuck this copy licensed from World Percussion hittp:/www.worldpercussion.com.auHi-Hat Patterns This is a list of Altemate Hi-Hat Pattems that ean be applied to most of the previous patterns. Crotehets Example Play on Loose Hi-Hats or the Ride (sheet I, munber 3) Semiquavers Can be played with one hand, or both depending on the tempo RRRRRRete RLRLRL ete TERT, el pI oF cf Accents Very Important in getting a good feel! Hi-Hat Openings These are Just an example <= - There are Co Fo OT) Hundreds of I other cymbal a r ag nee over these £ Have Fun! Others JT FTF) A) OF) | oot oee! Copyright 1998 Kevin Tuck This copy licensed from World Percussion Music and Resources hpullwww.wordpercussion.com.auSemiquavers on the hi-hat ‘Semiquavers can be played on the Hi-Hat using either One hand (ex 10 or two hands (ex 2, depending on the tempo of the song: example 2 RLRLRLRL ete JE = tS eS EE FEGLES GEE tT So SoBasic Patterns with Crotchets on Hi-hat Page 1 Joy copy in the Bass & Snare voice from the rest of "Basic Rock pattems page 1", and the "Basic Rock pattems page 2° here 4 copyright K. Tuck 2001Shuffle Patterns The Basic Shuffle Pattern With Bass drum on every beat: Bass Drum Variations Shuffle with Crotchets on the Cymbal: 3 3 3 3 Copyright 1998, 2000 Kevin Tuck this copy licensed from World Percussion Music and Resources, http:/www.worldpercussion.com.auMore Shuffle Patterns SSeS ey Coprright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources, hitp:lwww.worldpercussion.com.auiDrum Kit Patterns - Triplet Type for Rhythin and Blues Rock Ballade 3 3 3 3 470 on So Basic Pattern: Witten in 4/4 Time: ro 2 Basic Pattern written in 12/8/ Time 1 Wom aD mmmm Ser te —— ert 1 Wom PT Sor Copryright 1998 Kevin Tuck this copy licensed from World Percussion Music and Resources http:wwwworldpercussion.com.2u1 Drum Kit Patterns — Triplet Tupe for Rhyt! hythen and Bluce Ghoot 2 2 3 JJ - 5 TTT aT ea, yf 2 JTi JT JT 7 SSF eee 4 6 JJIJTiIJ WT AE - SEE JJi rj IITA JT oe — = St HH ces 8 - JJi STA IT SSS ~*~ eee 7 JJ JJ ST oe eye 2 =| 2J TWIG — 1E x So ; 2IJT_ 2 . 3 JJJ JJ Iq a JJ Ee SS o JJ Ji a J 2 JJi JJ JJ J «| JJ J JJ IJ J oye « 12a = Also Try all of thes Sor ryt withIndependence Sheet #1 ‘These exersizes are designed to develop the independence of both the left hand and ‘the bass drum. Step 1) Play the second bar only.. with the snare drum against the ride cymbal... very Swung slowly antares! Step 2) Then add the hi-hat on 284 of every bar, and play the exersize as written, bringing in and out the snare drum. Step 3) Learn the exersize playing the snare drum line on the bass drum. 1MiMi Al fA Hi-Hat should be played with the left foot on beat 2&4 of every bar 1010/4) 5 I1GjI31 Gl B JJJJ JJ Jl 1FJI BIA Independence Sheet 1 by Kevin Tuck ie copy licensed from World Percussion Music and Resources http lw worldpercussion.com.auIndependence Sheet #2 181/40) BB) LI 0G i. xi Gi Gs 149/910) | Pee - SS = JMIG1 GF GB Also try playing these exersizes alternating bars between snare drum and base drum. Don't forget the Hi-Hat! Swing Independence Exersizes by Kevin Tuck ‘This copy licensed from World Percussion Music and Resources http://wuw.worldpercussion.com.auIndependence Sheet #3 one bar patterns 17IG)] Ala . nt ay a ait I1GJ/ G13) ‘Swing Independence Exersizes copyright 2000 Kevin Tuck this copy licensed from World Percussion Music and Resources httpi/www.worldpercussion.com.auIndependence Sheet #4 JJJ 0) GG =e ‘a i , . a | eV 4 Ht i Tih, | Wit] i —— Ma Gi i Swing Independence Exersizes copyright 2000 Kevin Tuck ‘This copy licensed from World Percussion Music and Resources httpi/www.worldpercussion.com.auSwing Independence Sheet #5 Swung F Triplets Quavers 3 ; i JJJ OJ J J In these exersizes, the cymbal always lines up with the third note of the vipee aoa eel il eed) ee ‘the way the quavers are always played in ‘owing, 60 that is why tthe notation looks a little strange. 