Shadow Drum + Bugle Corps Battery

2021 TECHNIQUE/PHILOSOPHY MANUAL

ZZZZZZ
 Hello, and thank you for your interest in the 2021 Shadow Drum and Bugle Corps battery!

Exercises/MP3s/video links are at the end of this packet (the cymbal packet is also at the end), and are continuously
updated. Let us know if you plan to audition, be sure to have filled out an Interest Form (bit.ly/shadowinterest), join the
Facebook audition groups (linktr.ee/shadowdbc), and feel free to ask questions.

This is an unprecedented time, and as such our audition process has changed. All 2020 members who previously received
contracts will have their contracts honored for 2021, and will also be asked to either accept or forego their contract before
October 1st. We will stay in communication with everyone regarding available spots. All new auditioning members will be
able to send preliminary videos for feedback/critique, and video auditions will also include a short introduction/interview
submission (details below). Auditioning members will also have the opportunity to send follow-up videos to demonstrate
progress/interest, at the request of caption heads. Preliminary videos can include playing anything with which you are
comfortable (your group's exercises/book etc). Official auditions should include the exercises Legati and Hockey Flow,
some 8's on the move (box or plus sign drill), your video interview, and a bonus lick of your choice (this is optional).
Callbacks will include a live interview from your respective caption head. Please also email if you plan to video audition
to confirm your intent. Get in touch with any other questions (davidhenzieskogen@gmail.com), and welcome!

Video interview questions:

1) Tell us about the marching programs with which you have been involved.
2) What are your greatest personal strengths?
3) What you do expect from your Shadow experience?
4) What are your weaknesses, and how might you hope to counter those in a drum corps setting?
5) What makes a good corps member? How would you define success for yourself and the corps?

GENERAL INFO
Shadow's goal is to foster a familial culture that creates lifelong bonds, to grow positive character attributes far outside
the musical arena, to prepare our members for the jump to world class ensembles (or other elite musical endeavors), and
to provide them with a creative, organic, immersive experience that focuses on our growth as human beings as expressed
through art.

Rhythm is an inherent part of our lives. Harnessing its power, manipulating time, and exploring the reasons it moves us
are all key to feeling what it means to play, and we want the act of playing to feel as human and deep as possible. We
tailor the most creative book we can, we go hard, and we dig in. We also focus on the mechanics of how playing works,
and the idea that fully understanding the finer details of music gives us the capability to approach any musical situation
with confidence. The amount of time we spend together allows us to get into extremely nuanced ideas, and hopefully to
see those ideas' expression elsewhere in our lives as well. Many of our graduates march in top-tier DCI/WGI groups, or
are concerto performers, or educators, or professional musicians… but some of them just loved this experience for what it
gave them beyond music. It is a serious place to be, and demands a lot of work, but if this is your passion, you will have
the time of your life.

Our artistic goals are to be exciting, relevant, creative, grooving, and fresh more than to achieve a specific score. We write
the book to the potential in the line (your parts are just for you), and always expect more than the year before (or even the
day before). We have a rigorous commitment to improvement: we want the humility to analyze/comprehend/fix errors,
and to investigate their causes. It is an overall approach to 'Being' ...constant improvement, constant change, to be fully
conscious, fully present, and always refining of our motivation.

Ultimately we aspire to an intensity of purpose. This is what makes great ensembles great. We care too much about
each other for anything less.
Our developmental aim is twofold. First is Comprehension. This entails interpretation (how we define rhythm),
vocabulary (patterns and concepts), and internalization (teaching our bodies to inherently feel and naturally perform with
accuracy). The second aim is Technique. This entails the stroke (ideal velocity/weight for maximum response/efficiency),
wrist/finger agility (how we achieve the stroke), touch (how well we feel the instrument), muscle memory/development
(AKA ‘chops’), and sound quality (full, relaxed, smooth, warm, ringing, true).

There are many different/valid approaches to battery percussion, but Shadow's playing philosophy is to strive for
everything to feel natural, musical, and organic, as well as being exciting both visually as musically. We want our
dynamic range to be vast, we want our entire bodies to be expressive and representative of the music, and we want to be
as creative as possible. We are always looking for new sounds, celebrating new ideas, and investigating what makes
something artful or meaningful. We strive to define a musical personality for the group that is recognizable and singular,
and one that includes the input of the performers as well. We look for something to learn from EVERY group we see,
because everyone is doing amazing things.

So…we practice a lot, we hang out a lot, we listen to a lot of different music, we learn from every scenario, we try and
take nothing for granted, jaw-droppingly exciting in performance, and it makes us better musicians and better people.
Above all, we have a great time doing this.

INSTRUMENT-SPECIFIC TECHNIQUE:

SNARE

Right hand: Grab the drumstick 1/3 of the way from the bottom (butt) of the stick. Wrap your fingers around it like you’re
shaking the stick’s hand. There should only be one inch sticking out below your pinky. We don't stress a 'no gap'
technique, but we also don't want the index finger hanging out with a larger gap then the other fingers. We simply want
the hand to feel relaxed. Your entire thumb pad should be flush with the stick, and directly across from your index finger.
Rotate your wrist such that the line between your index finger and thumb is at 45 degrees. This is halfway between
“French” grip (100% thumb on top/straight up) and “German” grip (back of the hand facing straight up/palm totally
down), and is frequently called “American” grip. This way we are able to utilize both the smaller finger muscles and the
strength of the thumb and index fingers as well as the natural weight of the hand and ease of wrist break. Keep the stick’s
bead in the center of the head, one inch from the head. Playing position is fairly low to the drum, about one finger-width
above the rim. The ideal motion is exactly that of throwing a ball at the ground.

Left hand: Place the bottom 1/3 of the drumstick in the crook between your thumb and index finger, with your hand
turned 45 degrees up. Wrap your index finger over the top of the stick in a relaxed manner. The side of the top knuckle of
the finger should be right on top of the stick. Place your thumb pad on top of your first finger’s knuckle. Do not bend your
thumb. Both these fingers should be at 45 degrees relative to the stick, making an ‘X’ that the stick bisects perfectly. We
call the thumb/index finger shape the “teardrop”. Lay your middle finger along the natural curve of your index finger. It is
slightly curved, totally relaxed. It places no pressure on the stick in any direction. It will peek very slightly over the top of
the stick. Pull your ring and pinky fingers back into a ‘C’ shape and place the stick directly at where your skin meets your
fingernail (the cuticle). These two bottom fingers stay together, curved in the natural ‘C’ of the whole hand, functioning
like one big finger (and that big finger is like a spring, the suspension system for your left hand). They stay essentially
directly below the point of contact of the teardrop... if these bottom fingers are too straight, it will inhibit ideal stick
movement and bounce. The stick should be at 45 degrees relative to your forearm, and no greater. If the angle is too great,
or your hand isn’t opening up enough, or your fingers are too straight, the stroke will have a chopping motion that keeps
the stick from responding. Keep the stick one finger-width from the rim of the drum. When playing, do not move the wrist
up and down as your primary source of motion. Though the main motion should appear as wrist turn (pronation), it is
facilitated by the teardrop muscles and hand weight giving the stick velocity, and the wrist being relaxed enough to be
allowed to turn completely from the stick rebound... i.e. wrist turn is a result of good technique and relaxation, not the
thing that drives it. If you are using wrist muscles as your primary source of velocity, you will be choking off the natural
bounce, and lifting far too much mass to have truly agile chops. We do not want to lose any of the energy the drum gives
back, which is quite a lot. Since this technique is more foreign to our hands than the “ball-throwing” technique of the right
hand, it demands willful attention at first to let the hand respond naturally with a turning motion, not a lifting one.

It is worth noting that for both hands, the primary muscles we use to facilitate the technique (beyond weight and gravity)
are the same muscles we use to 'thumb wrestle' someone or play video games (tap your index finger against your thumb
and vice versa to feel them). The thumb and index finger direct and control the motion. These are the small motor muscles
that enable more velocity/bounce beyond natural weight and gravity, so in that respect, even though traditional grip feels
like two different techniques, the same group of muscles in either hand is still your source of dexterity.

QUADS

Tenor technique for both hands is the same as snare right hand technique (see above), although it tends just slightly
(maybe 5 degrees) closer to French grip, to accommodate a straighter line between the arm and stick, and less wrist/elbow
tension while moving closer and further away from the body. Tenors should always play 1.5” inches from the edge of the
drum, no matter what drum, for maximum tone quality. When moving out to the 3 or 4 drums, we use the technique
known as “windshield wiping” or “scanning”. We keep our wrist/hand technique the same as we move around the drums,
and move from the elbow and shoulder horizontally to change drums. The wrist does not turn 'down' toward German
technique on the 1 and 2 drums, and does not turn 'out' toward French for drums 3 and 4. This technique means one’s
beads stay in a relatively straight line across the drums as opposed to changing position for each drum. i.e. When moving
right to play the 3 drum, the right bead stays in the same horizontal plane as it was on the 1 drum, so the beating-spot on
the 3 drum is quite high on the drum. Essentially, as one moves right, the right hand moves straight out, while the left
hand moves in and back on the 3. The inverse is true for moving left (to the 4).

When playing sweeps/scrapes (playing multiple notes, each on a different drum) one should let the natural
rebound/response of the drumhead give one the energy to move. The downstroke should be directly above the destination
beating-spot, NOT angled toward the drum to which you are moving. Aim for your beating-spots with vertical strokes,
and you can achieve the controlled look that the best lines cultivate. This usually means learning to move more quickly
from your X-axis (horizontally/laterally) than most people are used to (focusing that scanning motion from the elbow and
shoulder, while not tensing up the wrist, to make sure all downstrokes are above beating spots), while learning to keep
your Y-axis (vertical) relaxed and flowing and no different than on a single drum. Any note we play that is meant to be
above full extension utilizes more elbow/shoulder fulcra (but not more wrist). This gives the line a nice, clean motion, and
is visually exciting.

BASSES

Bass drum technique is the same for right and left hands. Grab the stick such that only a very small piece of the mallet is
sticking out below your fingers (about half an inch). Shake hands with the stick. Wrap your fingers around it such that no
gaps are showing between fingers, but do not hold it tightly. The thumb should be flush with the forefinger. Rotate the
wrist such that the thumb is straight up the mallet, and make the mallet 45 degrees relative to the forearm, vertically. With
the shoulders dropped, keep the forearm parallel to the ground. This should be the center of the drum. If it is not, we will
adjust the drum. When in playing position, the mallet heads should be one inch from the center of the heads, and the
wrists the same distance from the rims. This means there is actually about a 5-degree angle with the mallet inclined
toward the drum. This technique looks strong and implies maturity, while enforcing the type of playing (always relaxed,
always owning the space around the drum) that we want. The stroke for bass drums entails a small amount of wrist
rotation (pronation) but is mostly wrist break (extension), and is essentially as though one were playing full German grip
on a flat drum, turned vertical/sideways. The main difference between this technique and 'flat drum' technique is that the
bottom of the index finger will help direct the mallet's velocity sideways into the drum (as opposed to down on a flat
drum), and since we don't have the benefit of gravity, one feels a bit more pressure against that index finger as the stroke
accelerates into the head. Our technique allows the forearm to travel a bit with the mallet on bigger strokes, which means
the mallet never (or rarely) goes past 45 degrees relative to the forearm. You will achieve this stroke naturally if your
hand/forearm is in the right spot and you imagine simply playing on a table top with a full German grip. The fingers do
not change. We simply break the wrist and drop the mallet head out away from the drum, toward the floor and a little
behind us (a 45 degree angle from the floor to the drum, defined by the stroke), allow the forearm to naturally follow, play
through the head, and use the natural rebound/response to kick the mallet back out. It is a relaxed stroke that should take
very little muscle or effort, because the weight of the top of the mallet is greater than that of a snare stick, and that weight
will help counter the fact that we do not have gravity to aid our stroke velocity.

CYMBALS

We play 'off-hand' technique, and the cymbal packet is included at the end of this packet. Email Bryan Kendrick
(bryankendrick9@gmail.com) with questions, and see this youtube playlist for exercises:
https://www.youtube.com/watch?v=5dSt2mMJc30&list=PLQdugIsnEZKkyntnu5LuM4B4aPL7JCL1F

THE STROKE
The stroke is the most important thing we do, because it is literally every note we play:

1. We utilize the response from the drumhead, the pull of gravity, the weight of our hand, finger action (downward for the
thumb and index, upward from the ring and pinky), and the weight of the stick to dictate ideal stroke velocity. This means
our stroke should be a natural, fluid motion. We apply pressure to the stick only for a split second at the very top of the
upstroke (never by tensing up the wrist), so that when the stick hits the drum there is zero pressure, allowing the stick to
respond fully. How much pressure one applies (and how fast) from the front and back finger muscles at the top of strokes
will dictate the speed of the responding notes. We are completely relaxed in the hand, wrist and arm, and are just letting
the wrist move (the stick does slightly change how much it connects to the palm depending on the degree of bounce, but
that's a next-level distinction). We continue to keep our fingers connected to the stick to achieve a full sound quality/full
control with every note, regardless of dynamic. We are not squeezing at all. In other words, if someone were to grab the
stick from your hand, it the stick would slide out very easily. This amount of relaxation should let you feel the stick
vibrate or 'sing' in your hand enough such that you can perceive the pitch of the stick... we do not want to choke off that
vibration at all, because that vibration is energy we can use, and it's the most open sound we can make. The perfect stroke
should feel like bouncing a ball (with as much freedom of motion), at any tempo. We’re looking for total fluidity all the
time, and for the hand to ‘accommodate’ the stick’s motion, not restrict it. The stick ‘pushes’ the hand around. The stick is
also allowed to move the entire hand, not just the fingers. If correct, the bead of the stick will always feel like the heaviest,
fastest-moving thing about your technique; as soon as you tense anything up, your hand and arm become the heavy things.
As a wise teacher one said: Tension is your enemy, confidence your friend.

2. We talk a lot about using 'back fulcrum' technique, or more specifically, 'movable fulcrum' technique. This is the idea
that the stick essentially rests in the middle finger and rotates over it, with the thumb and index fingers used almost
exclusively to direct the stick downward, not squeezing against each other to hold the stick in a vice. The sideways
tension of squeezing between the index finger and thumb is just wasted energy; we want all our energy going toward the
drum. At higher and higher tempos for multiple bounces, the fulcrum moves forward into the thumb/index finger, but we
want to raise the threshold those tempos, so that we are playing nearly everything required of us by using finger
control/weight/engagement, not by squeezing the front of the hand. This can be achieved by better learning to recognize
the ways we manipulate our finger extremity/small muscle group energy: like duration of energy vs amount of energy
(and what combinations create the desired rhythm/dynamic/response).

3. Every single note we play aims for the same intensity/rate of acceleration, whether pianissimo or fortissimo. This is
what we call playing at the same pitch, getting the entire drum to resonate, not just the top head, and it should facilitate a
nice heavy full sound without tension. The stroke's acceleration is a constant, whether playing at a very soft dynamic or
very loud dynamic (less distance = less time to accelerate, so the sound is quieter; greater distance = more time to
accelerate, so a note is louder). This is required to make the instrument 'sing' (and allow the stick to 'sing' as well), but is
also necessary for us to receive the degree of bounce/response that we want, which in turn makes playing easier and
easier. Do not confuse this with playing ‘hard’ or ‘with muscle’…those imply tension, to which we are opposed. The
stroke has velocity, the stroke has weight (the heaviest hand is a relaxed hand), but it is not tense, forced, or in need of
flexed large muscle groups. If your hand stays feeling 'soft', it is relaxed; if it is relaxed, its weight is allowed to accelerate
toward the drum with the stick, instead of being 'lifted' and 'pushed' with the strokes; if it travels to the drum relaxed,
when the stick bounces it will push your hand back up.

4. Every stroke that is allowed to respond completely is called a legato stroke (long, smooth, constant motion). Every
stroke we keep from responding is called a marcato stroke (motion stops). i.e. When we play a three-stroke passage, we
allow the stick to respond twice after the initial note, and then it stops responding. We do not stop responding by
squeezing. We merely do nothing, and leave the stick where it is. We do not allow the stick to pull our wrist up. We let the
impact be absorbed up through our hand and wrist, leaving the bead in playing position. In this way, there is not more
tension in a marcato stroke than in a legato one, merely less movement. Every stroke, whether marcato, legato, fast, slow,
loud or soft, entails an upstroke…and we want both our up- and down-strokes to have maximum velocity with minimum
muscle engagement (we go into detail on this, and liken it to the Bruce Lee 'One Inch Punch', working on isolating the
twitchy small muscles that make the stick move quickly, both up and down, without tensing up the larger wrist tendons or
forearm). The friction of simply having contact with the stick at all points in the hand (fingers, palm, heel, etc) should
make it such that one does NOT have to squeeze to keep the stick down on a marcato stroke, and does not have to tense
up the wrist/forearm muscles to enable a quick upstroke. One merely needs to move quickly, not with arm muscles, and
utilize finger contact. Mostly this upstroke twitch (and your primary fulcrum) will be your longest/strongest finger: your
middle finger. Your thumb and index finger should be the ones focused on engaging the stick downward (NOT squeezing
against each other). If your fulcrum is your middle finger, you should be able to focus your thumb/index fingers
downward without squeezing (they have leverage given that they are in front of the fulcrum). Likewise, your ring and
pinky should always be able to pull upward on the stick (this is why they must not disconnect), giving you additional
agility. When people let their pinky or ring fingers fly out, this is usually indicative of squeezing the stick between the
thumb and index finger, which is not what you want. It is only at extreme speeds that the fulcrum moves forward into the
thumb and index. An ideal stroke should make it such that your technique seems to ‘disappear’ completely, because the
motion is so fluid and effortless. Ultimate technique is transparent, and means there's no distinction between you and the
art.

5. The toggle: Another huge concept is the toggle between on and off with our hands. When one hand is done, it is turned
off (stays down in playing position). This means that the last note of any figure is always marcato (for any passage that
doesn't have immediate repeated notes that demand continuous legato motion). Developing this skill into faster and faster
passages is what makes one able to play very complex figures, because the hand that has finished playing is always ready
to play again, from playing position, so that every stroke, small or large, fast or slow, is coming from the same spot, and
has an upstroke and a downstroke. This is another factor in consistent, strong sound quality. The key to this concept is
having the toggle itself be relaxed, so that immediately after playing any note, loud/soft/fast/slow, the hand is in a relaxed
playing position, ready to play. This typically takes a while to develop, but once you do, it becomes second nature. (A
smaller, but distinctive, personality thing we do is that we allow ourselves relaxed, big upstrokes when approaching loud
notes that have space in front of them. Typically this prep will take us beyond full extension, simply because it increases
our dynamic range, feels good, flows, is like taking a breath, and makes the music exciting, in addition to giving us more
expressive tools with which to work).

6. The diddle. Modern rudimental percussion is based around the concept of playing multiple strokes with one hand, or
more specifically: the diddle. We approach the diddle by assuming the second note of each hand should sound exactly the
same as the first…like playing legato eighth notes over and over, but only playing two. The DIFFERENCE is that the
second note will be primarily controlled by finger action (not a second wrist motion), because of the speed, and will be
capable of responding to the same place as the first stroke only if we are not restricting bounce by 'pushing' down too long
in the initial stroke. Essentially there is a single thrown note, then we let our wrist/hand/fingers respond to the bounce as
quickly as possible, and our thumb/fingers dictate how quickly the next note hits the drum (the entire hand should still
move/accommodate the stick motion). It is necessary to practice this skill very slowly at first (many of us have been
playing diddles incorrectly for so long that we have to break it down and relearn how to make both notes sing the same
way), so that our muscle memory learns to let this happen without our having to think about it every time. As the speed
(or dynamic) increases, the degree to which we must involve forearm weight and multiple flucra also increases. It feels
differently to play diddles at 100bpm than at 200bpm, and our technique needs to adjust accordingly to maintain a smooth,
full sound. It is more about letting the stick and wrist respond faster, more loosely, more fluidly, and finding out how
much pressure is required at the top of the stroke than about building muscle (another common misconception). As the
speed of the diddle increases, and the fulcrum moves forward into the thumb/index finger, we need more forearm weight
to compensate for the hand weight we're losing, and get enough response to keep the fingers from getting tense. If your
diddle technique is based on tension, or based on uncontrolled/uninitiated bounce, at high speeds it will feel trying to
‘pull’ fast notes out, or to just smash them down. Both are incorrect: the fingers dictate the speed of the second pulse. An
ideal roll will have no more tension than single strokes, but rather engage a relaxed wrist and fingers twice as much. Roll
quality is something that even the best drummers in the world are constantly working on. It is the never-ending quest in
rudimental drumming; the defining characteristic of any great rudimental drummer.

7. Modern/Hybrid techniques: AKA Advanced Vocabulary. Flam-based rudiments, multiple-stroke rolls, inverted
rudiments, cheeses, visual techniques like hi-moms, thumb rolls, etc... We strive to become familiar with anything being
added to the repertoire of the best groups, and to add a few things ourselves. We don’t necessarily include all of these in
the book every year, but we expect everyone to be knowledgable and capable of them. Much the way we study linguistic
vocabulary, we are looking to increase our drumming and rhythmic vocabulary to the point where the simple things
become even simpler, making complex passages seem less challenging. We practice complex rudiments to encourage our
hands to be capable of approaching anything they encounter or come up with, regardless of how intricate. Sometimes the
best way to break a bad habit or unlock a new level is to force our hands to say something new to them, not just work on
faster/stronger/louder.