1A) Qi fi Jil Swing Independence Exersizes copyright 2000 Kevin Tuck ‘This copy licensed from World Percussion Music and Resources http://wuw.worldpercussion.com.auIndependence Sheet #6 Mixing Snare & Bass 1H9IG1 0! Oi Gs Oi I1GHIBGIAIG 14J041 GB) 1fli fil fl fA Midi Al 7 ‘Swing Independence Exersizes copyright 2000 Kevin Tuck This copy licensed from World Percussion Music and Resources http://www.worldpercussion.com.auIndependence Sheet #7 2JiJf01i Gs Hininin ro JIG! fis A J1JJJ/M0i A I1JIJI GLa Wifi 1 Swing Independence Exersizes copyright 2000 Kevin Tuck ‘This copy licensed from World Percussion Music and Resources httpi/www.worldpercussion.com.auIndependence Sheet #8 Bass Drum Exersizes JJ fiji Gs IMAG JIG! fis A J1JJJ/ M03 A 1JIJ TAH Wifi Ol Swing Independence Exersizes copyright 2000 Kevin Tuck this copy licensed from World Percussion Music and Resources httpi/www.worldpercussion.com.auMelodic Exersizes 7 meade ye, which an be payed againes the hms are taken from the melodies of famous jazz tunes...see you can guess “Some of these rhytt which ones they arell 1 oy as GiAs og JQ) Bi ALO) WANs 25 GI Agia oD LMAIBVGIGIGIa 2 Se ee 24101 8) oO) BG AG Zee epee ereereerrersMelodic Exersizes i — Sheet 2 HAI pint Prerin tee og Qo a) 1 J3] S30 JH BIG — Saas 2 141 G1 i) tii 14 JJIJ/ GIS SS ‘this copy licensed from dence copyright 2000 Kevin Tuck World Percussior hep:/iwww.worldpercussi auMelodic Exersizes en Qavere Sheet 3 3 15/01 001 05 Soo Se JOG Asay = ee te = TE Pe Li Gif) G10 4 UR SO PE Grange ¥ JOG 5G ns er eS at Jo snp # Melodic Exersizes for Swing In copyright 2000 Kevin Tuck This copy licensed from Worl ion Music and Resoure: battpe/ nwo worlds mauSwing Figures Section or Ensemble Figures? There are two types of figure usually found in swing charts A section figure is usually written above the staff, usually played by only one section of the band, and the time slashes continue under the figure Brass > > > > i i When encountering this type of figure. the drummers role is to keep the time going underneath the figure, and lightly compliment it with the snare and bass drums. It is important not to over-empahasise every section figure that is found in a chart, or the drums will be too "pusy’ and take away from the section that is playing. An ensemble figure is usually written on the staff, replacing the time slashes, and noteheads are replaced by slashes, and usually have accents over the most important notes. A > A > + el + Ky =f ae ee ie oe l When encountering this type of figure the drummers role is to: -Stop the time and play the figure with the band, crashing cymbals on the important notes. -Play a "set-up" which leads to the figure A set up usually consists of one main note immediately preceding the figure, with an extra few notes to embelish it.” Orchestrai A crash cymbal is not generally strong enough by itself to emphasise the figure, 60 it is usually played in unison with the snare or bass drums. “if playing the figure with the snare & crash the set up is usually played with the bass drum, and if playing the figure with the bass & crash then the set up note would be played on the snare drum.Setting up ensemble figures (figures on the beat) Generally when a figure is on the beat, the setup should be played on the beat immediately before it, and extra notes can be added before the set-up note to embelish i. Here ie a single note ensemble figure and some possible set-ups for ieSetting up one note ensemble figures (figures off the beat) When a figure io off the beat, the setup note should be played on the beat which ‘the figure is after, and additional notes can