8. Remember: there are really only three ways to hit a drum.

1) Legato strokes that respond to the same place

2) Marcato strokes that do not respond to the same height (as in playing dynamics, or accent/taps)
3) Multiple buzzes via pressure (this is used far less, but is helpful in teaching our hand what maximum pressure
feels like, and then can be relaxed more and more to find diddle/multiple speeds). Playing more than one note with each
hand (as in multiples/diddles).

Focusing on developing those three skills enables one to perform pretty much anything…from there on out, learning
rhythms and licks is just like learning a new word, because one’s hand is already capable of playing it. This is why we
work SO MUCH on the ‘how’ to play, not just the ‘what’ of playing.

GENERAL APPEARANCE/VISUAL TECHNIQUE

Visual is half the battle. It helps tell us how uniformly we approach the technicalities of playing, how fluidly we move,
how freely we express, how well we feel groove, and whether our hands are able to articulate music at the highest possible
level. It is quite easy to tell just by looking at a drumline (with no sound) how accomplished they are. We want our entire
bodies as relaxed as possible. We want to waste no calories doing anything other than making exciting music. We drop
our shoulders and hands as low as possible, completely relaxed. We want zero tension everywhere. Breathe, focus, feel
the groove. Our vibe is relaxed intensity. Bluecoats and Broken City are two of our favorite (though distinctly different)
examples of this combination of confidence, focus, visual engagement, physical conviction, and last but not least,
joyfulness about playing beats, while being dead serious about that joy. We strive to make an ecstatic, joyful noise!

Foot and movement technique will be defined in rehearsal, though if you know what 1st, 2nd, 3rd and 5th positions are,
you're already ahead of the game. We also do not perform sticks in/sticks out. Sticks are either down at the sides (at
attention) or in playing position (usually coming up 2 counts before the attack, and down 2 counts after finishing). We
will define sticks up and sticks down more at rehearsal.

We subdivide when preparing to play. You are likely familiar, but to be clear: this is making an auditory imprint of the
tempo before attacking. We subdivide so that everyone is clear on tempo and can prepare mentally for the coming
rhythmic figures. Drumlines that subdivide together attack together. It’s that simple. We subdivide with the syllable ‘dut’,
in a high enough pitch so as to be audible (but not too loud), with a short, articulate, definite approach. Exercises and
segments do not start with the attack…they start with duts. We are as serious about doing this well as we are about hitting
the drum well. Subdividing is not shy. Typically, you will hear 8 clicks from the metronome, your feet will start marking
time on 5, and you will begin subdividing on 5 as well, with sticks up on 7. Sometimes the center/section-leader/lead stick
will play two half-notes, then the ensemble will dut four times as quarter-notes, with sticks up on 3, then the attack on 1.

Relaxing: When we finish a segment, or are being instructed, or are taking a break, there is an audible cue from the drum
sergeant to relax from being set. No member moves before hearing this cue. We are constantly paying attention,
constantly trying to improve unless taking a break, and we use even our break time wisely, to focus on individual or
paired work. Get used to taking big relaxed breaths, and focusing your energy.

IN CONCLUSION
Doing this is not easy! We aspire to a level of performance that is as good as anything in the activity. But when one works
this hard at something, anything, the rewards are always worth the cost. We have found that when all is said and done, the
lessons we learn together and the time we spend, focused so intently on a single goal, give us a truly unforgettable
experience. At the end of the season, you will feel like you have never worked harder in your life, and also hopefully feel
you’ve never grown so much as a person (and musician) in so short a time. This is the reason people come back year after
year, even after they’ve aged-out of the activity. The experiences they had in this organization shape them into the people
they are. Applied correctly, this activity will give your hands the musical vocabulary to approach any rhythm/instrument
with confidence, because you will have the ability to interpret the most complex figures and play them with clarity, intent,
and fluidity. The marching idiom is (in my opinion) the single activity that uses the MOST number of skills sets, which
means it takes a massive mental, physical, and intellectual commitment, and this is also why it feels so amazing to pursue
it. You have to control your body like an athlete or dancer, you have to play at the level of a professional musician, you
have to project your vibe at the level of touring stage performer, you have to work with and trust the people around you
down to the nanosecond, and you have to think CONSTANTLY about the million things that constitute a great
performance, until that focus becomes habit, and you become the music. It’s frankly amazing that young people are even
capable of it, but every year, you all amaze me and take it one step further than before. This year will be no different. We
will treat you like adults, and expect a professional-grade work ethic. We have no desire to be mediocre. So... get your
metronome and pad, take your drum(s) home, and be honest with yourself if you’re not doing something well. Make it
flow. Approach getting better slowly from the ground up (technique, then interp, then sound quality, then – lastly, and no
sooner – speed). If every day you approach one concept upon which you wish to improve, you create hundreds of chances
a year to make improvements. That’s what differentiates really serious people from mediocrity. They look in the mirror
and tell themselves they can do better, and they get to work. That’s what we're all about. It is an intense program, for
intense people, who want more out of their time, and we are excited to welcome you to the Oregon family! It doesn’t get
much better than waking up every day and knowing that all you have to do is play your instrument and make music with
your friends. Thank you for reading this, and for your interest in the group. Let's do the thing!

David Henzie-Skogen – 608.469.2369 – davidhenzieskogen@gmail.com

Battery Exercise Notes:
The exercises are designed to be much like our show music, and demand the same level of concentration. This makes
them big fun to play, but also means that they take serious work just to get under your hands. Ideally, the exercises work
the below concepts while being a blast to perform/listen to…as we all know, the parking lot/warm-up is just as much of a
show as the ‘show’, and we love playing exciting material in any situation, especially in the lot. Reference the videos!

Start slow, one beat at a time, always on met, and always focus on good rhythm and relaxed technique before speeding up.
Make sure you TRULY understand the dynamics of the notes, and never be afraid to ask questions. We tend to put the
accent of the metronome on 2 and 4, to better feel the groove, so don't be afraid to do so yourself. Or put it ONLY on 2
and 4, that's always fun. Et cetera.

USE THE BACKING TRACKS! They're meant to inform how you feel the groove, and are great fun. If you can make the
exercise feel good just with yourself playing to the backing track only (with no virtual drumline as a crutch), then you're
truly starting to feel the beats.

The exercises are designed to work on the 3 essential drumming techniques:

1) repeating/responding legato strokes – Legati

2) playing different dynamic and changing Legato patterns (diddle rudiments/accents/bucks) – Hockey Flow
3) playing diddle patterns at speeds and dynamics that begin to introduce different fulcra – Triplet Diddle
4) combining techniques 1-3 while each hand plays independent rhythms (flam rudiments/hybrid rudiments) – SoFlams

Notation:
Our snareline is called E-COUP.
Our quadline is called T-STRONG.
Our bassline is called SOFA BASS.
Our cymbal line is called C-FUEGO.
Every sticking is presumed to be right-hand lead and alternating if none is written.
A capital letter on a sticking means emphasis, a lowercase letter means unaccented.
Any sticking with ellipses immediately after (i.e. R…) means to continue using ONLY that hand.
A space BEFORE the ellipses means to continue playing that PATTERN (Rlrrll … = continue playing paradiddlediddles)
A marcato accent means full extension (ff, or as high/loud as is feasible and allows the wrist/forearm to slightly come up
with each note). Many marcato accents involve a large relaxed prep beforehand (a throw).
An accent (usually) means forte, roughly 15”, or a big stroke with not much forearm raise.
A tenudo/legato mark (usually) means mezzo-forte, or about a half-accent.
A staccato mark for flat drums (snares/quads) means the smallest possible emphasis, a slight pulse.
A staccato mark for basses means a muted note (basses always mute with the left hand, so no sticking is necessary).
An unaccented note (usually) means piano, or roughly 4”.
A double note-head means a double stop (obviously no written sticking necessary).
For quads, an open note-head means that the note is crossed over.
A open note-head with a circle inside it means a shot (for snares: ALL SHOTS ARE PLAYED AS PINGS, pulled way
back; a full shot – very rare – is an 'x').
In bass drum music, an 'x' means to hit the top rim (we call these 'shocks'), unless noted as a shot.
We use preps or 'throws' into big notes... these are typically written in, but will be defined at rehearsal.
'Edge', 'Guts', and 'Gut edge' for snares all mean to play over the right snare bed, right bead behind left bead, equidistant
from the bearing edge.
Going to the 'top edge' or 'true edge' of the snare will be noted as such (very rare).
Many times we treat the drumhead as a clock face when describing zones (i.e. 'pull from 2 o'clock to 8 o'clock).
A note stem with one slash is a diddle.
A note stem with two slashes means long multiple-buzz.
A note stem with a 'z' means a dead stroke/press stroke (this should be as dead/staccato as possible, and
is the only time you'll be told to actually hold the stick firmly and use forearm tension).
All Sheets/MP3s/Videos: https://www.dropbox.com/sh/7eay2xb0rr3hsk6/AABxBFQTxx3iagwe3d73d57ba?dl=0

Legati: All about flow. Every marcato accent demands a big prep. This exercise has three major themes: get comfortable
letting big preps bounce and decay in time, get comfortable feeling your phrases starting on the 'a' of the beat, on the
fourth partial of 16th notes, and get comfortable with very small emphasis propelled by bounce (the Moeller technique, or
really, it's like half-Moeller), not wrist initiation. Feeling this bounce should teach your hand how to achieve quicker and
quicker flicks/twitches as well, so it's not just about Moeller... it's merely a way to learn to feel that response better. It
should also teach/require that you not change technique, feel, or touch when splitting the hands into 32nds. Take your
time. Make sure ALL your big preps are the same whether going into your right, left, fast, or slow. This one should be
smooth as butter.

Sheets/Audio/Video: https://www.dropbox.com/sh/ez60h30wa40fq9w/AAC6N-vIJIMwPDdM9SSGYWkPa?dl=0

Hockey Flow: ALSO all about flow, obviously. The idea is to maintain a totally smooth feel/sound while changing hand
speeds (paradiddle rudiments) and dynamics (up/down/bucks/accented and unaccented figures), while also starting to
introduce rhythmic motifs that are deceptive or mask the pulse (syncopation that repeats to the point of implying a
different downbeat), mostly based on exploring dotted 8th-based feels. It is really important that one NOT just learn this
as patterns, but as notes relative to the downbeat, because the feel of the phrase is completely different, and our job as
musicians is to ALWAYS feel where the downbeat is, even if hidden. Especially as a percussionist, we must have a rock
solid understanding of where the true downbeat is, and NEVER just play 'patterns'.

Sheets/Audio/Video: https://www.dropbox.com/sh/3rxo1p62dppz62h/AAAHX3TJQ6M2cTYFUglUXVASa?dl=0

Triplet Rolls: Essentially this is based off the BD triplet diddle classic, combined with short-short-long in approach, but
felt in groups of 3 after the checks, with some more musical concepts toward the end. Make sure you are using the same
technique as in your double beat and previous, slower diddle exercises to get your faster diddles, and focus on finger
engagement to get that truly smooth, consistent, single-pitch sound... do NOT let yourself simply throw 'harder' or with
more weight to get a bounce on a fast note, or you will always have uneven diddles. As the diddle speed increases, the
fulcrum will move toward the front of the hand, but you can counter that tension with letting the forearm weight give you
more bounce instead of squeezing harder. Don't change hand tension for the accented diddles, nor the horizontally
dynamic diddles.

Sheets/Audio/Video: https://www.dropbox.com/sh/djvz0ggwhlnd7e9/AABXUSM1B326m7WeHiWBX1R-a?dl=0

SoFlams: All marcato accents have a little lift: they're big. This exercise is working on isolating your ability to play big
primary notes while not raising the grace notes/legato notes underneath, while ALSO working on feeling those 'odd'
partials, the 'puhl' or the 'let' of the triplet. Much of playing flams well is about being able to feel constant bounce on the
low end while the high end doesn't feel like it affects that low end... essentially getting good separation/independence
between the two. You'll notice the entire exercise LOOKS like it has complex stickings, but once you work it out you'll
see it's just one hand playing big beats and another hand keeping time underneath it. You should always use those low
beats as your sense of constant pulse, even though your body wants to only feel the big notes. Focus on the repeated low
notes as pulse, and keep them smooth and relaxed. There's a method to all these patterns... once you find it they are all
very logical. One hand plays a groove, another plays 3 legato low notes... that's perfect flams in a nutshell: three nice
relaxed low notes, and a loud note from your other hand on note 2. Think of them like this, and you'll develop really
smooth/strong flams with a consistent low 'humming' from your inner beats. Don't think of them as weird alternating
sticking patterns. Find the underlying groove. Get it? Hope so. When it finally becomes a 'proper' flams exercise (after
we've broken down the technique), it should feel simpler to just rock the 'normal' flams, because you just taught your
hands to feel them a different way. The rest of the exercise is just flam vocab, dropping in some fun singles and recapping
a groove at the end, with one VERY STRANGE phrase in the final bar. Make sure you're truly play the dynamics right on
this one, to give it the stuttery, strange, engine-stalling effect it ought to have, and make sure you keep it feeling like it's
on the 3rd partial of the triplet. Good times!

Sheets/Audio/Video: https://www.dropbox.com/sh/j9943kedppbo0db/AAAi4HP8xqzrPgrgKN_18383a?dl=0
E-Coup 2020 Shadow Exercises David Henzie-Skogen
LEGATI

full prep throw decay

edge
q = 95
2 r
to center
> ^r A . ^ . ^
/ œœœœœœœœœœœœ ≈ œ œ œ œ œ œ f ≈ œjœ œ œ œ œ œ œ œ œjœ œ œ œ œ œ œ œ œjœ
r l r l r l R L... R... L...
mp f

5
. ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ .
j j j j j j j j j j j j
œ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œ œ œ œ œœœ œ œ œœœ œ œ œœœ œ œœœ œ œœœ œ œœœ œ œ œœœ œ œ œ
/
R... L... R... L... R... L... R... L... R... L... R... L...

B half-moeller (7" and 6"), let taps rebound

- - - - - - - ^. ^. - - - - - - - ^. ^.
j j j j
/ œ œœœœ œœ œœ œœœ œœœ œ œœœ œ œœ œ œœœ œ œœœœ œ œœ œ œœœœ œœœœ œœœ œœœ œ œœœ œ œœ œœœœ œ œœœœ œ œœ
R... L... R... L... R... L...
mf f mf f

12
- - - - - - - ^. ^. - -- -- -- --
j j
/ œ œœœœœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œ œœœœ œ œœ œ œœœœœœœœœœœœœœœœœœœœœœœœœœœ
R... r r L... R... L... R L r l r l ...
mf f mf

15
-- half
--move edge
-- big prep C
^center ^ . ^
j j
/ œ 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 œœ œ œ œ œ œ œ œ œœ
L r... L... R...
mp f

17
. ^. ^ . ^^ . . ^^ . ^^ . ^^ . ^^ . > > .-
j j j j
/ œ œœœ œ œœœœœœœ ≈ œ œ œ œ œœœ œ ≈ œ œ 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 œœ œ œ œœœ œ
L... R... R r l RL r l r l r l RL r l r l r l RL r l r l RL r l r L r l r L r l R

D> ^^ . . . -> ^to^ edge

.. > > ^^ . > > center
^ . >> . . >> . . >> . . >>
j j r
/ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œœœœœ œ œ œœœ f œ œ œ œ œ œ œ œ œ f ≈œœ œ œ œ œ œ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ
R R R r l r r L R l l RL r r r r L R L L l l R L R L
mf f

23
. . > > . . > > . . to>edge > . .
r
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œœ œœ œœ œœ œœ œœ œœ ‰ Ó
R L R r l
mp
 2020 Shadow Exercises
LEGATI David Henzie-Skogen
T-Strong

full prep throw decay

q = 95
. catch A
2 œœ œœ œœ œœ œœ œH œr œ œ œ >o œjœ^ œ. œ œ œ œ œ œ œjœ^ œ. œ œ œ œ œ œ œjœ^
/ ≈ œ ‹™
l r l r l R L... R... L...
mp f

5
. ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ .>> ^ . ^ .
j œ œœjœ jœ œ jœ œ ‹ ‹ œj œ œ œœj œ œ œ
j œ j œ j œ œ œ œ œ œ œ j
œ œ œ jH H œ
/ œ œ œ œœ œ œ œœ 
œœ œ œ œ œ œœ HHjœ œ œ œœ H œ
R... L... R... L... R... L... R... L... R... L l R L R... L...

B half-moeller (7" and 6"), let taps rebound

- - - - - - - ^. ^. - - - - - - - ^. ^.
j œ œœœj œ œœ œ œœœœ œœœœ œœœ œœœ
/ œ œœœœ œœœœ œœœ œœœ
œ œœœ œœ
œ œœ Hœ
œ œ œœœ œ œœ œœœjHœ œœœjœ œ œœ
R... L... R... L... R... L...
mf f mf f

12
- - - - - - - j^ . j^ . - -- -- -- --
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ  œ œ œœ œ œ œ œ œœœœœ œ œ
/ œ œ œ œ œ œ œœ œœ œœ œ œ œ œœ œH œH œH H H H H œ
œ œ œ œ œ œ œœœœœœœ œ œœœœ œ œœ
R... r r L... R... L... R L r l r l ...
mf f mf

15 -- -- -- big prep ^ C ^ . ^
œ œ œ œ ‹ œ œ œ œ œ œ œ jœ
œ j
/ œœœœœ œœœœœœœ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œœ
L r... L... R...
mp f

^^ . . .-
17
. ^. ^ . ^ ^ . ^ ^ . ^ ^ . ^^ . > >
j
œ œœœ œ œœj œjœœjœ ≈ œ œ œœœ œ ≈ œœ œœ œ œ œœ
/ H œœ œ œ œ œ Hœ ≈ œ œ œ œ H œ ≈ œ œ œ œ H œ ≈ œ œ œ œ Hœ H H H œ œ œ
L... R... R r l RL r l r l r l RL r l r l r l RL r l r l RL r l r L r l r L r l r

D>^^ . . . -> ^ ^ . . j
> > ^ ^ . catch ^
o ‹j j^r . >> . . >> . . >> . . >>
œ œ œ œ œ 
œ > ‹ œ œ >
œ œœœœœ r 
œœ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ
/ œœœœœ œœ œœœœ œ ≈ œ œ œ œ œ ‹ ≈ œ œ œ œœ
R r R r l r L L R l l RL r l R R L L l l R L R L
mf f

23 . . > > . . > > . . > > . . r

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œH œœ œœ œœ œœ œœ œœ ‰ Ó
/ œ œ œ
R L R r l
mp
 2020 Shadow Exercises
LEGATI (w/ Quad Feature) David Henzie-Skogen
T-Strong
WITH QUAD FEATURE

full prep throw decay

q = 95
. catch A
2 œœ œœ œœ œœ œœ œH œr œ œ œ >o œjœ^ œ. œ œ œ œ œ œ œjœ^ œ. œ œ œ œ œ œ œjœ^
/ ≈ œ ‹™
l r l r l R L... R... L...
mp f

5
. ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ . ^ .>> ^ . ^ .
j œ œœjœ jœ œ jœ œ ‹ ‹ œj œ œ œœj œ œ œ
j œ j œ j œ œ œ œ œ œ œ j
œ œ œ jH H œ
/ œ œ œ œœ œ œ œœ 
œœ œ œ œ œ œœ HHjœ œ œ œœ H œ
R... L... R... L... R... L... R... L... R... L l R L R... L...

B half-moeller (7" and 6"), let taps rebound

- - - - - - - ^. ^. - - - - - - - ^. ^.
j œ œœœj œ œœ œ œœœœ œœœœ œœœ œœœ
/ œ œœœœ œœœœ œœœ œœœ
œ œœœ œœ
œ œœ Hœ
œ œ œœœ œ œœ œœœjHœ œœœjœ œ œœ
R... L... R... L... R... L...
mf f mf f

12
- - - - - - - j^ . j^ . - -- -- -- --
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ  œ œ œœ œ œ œ œ œœœœœ œ œ
/ œ œ œ œ œ œ œœ œœ œœ œ œ œ œœ œH œH œH H H H H œ
œ œ œ œ œ œ œœœœœœœ œ œœœœ œ œœ
R... r r L... R... L... R L r l r l ...
mf f mf

15 -- -- big prep ^ C >> . - -> - 3

-- >>
œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ >r œæ œæ œæ œr
/ œœœœœ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ™ ≈ œ œ œ
L R L r l R L r l r L r r L r r L R L R
mp f mf f

17 ..
thru (lookat it) ^ huge prep (look at it) >> > ^^ > > .-
> ^ œ HH œ œ . . - - > œ ^ ^ . > ^‹ ‹ ^ ^ . ^
œ ^r œœ ‹ œœ
/ ‹™ œ œ œ œ œœœœ H H ≈ œœ œ ‹ ≈ œ œ œ œ œ œ ‹ ≈ Hœ ≈ œ œ œœ œ œ
œ œ Hœ H H H œ œ œ
R L r r l l r r l l r r l l R r l RL r L R L RL r l l l R l RL r r l l R R L r L r l r L r l r
mp f

D>^^ . . . -> ^ ^ . . j
> > ^ ^ . catch ^
o ‹j j^r . >> . . >> . . >> . . >>
œ œ œ œ œ 
œ > ‹ œ œ >
œ œœœœœ r 
œœ œ œ œœœ œ œ œ œ œœœ œ œ œ œ œœœ œ œ
/ œœœœœ œœ œœœœ œ ≈ œ œ œ œ œ ‹ ≈ œ œ œ œœ
R r R r l r L L R l l RL r l R R L L l l R L R L
mf f

23 . . > > . . > > . . > > . . r

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œH œœ œœ œœ œœ œœ œœ ‰ Ó
/ œ œ œ
R L R r l
mp
 2020 Shadow Exercises
Sofa Bass David Henzie-Skogen
LEGATI

edge . to. center A

. . . . . . æ. œæ æ æ. æ. >. > -
q = 95
2 6" >- > - >- >- >- >- >
œ œœ
/ ????? ? œ œ™ ? ???????????????? ????????????????
mp f L... R... L... R... L... R... L... R...