be added before the main set-up not Here ie a single note ensemble figure and some poseible set-ups for it > > os J in x Aor =e re > + If the figure ie written as shorter note, and/or written with a capped accent\{_), then 4 . A A SS bk aeensemble figures one bar figure examples AX) |AR wall 7 = = aH a att ATs a ia mA —— izes > : lb =e SP 7 fporie oe — sll Ax Me AZ Me A KI FFF |Latin Rhytinns #3 The Bossa Nova ‘The Bossa Nova origionates in Brazil. and has become the most popuiar of all the Latin Styles. It is essential for the Jazz and Rock Drutniner to have a trong underctanding of the Bosca Nova ste. and be fluent in the ‘tution of it. The Bosea Nova is a indecpensable part of Jazz Music, and also appears in Ballads and Pop in difference between the Bocca Nova and other straight 8th Patterns is in the Ritn Click or Pala Part, which is a type of 'Clave™ pat z = Thi ic added to a brazilian 'Gamnba’ bass drutn line. which fits with the Base Lines of the inuric. oT tT pts The Hi-Hat ic alco added on 2 & 4 of each bar, to create a underlying puice with the bace drum | Add comme relaxed Quavers on the Hi-Hat or Ride Cyinbal and we have the Basic Bosca Nova Patter. THF Fo ot ot ‘As with other Latin tnucic, sometimes the ‘Clave’ ie reversed. co that the cecond bar ic placed firct. and the first bar second. This tneans that all fills have to fit in with thic phrasing of the pattem, Drummers need to be fluent in both Versions of the Bosca Nova Clave" Lave) The Cumba Patter can aco be played using a brush on the Snare run 3:2 Clave Variations 2:2 Clave Variations TW FG rere er ie Copyright 1998 Kevin Tuck This copy licensed from World Percussion _hitp:/www-worldpercussion.com.auLatin Rhyehias #2 The Cha Cha ‘The cha-cha-cha is one of the sitnplest. and most popular Of the cuban rhythtns. Cha-Cha-Cha. or Cha-Cha as it is tore Cotnmonly known is a dance rhythmn with an even accentuation of four beats ina bar. The sitnple thythtn and i es it very compatible with other types Of tnusic such as Rock. The rock group Gantana are well, known for incorporating these types of rhythtns info their music. ‘As with A\llatin thythtns, the bect way to work thetn Out on the drurn kit is to look at the traditional hand inctruments that are used in the sty. ic Rhythm perfortned on Claves, Maracas and Congas (2:2 Clavel: congas Adapted to the drum Kit: wh inPP > > > > SSS SSS In Reverce 12:31 Clave: _——— _———— ae = Variations: pees oe IE oeeee dint ann When there ic a conga player and a drum kit player. avoid doubling the conga part with the TomTom. This gives the drummer a chance to reinforce the feeling of four in a bar with the RimnClick ot Alternatively. crotchets can be played on the Ball of the Ride Cuinbal or Cowbell tilii jill Soppoctea tines Siline Sarvoval Danzer Dance ent. Tack 6 Danzer ant Track 8 “Suite Carina he toc chante Tre ais the ee Trak 9 ap aro Va Copyright 1998 Kevin Tuck This copy licensed from World Percussion _hitp:/www-worldpercussion.com.auThe Mambo Latin Rhythms Sheet #2 The Mambo is alco from Cuba, but is slightly rnore complex than the cha-cha. due to the more intricate cowbell patterns. The Clave and Conga are more or lece the carne ac the Cha Cha, but Played faster, and the thythtn has more of a feeling of two beats in a bar. rather than four, ‘The Bacic eletnents of a Mambo ina percussion section: claves maraces, congas Cowbell ‘The Basic pattern Adapted to the Drum Kit: Bal of Ride Cynbal or Cowbell | Lt pad dd ie r St — Variations of the Bell Patter y Lin “tat cs ' TT : pent > in TRS a) 1S Ss ~ toy) b =H Copyright 1998 Kevin Tuck This copy licensed from World Percussion _hitp:/www-worldpercussion.com.auThe Gamba Like the Bossa Nova. the Gamba has its origins in Brazil, but ike the other latin