6 B- ---- --------
- >. > > >. r > r > >. > > > > > > œ----------- œ œœ œœ > >>>
™ ™ œ œ œ œ œ œ œ œ œ œ
/ ? ? ? ? ? ?≈ ? ? ≈ ? ≈ ? ? ?≈ ? ? ? ? ? ? ? ? œœœ œœ œœ œ ????? ?
l R L R L R L R l r L R L R... R l r L R L
mf f

10 -------------------------------- ----------------
œœœœ œœœœ œœœœ œœœœ > >> >
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ
/ œœœœœœ œœœœ œœœœ œœ ????? ?
R L ... R l r L R L
mf f

12 6 6 6 6 6 6
6 6 6 6 6 6 no 3 on first note
œœœ œœœ œœœœœœ œœœœœœ œœœœœœ > >>>
œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœœœœ œœœ œœœ? ? ? ? ? ?
/ œœœœœœ œœœ œœœ
R L R ... R l r L R L
mf f

14 ------------------------ ---------- . . . . . . . .
>- œœœœœœœœ œœ œ œœ œ œœ œœ . >.
œ œ œ
œ œ œœœœœœœ œ œ œ œ œ œ œ œ
/ ???? œœ œœ œœ œœ œ œ œ™ ?
R L R L R... mp f
mf

C -. -. -. -. -. -. -. -. --
> > >. >. > > > >. >. > > > >. -. . >>-- œ > r > > >. >. > > > >. >. > > > >. >. œ œ œ
œ œ œ œ
/ ≈ ? ? ? ? ? ≈ ? ? ? ? ? ≈ ? ? ≈ ? ? ? ≈ œœœœœœ ≈ ? ≈ ? ? ? ? ? ≈ ? ? ? ? ? ≈ ? ? ? ? œ œ œ œ œœ
R L R L R R L R R L R R L R R R L mp

top no mute first 2

D> - >. > > - to edge -. -. single 4's to center
>>- -
. -
. œæ œæ œæ œæ æ æ æ æ knucks
^. >
œ œ‹ œ œ œœ œœœœ ≈ œ œ
/ œ ????? œ œ œœœœœœœœ ?? ?? œ œ œ™ ?
f R mp f L...

22
- > - > - > - >.
r -. >. -. >. -. >. >. -. -. to. edge. . . . . .r
/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ≈ ? ? ? ? ≈ ? ? œ œ œ œ œ œ œ œ œ œ ≈ ?
R... L... R... mp

24
. . . . . .
/ ? ? ? ? ? ? ‰ Ó
 2020 Shadow Exercises
E-Coup HOCKEY FLOW David Henzie-Skogen

q = 168
4 edge --> --> --> . - to center
>
/ œ œ œ œ œœœœœœœœ œ œ œœœœœœœœœ œœ œœœœœ œœœœœœœ œœ œ œœœ œœœ œœœ œœ
r l r l r r l l r r l l r l r r l l r r L L R r r l l R R L l l r r L L R r r l l l R r r L l l R r r
mp mf mp mf mp mf mp

A to center
> > > > > > > > > to edge . - >
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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
L r l R l r r l l R r r L r l R l r r l l R l r r L r l l r r L l l R l r r l l r r r L l l R r r L l l
f mp

13 smooth prep throw to edge

> > > > > > > > > > > > > > - .
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 œ œœ
R r r L r l l r r L r l l R l r r l l R l r r L r l l r r L l l R l l R l l R l l r r L R r r L r r L r r L r r L r r
f

B
> >> > > > > > >> . to center
-
/ œ œ œ œ œ œ œ f 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
l r l r r l l R l r r l l r r l R L r r l l R l r r l l r r L r r L r r l l R l l R l l R L r r l l r r r L l l R r r
mp

21
> > >> > > > > >> > > > > >j
/ œ œ œ œ œ œ œ f 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 œ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ œ œ œ œ f ≈œjœ ™
L r l r r l l R l r r l l r r l R L r r l l R l r r l l r r L r r L r r l l R l l r r L R l l R l l R l l r r L R L
f

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

D
> > > > - -8:6.x . > > - -8:6.x . 8:6x
j >>-- . . > to-edge . center
> - to edge .
- . .
j
/ f ™ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ™ œ œ œ 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 r l l r r l l R L r r l l r r l R
l L r r l l r r l R l l R l l R L r r L r r L r r L r r L r l l R l r r
mp f mp

E to
. . . . . . - > . -center - > >
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 l l 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 l r r L R l l R l l R l l R l l R l l
mf mp

28
^ ^ ^ ^ ^ ^ ^ > front rim > > > - to edge - .
j j j j j j
f 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 œ œ œ œ œ™
/
R L R L R L R l r r L r r l r r L r r l r r L R l l R l l R l l R
f

31
R pancake down, L buzz to flick
æ ¿
/ œ Ó
l
p
 2020 Shadow Exercises
T-Strong
HOCKEY FLOW David Henzie-Skogen

q = 168
- -> - -> - -> . - >
4 œœ œ œ œ œ œ œœ œ œ œœœ œ œ œœ
/ œ œ œ œ œœœœœœœœ œ œ œœœœ œ œœ œ œœ H œœ œ œœ œœ
H
r l r l r r l l r r l l r l r r l l r r L LR r r l l RR L l l r r L L R r r l l l R r r L l l R r r
mp mf mp mf mp mf mp

A > > > > > . - >

> > > >
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ H œ œ œ œ œ œ œ œ H œœœ œœ
/ œ œ œ œœ œ œœœœœœœœ œ œ œœ
L r l R l r r l l R r r L r l R l r r l l R l r r L r l l r r L l l R l r r l l r r r L l l R r r L l l
f mp

13
> >
smooth prep throw
> > > > > > > > > > > - .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 Hœ œ œ œ œ œ œ œ œ
/ H œ œ œ œ œ œ œ œ œ œ œ Hœ H H œ œ H œ
R r r L r l l r r L r l l R l r r l l R l r r L r l l r r L l l R l l R l l R l l r r L R r r L r r L r r L r r L r r
f

B > >> > > > > > >>

œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ œ œ œ œ œ œ 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 œœ . -
/ œ H œ œœ H œœ
l r l r r l l R l r r l l r r l R L r r l l R l r r l l r r L r r L r r l l R l l R l l RL r r l l r r r L l l R r r
mp

21
> > > > œ œ >‹ œ > > œ œ >œ œ œ œ>> > > >> >
/ œ œœ
œ œ œ œ ‹ œ œ œ œœœœ œ ‹ ‹ œ œ œ œ œœœœ œœœœœœ H œ œ œ œ œ œ H œ œ œ œ œ ‹ ≈œjœj™
‹
L r l r r l l R l r r l l r r l R L r r l l R l r r l l r r L r r L r r l l R l l r r L R l l R l l R l l r r L R L
f

C
> > > > >> œ >> > >
> > > > œ œ œ
œ œ œœ œœ œ œœœ œœœœœ œœ
/ H œœœœœœœœœœœœœœ œ œœœœœœœœ œœœœœ œ œœœ œœ œ œ
R 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 r r l r r L R l l r l l R L r r l r r L r r l r r L

D> > 8:6. . > > - -8:6. . > > - -8:6. . > -
‹ ™ j > > -œ -œ œ œ œ œ œ œ œ j œ œ œ œ
> -
H
. œ œ - . .
œ
.
/ œ ‰ œœ œœœ œ œ œœœ ‰ œ œ H 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
R L RL r r l l r r l l RL r r l l r r l R
l L r r l l r r l R l l R l l R L r r L r r L r r L r r L r l l R l r r
mp f mp

E . . - > - > >

. . . . . . - œ
œ œ œ Hœ œ œ œ œ œ œ œ œ œ œ œ
/ œœœœœœœœœœœœœœœœ œ H œ
œœœœ œœ œœ œœ œœ
L r l l 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 l r r L R l l R l l R l l R l l R l l
mf mp

28 ^ ^ ^ > > - .
‹ ^j ^j ‹ œ œ œ œ œ œ œ œ œ œ >‹ > - œ ™
^ ^ œ œ œ œ œ œ œ Hœ œ œ œ œ
/ œ ™ œjœ ™ œjœ ‰ œjœ ≈ œjœ ™ œ
R L R L R L R l r r L r r l r r L r r l r r L R l l R l l R l l R
f

31
æ
œ R pancake down
/ Œ Ó
l
p
Sofa Bass 2020 Shadow Exercises David Henzie-Skogen
HOCKEY FLOW

to center
q = 168
--> -- > -- > -
4 edge
œ œ œœ œ œ œœ œ œ
œ œ
œ œ
œ œ
œ
œ œ
œ
œ œœœ œœœ œœœ >
/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? œœ œœ ? œœ ? œœ? ? ?
r l r l r r l l r r l l r l r r l l r r L L R R R r r l r r l r r L r r L r r
mp mf mp mf mp mf mp
to center
> - > >œ œ œ œ œ œ >
A
->> > > to edge -
œœ œ > > œ œ œ œ œ œ œ œ
œ œ
œ œ
œ œ
œ œ
œ œœœ œœœ œœœ >
/ ? ??? ? ??? œ œ œ œ œ œ ?œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ??
L r L R R l r r l l R r l r L R R l r r l l R R l r r l l R r l R l r r l l l r r l r r L r r L r r
f mp

> > > - - -to edge

- >>œ œ>œ> > - > œ œ >œ œ œ >œ œ œ > > mute.on. 1œ. . . œ. . . œ. . . œ. . .
13
> - >> >
œ œ œ œœœ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ
/ ? ??? œ œ œ œ œ œ ?œ œ œ œ œ ??? œ ??? ? ? ‰ œ œ œœ œ œ œ œ
L r L R R l r r l l R r L R r L R l l R l l R l l R L
f
to center edge
mute + of 1
. . . . œ. œ œ -œ œ œ -œ
B
. r -. j > mute on.2 . . j to .center-. > >. >.
mute on 3 >.
œ œ œ œœ œœ œœ œœ
/ ? ? ? ≈ ? ? ‰™ ? ‰ ? ? ≈ ? ? ‰ ? ? ? ? ? ? Œ ? œœœ œ ??
r r l r l R R r r L r r L r r
mp mf mp mf mp

21
>. >. >. >. >. >.
> - > >. > r > j > >. >. >> >> - > >. >. j ‹ œ œ œœ ™™ j > j™
™ ™
/ ? ??? ? ‰ ? ‰ ? ? ? ? ‰ ??≈ ?? ‰ ??? ? ?‰ ? ≈ œœ ™™ ? ‰ ‹ ≈ ?
L r L R R R L R L R L r L R r L
f

C
> > > > >> >> >> > > > >
/ ? ??? ??? ??? ?? ? ??? ??? ??? ? ????? ? ????? ? ‰ ?????????????
R l l R r r l r r L l l r l l R r r l r r L R l r l l R L r l r r L R R l r r L r l l R l r r L

8:6 > > - -8:6

D
>. >œ >œ -œ -œ . . > > - 8:6
- . œœœœ œ™
>. to-.edge . center
j j™ > > to edge
- - - -
™ œœœœ œ œ œ œ j œ œ œ œ
/ ‹ ?‰ œœ œœœœ œ ‰ ?‰ ? ≈ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
r r L r r L r r L r r L r r L r l l R l r r
mp f mp

E >. >.
- - - - - - > > - - to .center-. j j
/ ???? ??????? ????? ?? ??????? ??????? ? ? ? ?‰ ? ≈ ?™
™ ™
L r l l 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 l r r L R
mf mp

>
> > > > > > > > > > > > > > > ‹. -- >
28
- > - > >. to-.edge -. j .j
œœ ‹
/ ‹ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ??? ‹ ??? ≈ œœœœ ? ? ‰ ? ≈ ?™
™
l R... r L R l r L R
f

31
.æ
/ ? Œ Ó
p
E-Coup 2020 Shadow Exercises David Henzie-Skogen
TRIPLET ROLLS

q = 158 A
4 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

/ œ œ œ œ œ œ œæœ œ œæœ œ œ œ œ œ œ œ œ œ œæœ œ œæ œ œ œ œ œ œ œæœ œ œæœ œ œæœ œ œ œ œæœ œ œæœ œ œæ

mp

9
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
ææ ææ ææ ææ ææ ææ ææ ææ ææ æ
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ

13
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
ææææææ æææææ ææææææ æææ ææææææ
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ

B
> 3 > 3
3 3 3 3 >
3 3 > 3 3 > 3 > 3 > >3 > 3 > 3 > 3 >
æ æ æ æ æ æ æ æ ææ ææ ææ ææ ææ
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
mf

21
> >33>3 > 3 3 > >3
3 >3 > 3 3 > >3 >3 > 3 > > 3 > >3 >3 >
æ æ æ æ æ æ æ æ
/ œœœœœœf œœœœœ œœœœœœœœœœœœ œœœœœœf œœœœœ œœf œœœœœœœf œ

C
. -> 333 3 . -> 3
3 3 3 3 . -3 > >j 3 >j > -3 . j 3 >j > -3 . j 3 >j > -3 .
æ æ æ æ æ æ æ æ ææææ œæ œæ œæ œæ
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœf ‰ œœœœ œ‰ œœœœœ‰
R R R
mp mf mp mf mp mf mp mf mp mf

D 3
3
j 3 j . - > >j >j > -3 . j 3 j . -3 - >j 3 >j > -3 . j 3 >j >j 3 j j 3 >j >j 3 j
/ œ ‰ œ œ œ œ f ‰ œæ œæ œæ œæ œ ‰ œæ œæ œæ œæ f ‰ œæ œæ œæ œæ œ ‰ œæ œ ‰ œæ œ ‰ œæ œ ‰ œæ
r R r R R r R r
mp mf mp mf mp mf

3 big prep
32
. - > > 33 > 3> 3
j > > 3 >j 3 >j > ^
j j j
œ
/ œ œœ œœ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ f ‰ f f Œ œ Œ Ó
l R L R L r r l R L r r l R L r r L R L R L
f
T-Strong 2020 Shadow Exercises David Henzie-Skogen
TRIPLET ROLLS

q = 158 A 3 3
4
æ
33
æ
3 3 3 3
æ
33
æ
3
œ œ æ 3
æ
3
æœ 3 œæœ 3 æ 3
œ
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœ œœœœœœœ œ œ œ œ œ œ œ œæ
mp

9 3
3 3
3 3 3 3 3 3 3 3 3
æ æ 3
æ æ 3 3 æ æ
œ œ œ œ œ œ æ
œ æ
œ œ æ
œ æ
œ œ œ œ œ œ œ œ œ æ
œ æ
œ œ æ
œ æ
œ œ œ œ
3 æ
œ œ œœœœ œœœœœ æ œœœœ
æ æ æ
/ œœœ œœœ

13 3 3 3 3 3 3 3 3 3 3
3 3
œ œ œ œ œ œ œæ œæ œæ œæ œæ œæ œ œ œ œ œ œ œ œæ œæ œæ œæ œæ œ œ œ œ œ œ æ 3æ æ œæ œæ œæ œæ 3æ æ œ3 œæ œæ œæ æ æ 3æ œ
/ œœœ œœœ œœœ

B 3 > 3 > 3 3 3 3 3 > 3 > 3 > 3 > 3 > >3 > 3

3 > 3> 3>
œ œ œ œ œ œ œ œæ œæ œ œæ œæ œ œ œ œ œ œ œæ œæ œ œæ œæ œ œ œ œ œ H œ œ œæ œæ œ œæ œæ œ œ œ œæ œæ œæ œæ œæ œæ
/ œ H œ
mf

21 > >3 >3 > 3 > >3 >3 > 3 3 > >3 >3 > 3 > > 3 > >3 >3 >
‹ œœ3 33 ææ ‹ ææ ‹ ‹
/ œœœœœœ ‹ œ œ œ œ œ œ œ œ œæ œæ œ œ œ œ œ œ œ œ œ œ ‹ œ œ œ œ œ œ ‹ œ œ œæ œæ œ œ ‹

C > >j >æ -3æ æ. j 3 >j > -3 .

. -> 3 . -> 3
3 3
3 . -3 > ‹j 3 > > -3 . 3
æ æ œæ œæ œæ œæ
33 3 3
ææææ œ œ œæ œæ ‰ j œ œ j ‰ œæ œ œ œ H ‰
/ œœœœœœœœœœœœ œœœœœœœœœœœœ œ œ œœ H
R R R
mp mf mp mf mp mf mp mf mp mf

D . -3 > >‹j 3 >j >æ -3æ æ. j 3 j æ. -æ -œæ >‹j 3 > > -3 .

3
3 j 3 3 j
j 3
H ‰ œj œ œ œ ‰ 3 >j >j œæ œj >j >j œæ
/ œæ œ œ œ H ‰ Hæ œ œ ‰ œæj œæ œæ œæ Hj ‰ œæ œ ‰ ‰ œæ œ ‰
r R r R R r R r
mp mf mp mf mp mf

32 3 3 >3 >

œ
3
. - > > œ > 3>
œj 3 3
> > œ œ œ
>j ‹j ‹big prep thru
^
/ œH œœ œ œ œ œ ‰ œ œ œ œ ‰ œ œ ‰ ‹ ‰ Œ œœ Œ Ó
l R L r r l R L r r l R L r r L R L R L
f
 2020 Shadow Exercises
Sofa Bass David Henzie-Skogen
TRIPLET ROLLS

q = 158 A
4 3 3 3 3 3 3 3 3 3 3 3 3

/ ???????????? ???????????? ????????????

mp r l l r l l r r l r r l r l l r l l

8
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3

/ ??? ???? ???? ? ??? ???? ???? ? ??? ???? ???? ? ?? ???? ???? ??
r l l r r 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

12 3 3 3 3 3 3 3
3 3 3
3
œ œ œ œ œæœæœæœæœæœæ 3 3 œ œæœæœæœæœæ œ œ 3 æ 3æ æ æ 3æ æ æ 3æ 朜 œæœæœæœæ æ æ>
3 3 3
œ œ œ œ œ œœœœœœœœ œœœ œœœ
/ ???????????? œœ œœ œ
r l l r r l r r l r r l L
f

no mute after 5-stroke

3 3
> >. >. >œ œæ œæ > 3æ æ > 3> >. j 3 >. j 3 > 3 > > j 3 > j > 3 > 3æ æ >œ œæ œæ > >3 > 3 >. æ æ3 >. æ æ3 >
B 3

œœœ ææ ææ œœœ ææ œœ œœ
/ ??? ??‰ ? ‰ ? œ œ œ œ œ ? ? ‰ ? ?œ œ ???œ œ ? ? ?
R L R R L R L r r L R L R L R

21 > 3
> j 3 j > 3 ‹. >. > 3
>. >
. > > >3 > . . > >3 > > ^. .3 ^ ^ 3
^. . ^ 3 ^ ^ 3 ^
3
> ^ ^ ^ ^
‹ œ > œ œ œœ . . . . j j
/ ? ‰ ? ??‰ œœœ ? ? ? œœœœ ? ? ? ? ? ? ? ? ? ? ?
œœ œ œ œ œ
L r L r R L R R L r R L R L

3 -
.j -. 3. .
C 6
^ j 3 j -3 - > œ œ >j 3 -6- -->. >. >. >. . 3 .j 3 > > -3
3 -> >
- 3> -
. . . æ
œ œ œ œ
6
œœœ ‰ œœ œ œ œ œ ‹ ‹ ‹ ‹ œœ œœ œœ œ œ ‹ ‰ j j œ œæœæœæ
/ ? ‰ ? ???? œ œœœ
œ
œ œœ œ œ ? ??? ? ? ? ? ‰
R r R r r r r r r r r r r r R R
mp f mp f mp f mp f mp mf

D . 3 3
. 3-. >. 3
. j 3 > > > j 3 œæj œj 3 > > > j 3
œj -3 > >j > j >j >
/ ‰ ? ? ? ? ‰ ‰ ? ? ? ? ? ‰ ‰ ? ? ? ‰ ??? ‰ ‰ ??? ‰ œ œ
r l R L R L R L R L R r l R L R mp
mp f mp f