styles. undergone a lot of changes in its history. The Gamba i¢ fundamentally a Dance rhythm and groove should make you want tO get Up and jump Onto the dance floor. All cambas are in come way related to the "Gamba Batucada’ or "Street Samba’. This is most famous from the Carnival in the City of Rio de Janeiro has it's puice At the heart of The Gamba Batucada is the "Gurdo" la type of Bass Drum) It’s basic rhythm consists of a muted tone on beat | and an open tone on beat 2. —— z = This is usually enhanced with some quavers as follows: 2 + There is a large amount of Brazilian Percussion Inctrurnents which appear in the "Gamba Bat shakers. Ago-go Bells, Triangles. Snare Drums. Tamboutines etc. One of the most important “Chocallo" which plays: >JTJi1JT7T4I_ —————— | ‘The simplest way of Performing a Samba on the Drum Kit is sitnply to play the Gamba Bass Drum Part with the Bass Drum and The Shaker part on the Hi-Hat: The other common way Of playing this kind of camba ie with Brushes on the Gnare Drum, as Folows: Other rhythme can be incorporated into the cnare drum part to create more rhythmic interest and excitement. = > > > pf re rr re Cont. on next page. Copyright 1998 Kevin Tuck This copy licensed from World Percussion _http://www.worldpercussion.com.auGamba Rhythms Page 2 The Hi-Hat ic alco traditionally added on Beats 2 and 4 by most Jazz Drummers playing sambas. as this makes the beat more steady. 10 At Slower Tempi, the ride cymbal or hi-hat could be played with one hand, leaving the left hand free samba rhythms on the snare drum. In cofter congs the ride can be played with a brush, and the snare can be played with a malt. [ew a_f . i oe O Wy Soto ft ae When playing a little faster. the ride can still be used, playing like a ‘Straight swing’ kind of pattern, over the top of the bass and Hi-Hat si O40 4. Of rer oT cir ct Another way of using the Ride Cymbal in a samba is to improvise a cowbell type pattern on it. It ic important to keep the Bacs and Hi-Hat going in a camba ctyle, co that it doesn't turn into a _ “JJJODrypOJ ert er ft err ef Cuggected Lickening: Cantara- The Bact of Santana ~ particulary Tracks 2 ‘carnaval’ and 6 “samba pa ti? Paul Ginon The Rhythm of the Saints, Track 7, and Graceland Further Reading: The following books have much more detail on Latin Rhythms and Mur Morales, Humberto and Adler, Henry Latin American Rhythm Instruments, (Henry Adler Publishing) Sulsbruck, Berger Latin American Rhythm inctrumente Moriere, Airto Rhythms and Colours - Listen and Play, (Manhattan Music) Copyright 1998 Kevin TuckStandard Drum Rudiments 1. Roll Rudiments A. Single stroke roll rudiments 1. Single Stroke Roll 2 Single Stroke Four 3. Single Stroke Seven B. Multiple bounce roll rudiment: 4, Multiple bounce (buzz) roll 5. Triple Stroke Roll C. Double stroke roll rudiments =——_4 6 Double Stroke Open Roll RRLLRRLL ete LLRRLLRR 7. Five Stroke Roll & Six Stroke Roll 9. Seven Stroke Roll cL RL R rote oe h Fe R 10. Nine Stroke Roll 11. Ten Stroke Roll 12. Eleven Stroke Roll > a a RRL R RL — RL ORL totk tor are 13. Thirteen Stroke Roll recon ioe all 15, Seventeen Stroke Roll ,7iF Le ante f x LR z R RE toot2. Paradiddle Rudiments 18, Triple Paradidale 16, Single Paradiddle RUERRURLL RLRLRLRRL RERLRLL 17, Double Paradidale 19, Single Paradiddle-iddle RURERREREREL RLRRLL LRLLRR 3. Flam Rudiments 4. Drag Rudiments 20 Flam —— | 31, Drag 21, Flam Accent 22. Flam Tap 23, Flamacue See 24, Flam Paradiddle ~ SRURREREL RRL RL LRE Te TRERRE MERLL fe anclntetansl RURURERRE “LMERLL so 3 > 26. Flam Paradiddle- ddiddle 37. Drag Paradiddle #2 27. PataFlaFla 38. Single Ratamacue 28 Swiss Army 39, Double Ratamacu Triplet URURLRL ML MLRLR 29, Inverted 40, Triple Ratamacue Flam Tap TUR URERL LL PLALR 30. Flam Drag 'R LER *L RRL