>. >. >3. knucks knucks

32
>. ^. >. 3>. >. >. ^ 3 ^ ^ ^ ^ 3
3
3
-. > > > > > > > > ^
œœ œœ .j œ œ ^ œœœœœœœœ œœ
/ œœœœœœœœœœœœ œœ ‰
œ
œœ ‰
œ
œœ ‰ ?
œ œœ Œ Ó
f R R L L R R L L R
E-Coup 2020 Shadow Exercises David Henzie-Skogen
SOFLAMS

q = 146 edge to center

4 3 . - > 3 >j - 3- > -3 - > 3> - - -j 3 > > - -3- > > -3 - - > 3> - - -j 3 >j > -3 -
3
4
/4 œ œ œ œ œ œ f œœœœœœ‰ œœœœœœ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰ œ œjœœjœ œ
r R L R L R L L L
p f

8 A
> >3 - - >3 > - -3 > > -3 - 3 ^ 3 j3 j ^ 3 3 ^ 3 j3 j ^ 3 3 ^ 3 j3 j ^ 3
j j j j j j j j j
/ œœœœœ œ œœœœœ œ œœœœœ œ œ œ œ œ œ œ œ ‰ œ œœ œ ‰ œ œ œ œ œ œ œ ‰ œ œœ œ ‰ œ œ œ œ œ œ œ ‰ œ œœ œ ‰
R L L L R L L L R L L L r r r L r r r r L r ... l l l R l l l l R l
mp f

12
^ 3 j3 j ^ 3
3 3 ^ 3 ^j 3 j ^ 3 3 ^ 3 ^j 3 j ^ 3 ^ 3 ^ 3 ^ 3 ^ -3 .
j j j j j j j j j j j
/ œ œ œ œ œ œ œ ‰ œ œœ œ ‰ œ œ œ œ œ œœœ ‰ œ œœ œ ‰ œ œ œ œ œ œœœ ‰ œ œœ œ œ œœ œ œœœ œ œœœ œ œœœœœœœ
... r r r L r r L l R l l l l R l l R r L R L R L L l

16
3 ^ ^ -- 6 3 ^ ^ 3
B
j j j j j 3 3 ^ 3 j3 j 3 3 ^ 3 j3 j 3 3 ^ 3 j3 j
j
/ œœ ‰ œ œ œ œ œ œ œ œ œ ‰ f f ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ
l R mp R L r r r r r r L r r r r ... l l l l l l R l l l l
f

20
^ 3 j3 >j . 3 > 3. ^ >3 . j3 >j . 3 > 3. ^ >3 . j3 >j . 3 > 3. ^ >3 . j3 >j . 3 > 3. ^ >3 . >3 >
3 3
j
/ œœ ‰ œœœœ œœœ ‰ œ œ œ ‰ œ œ œœ œ œ œ ‰ œ œ œ ‰ œ œ œœ œ œ œ ‰ œ œ œ ‰ œ œ œœ œ œ œ ‰ œ œ œ ‰ œ œ œœ œ œ œœœœ
... R r r R r r LR r r R ... L... R L... R L

C +
. 3 > > 3. > >3 . >3 > . 3 > > 3. > >3 . > >3 3
j >> 3 > >
3 > 3> -æ
3 . dead
j j j j j
 j j j j j j
/ œœ œ œœœœœ œ f œœœœ œ œœœ œœ œ œœœœœ œ f œœœœ œ œ œ œ œ œ ‰ œ œ œ œ œ ‰ f œ œ œ œ ‰ œ œ œ œ œ œ œæ œ7 Œ
L l R L L l R L L l R L L l R L L l R L L l R L r r l R L r r l R L r r l R L r r l r l r
p

D HALT IN 2ND to center

> - > > 3 > 6> >j 3 >j > -3 > >3-æ . >3> - - .j 3 > 3> > 3 > edge
3 3 3
j 3 j-j æ> æ^ j> 3
æ æ æ jæ æ j j æ æ æ æ
/ œ œ œ œ f œœœ œ œ œ œœœ œœ œ ‰ œ œœœœ œ f œ œ œ ‰ œ œ œ œ œ ‰ œœ œ œ œ œ œ œ f œ œ œ œ œ ‰œœ œ œ œ f œœ œ œ
R R R r L r r L r r L R L L l RL r l R r L r l RL r l R l l r r L l R L
f mp f

E FEET
3
REGULAR TIME
3 3 3 > 3 > 3 >
> > > 3 > 3 > 3 > 3 > 3 3 > 3 > 3 > 3 > 3
j j j j j j j j j j j j j j
œ             
/ œ œ œœœ œ œœœ œ œ œ œœœ œ œœœ œ œœœ œ œ œœœ œ œ œœ œ œœœ œ œœœ œ œ œ œœœ œ œœœ œ œœœ œ œ œœœ œ œ
R L R L R L L R L R L R L L

37
> 3 > >3 >3 >3 > 3 > 3 > > 3 > 3 > 3 > >3 >3 >3 > 3 > 3 > > 3 > 3
j j j j j j j j j j j j j j j j j j j j
œ
/ œ œ œœœœœ œ œœœ œ œœœœœ œ œœœ œ œœœœœ œ œœœ œ œ œœ œ œœœœœ œ œœœ œ œœœœœ œ œœœ œ œœœœœ œ œœœ œ œ
R L L R L L R L L R L R R L R R L R R L V.S.
 E-Coup

41
> 3 > 3 > 3 > >3 >3 > 3 > 3 > 3 > 3 > 3 > 3 > >3 >3 > 3 > 3 > 3
j j j j j j j j j j j j j j j j j j
œ              
/ œ œ œœœ œœœ œ œœœ œœœ œ œœœ œœœ œ œœœ œ œœœ œ œ œœ œ œœœ œœœ œ œœœ œœœ œ œœœ œœœ œ œœœ œ œœœ œ œ
R L L R R L L R L R L L R R L L R L

45
> 3 > -3 . 3 > - 3. >3 - . 3 > 3 > 3 > 3 > -3 . 3 > - 3. >3 - . 3 > 3 > -3 .
j j j j j j j j j j j j j j j j j j j j j j j j j
œ
/ œ œ œœœœœœœ œ œœœœœœœ œ œœœœœœœ œ œœœ œ œœœ œ œ œœ œ œœœœœœœ œ œœœœœœœ œ œœœœœœœ œ œ f œ œœœœœœœ
R L L L R R R L L L R L R L L L R R R L L L R L L L

49 F to edge
^ ^ -6- ^ ^ -6- 3
j ^ ^ -- 6 3 3
j j 3 j 3 dead
. 3 j3 j 3 3 . 3 j3 j
j j j 7 j j j 7 j
/ œœ œ œ œ œ œœ œ œ œ œ œ œœ œ ‰ œ œ œ œ œœ œ œ œ œœœ ‰ œ œœ œ ‰œœ œ œ œ œ œœœ ‰ œ œœ œ ‰œœ œ œ œ œ œœœ ‰ œ
l R R R l r r l r l r l r r l r r l r ...
p
HALT IN 2ND
53 3 3 G center
3 . 3 3
j j-
3 3 - 3 ^j ^j >j ^ - . >j 3 j . -3 > >j 3 >j
3
j j
j j 7  j

/ œœ œ ‰ œœ œ œ œ œ œ œœ ‰ œ œœ œ ‰ œœ œ œ f ‰ f ‰ ‰ œ
j j
œœ œœ œ f ‰ œæ œæ œæ œ f ‰ œ
L R R L L l R r R
ff mp f

56
^ - . >j 3 j . -3 > >j 3
center 3
> > > 3 > 3 3 > 3 FULL
^
j j
œœ œœ œ f ‰ æ œæ œæ œ f ‰ œ œ
œ æ
œ œ œ œ œ œ œ œ œ œ œ œ œ ‹
/
L L l R r r L r l R R l l r L r l R l l R
mp f
T-Strong 2020 Shadow Exercises David Henzie-Skogen
SOFLAMS

q = 146
4 . - > 3 > - 3. > -3 . > 3> - - . 3 > > - -3 . > > -3 - . > 3> - - 3 > > 3
3

4 œ
3
œ œ ‹ œœj œœ œœ œH œœ œœ œ œ œ œ j œ œ œ œ . j j j- .
œ œ œ œ œ ‰ œ œ œ œ j ‰ œ œœœ
/4 œœœ ‰ ‰ œ‰ œ ‰ œ œœ
r R L R L R L L l
p f

8
> j>3 j- . >3 j> j- 3. > j> j-3 .
A 3 ^ 3
j 3
j ^3 3 ^ 3 j3 j ^ 3 3 ^ 3 j3 j ^ 3
œ œ œ œ œ œ j j
œ œ œ œ œ œ œ ‰ œ œœ œ ‰ œ œ œ œ œ œ œ ‰ œ œœ œ ‰ œ œ œ œ œ œ œ ‰ œ œjœ œ ‰
/ œœœœœœœœœœœœ
R L L l R L L l R L L l r r r L r r r r L r ... l l l R l l l l R l
mp f

12
^ 3 j3 j ^ 3
3 3 ^ 3 ^3 ^3
j j 3 ^ 3 ^j 3 j ^ 3 ^ 3 ^ 3 ^ 3 3
œ œ œ œ œ œ œ ‰ œ œjœ œ ‰ œ œ œ œ œ œœœ ‰ œ œjœ œ ‰ œ œ œ œ œ œœjœ ‰ œ œjœ œ œ œjH œ œœjœ œ œœj œ œœj^œj-œj .
j
/ H œœœ
... r r r L r r L l R l l l l R l l R r L R L R L L l

3 ^ ^j
16
-- 6 3 B 3 3 ^ 3 j3 j 3 3 ^ 3 j3 ^ 3 j3 j
j j ^ ^ œ 3
œ j ‹j ‹ œj œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ j 3 3
œ
/ œœ ‰ œ œ œ œ œ œ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ œ œœ‰ œœœ œœœ‰ œ
l R mp R L r r r r r r L r r r r ... l l l l l l R l l l l
f

20
^ 3 j3 >j . 3 > 3. ^ >3 . j3 >j . 3 > 3. ^ >3 . j3 >j . 3 > 3. ^ >3 . j3 >j . 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 œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œœœjœ
/ œœ ‰ œœœ œœœ ‰
... R... L R... ... L... R L... R L... R L

^ >3 > >3 >>3

> œ œ - - œœœ œ œœœœ
C 3 3 3
3 >> >> 3
. 3 >œj>œj3. ‹œj œj . >œj> œj . 3 >œj>œj3. ‹œj œj .
3 >>3 3 >
œj œœ œœ
3
‹ œj 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 œj ‰ œœ œ ‰ œ œœ œ ‰ Hœ HH ‰ œ œ
l l R L l l R L l l R L l l R L l l R L l l RL r r l RL r r l RL r r l RL r r l RL r r l l RL r r l l r l r r

D-
j 3
j > 3 j3 j > 3 j3 j > 3 j3 j > 3 j3 j > 3 j3 j > 3 j3 j^ ^ 3
3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ œj œ œ
/ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ H
l r l l 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 L
mp f

E> >3 > 3 3 3 > 3 > 3 > 3 > 3 >3 > 3 >3 3 > 3 > 3 > 3
> 3
œ œ H œ œœœ œ œ œ œœœ œ œœH œ œœœ œ œ œœ œ œ œj œ œœj œ œœj œ œ œ œœjH œ œœjœ œ œœjH œ œ œœœ œ œ
œj j œj
j j j jœ j
/ œ H œ H
R L R L R L L R L R L R L L

37 3 > > 3 > 3

> 3 > >3 >3 >3 j> 3 >
> 3 > 3 3
> >3 >3 > 3 > 3 > > 3
œj j j j j j j jœ >
œ œœHœH œ œœœ œ œœœœœ œ œœH œ œœ œ œ œœj œ œ œj œ œœj œj œ œœj œ œœjœœjœ œ œœjH œ œœjœœjœ œ œœœ œ œ
œ j
/ œ H œ HH œ
R L L R L L R L L R L R R L R R L R R L V.S.
 T-Strong

41
> 3 > 3 > 3 > >3 >3 > 3 > 3 > 3 > 3 > 3 > 3 > >3 >3 > 3 > 3 >œ 3
œ œœ œœœ œ œœH œœ œ œœ œœœ œ œœH œ œœ œ œ œj œ œœj œœjH œ œœjœ œœj œ œœj œœjH œ œœjœ œ œœj œ œ
œj j j j j j j j jœ
/ œ H œ H H œ H œ
R L L R R L L R L R L L R R L L R L

45
> 3 > -3 . 3 > - 3. >3 - . 3 > 3 > 3 > 3
3
3 > - 3.
œ œ >3 - .j 3 >j ^3j
œj œ œœjœœjœœjœ œ œœjHœjHœjH œ œœjœœjœœjœ œ œœj œ œœj œ œ œj œ œ j> j- j . œœj œjœœj œ œ jHœjH jH ‰ ‹ ‰ ‹ ‰ œj^
/ œ H œ H œœœœœœ œ œ œ H
R L L L R R R L L L R L R L L L R R R L L L R L

3 dead3 3
j Fœj . œ œj . œ3 œ 7. œ œ œj .j 3 œj œj . œ œj . œ3 œ 7. œ œ œj .j 3 œj
49 3 3
> > -6- ^ ^ -6- j 3 -- 6 3 j œ
œ œ œ œ œœœ œ œ œ œ œœœ œH ‰ ^ ^ œ œ œœ œ œ œœjœ ‰ œ œ
/ œœ œ œ ‰œ œ‰ œ ‰œ œ‰
R R R l r r l r l r l r r l r r l r ...
mp

3
53 . . 3 . 3
3 3 . . 3
3 ^ ^j 3
œ œj œj œ œ œ7 œ œ œj .j œj œ j
œ œj œ œ ‹j ‹ >j
/ œ ‰ œ œ ‰ œ ‰ œ ‰ ‰ ‰ œ
L R R
ff
HALT IN 2ND
G
^ 3
>j 3 . -3 > >j 3 > ^ -3 >j 3 . -3 > >j 3 > 3> > 3 > 3 > 3 ^FULL+ THRU
j j- . ‹ æ æ œ ‹ j j j . ‹ æ æ œ ‹
‰ œ H œ œ œ œ œ œ œ H œ œ œæ œ œ ‹
j œ
œ œ
‰ œ œœ œœ œ ‰ œæj œ œ
 
/ œ œ œ ‰ œæ œ
L L l R r R L L l R r r L r l R R l l r L r l R l r L
mp f mp f
 2020 Shadow Exercises
Sofa Bass SOFLAMS David Henzie-Skogen

q = 146 edge to center

4 3 - 3 > j > 3- > >3 - > 3> - - j 3 > > - -3
3
4
/4 ? ? ? ? ? ? Œ ? ? ? ‰ ? ? ? ‰ ????? ‰ ????? ‰
r R L R R L R R R
p f

7
> > -3 - > 3> - - j 3 > j > -3 > >3 - >3 > - 3 > > -3
/ ? ? ? ? ? ‰ ? ? ? ? ? ‰ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?
R R R L L l R L L l R L L l R L L l
mp

A mute 'let' of 1 mute 'let' of 1

> 3> 3 > > 3 > > 3- 3 - > 3> 3 > > 3 > > 3-
j j 3> > . . . j j 3> > . . . 3 -

‰ ‰ ‰ ‰
/ ?? ???? ? ??? ? ? ? ? ??? ?? ???? ? ??? ? ? ? ? ???
R L l r L R l r L R l r L R L l r L R l r L R l r L
f mp f mp

mute 'let' of 1
13
> 3> 3 > > 3 > 3 > > >. 3>. >. > 3 > 3 > 3 > 3> > > -6- .j 3 > > - - 6 3 >. >.
j j œ œ œ œ œ .j ‹j ‹
/ ? ?‰ ? ? ? ? ‰ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?‰ œ œ œ œ œ œ ‰ œœœœœ ‰
R L r l R L R l r L R L R L R L
f

mute hard on 3 mute hard on 3

B 3
>. 3 >. 3
>. 3 >.
>j3 >j j j
3
> j > j 3 j >3 > 3 > > j 3 > j j j
3
> j > j 3 j >3 > 3 >
/ ? ‰ ? Œ ‰ ‰ ? ‰ ‰ ? ‰ ‰ ? ? ‰ ? ?????? ? ‰ ? Œ ‰ ‰ ? ‰ ‰ ? ‰ ‰ ? ? ‰ ? ??????
L R R L r l R L r l R L R R L r l R L r l R

mute hard on 3 mute hard on 3 mute 'let' of 2

21
> j 3 > j > 3 >. j 3 >. j 3 > j > j 3 j >3 > 3 > > j 3 > j > 3 >. j 3 >. j 3 > j > ^. ^.3 > >
/ ? ‰ ? ? ‰ ‰ ? ‰ ‰ ? ‰ ‰ ? ? ‰ ? ?????? ? ‰ ? ? ‰ ‰ ? ‰ ‰ ? ‰ ‰ ? ? ? ? ??
L R L R L r l R L r l R L R L R L R L

C mute 2nd partial mute 2nd partial mute 2nd partial

>j 3 >j > 3 3 3
j 3 .j > > >j >j > 3
3 3
j 3 .j > > >j >j > 3
3
j 3 .j > > - -
/ ? ‰ ? ? ? ? ? ‰ ? ‰ ? ? ? ‰ ? ? ? ? ? ‰ ? ‰ ? ? ? ‰ ? ? ? ? ? ‰ ? ‰ ????
R R L R L R R L R L R R L R

top no mute first beat

28 center edge center edge D edge edge edge
3 6
3 3 6
center
j >-------œœœœœœœœœœœœ . . . . - . . . . . . - . . . . . . . -
3 3 3 6 3 3 3

/ ? ‰ œœœœœœœœ ??‰ ??‰ ? ? ? ??‰ ??‰ ? ? ? ??‰ ? ? ? ?

mp R R R

32
. .3 - > 3 > 3 E > 3 > 3 > 3 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 3 >

/ ? ? ???????? ???????????? ???????????? ????????????

R L L R L R L R L L R L R L V.S.
f
 Sofa Bass

36
3
> 3> 3 > 3 > 3 > >3 >3 >3 > 3 > 3 > > 3 > 3 > 3 > >3 >3 >3 >
/ ???????????? ???????????? ???????????? ????????????
R L L R L R L R L R L R L R L R L R L

40
> 3 > > 3>. >. > 3 > > 3 > >3
3 3 - > 3 > > 3 > >3 3 - > 3 > > 3 > >3 3 -

/ ??????? ? ? ???????????? ???????????? ????????????

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

44
> 3 > > 3 > 3 > 3 > >. 3>. >. 3 > > 3 > >3 3> >j 3 >j
/ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ‰ ? ‰ ?
R R L R L R l r L R l r L R l r L R L

47
> >. 3>. >. 3 > > 3 > >3 3> > 6 - - -6> > >
-- 6 - - 6
œ œ œ œ œ œ œ œ œ œ œ œ >.
/ ? ? ? ? ??? ???????? ? ‰ œœœœœœœœœœœœ œ Œ Ó
R l r L R l r L R l r L R mp f

F feature6
- - >.j 3 -6- > > >.j 3 > > 3 > - - - - - - - - ^ 3 3 3- -3 ^. 3
3
-
3 - ^. 3 -3->‹ >‹ >‹ >‹ > j 3 > j
3

‹ œœ ‰‹ j j j œ œ œ œ .
œ œ œ œ j ‰ œœœ œœ œ ‰ œœœ œœ œ ‰ œœœ œœ œ
/ œœ œœ œ œ ‰ œœ œœ œ œ ? ? ‰? œ œ œ ? ‰?
L R L RR L L RR L L R L R L R L
mf f mf f mf f

3 HALT IN 2ND huge swing

>
54
> - -6- - - - - -6- - - >.j ‹.j 3 > j G > 3>. >. 3 > -3 > > 3>. >. 3 > -3 > > j 3 ^. j 3 > j > j 3 ^. j 3 ^ j
‹
/ ? œœœœœœœœœœœ ‰ ‰ ‰ ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ‰ ? ‰ ‰ ? ? ‰ ? ‰ ‰ ?
R L R r R R L R r R R L R L R R
ff
 Basic Skill Sets
Taha Ahmed
LEGATOS / TIMING
8-8-16

/ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ

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

Tap Pyramid
œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
/
r l r l r l r l r l r l r l r l r r l l r r l l r r l l r r l l r r r r l l l l r r r r l l l l r r r r r r r r l l l l l l l l 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 l l l l 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 r r r r l l l l l l l l l l l l l l l l

œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ

/
l l l l 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 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 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 l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l l

Sixteenth-Note Timing 1-note Repeat 4x

/ œœœœœœœœœœœœœœœœ œ œ œ œ œ œ œ œ œœœœœœœœœœœœœœœœ ≈ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ™™ œœœœœœœœœ œ œ œ œœœœœœœœ ≈ œ œ ≈ œ œ ™™ ™™ œœœœœ œ œœœœ ≈ œ œ ™™

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

Sixteenth-Note Timing 2-note

/ œœœœœœœœœœœœœœœœ œœ‰ œœ‰ œœ‰ œœ‰ œœœœœœœœœœœœœœœœ ≈ œœ ≈ œœ ≈ œœ ≈ œœ œœœœœœœœœœœœœœœœ ‰ œœ‰ œœ‰ œœ‰ œœ œœœœœœœœœœœœœœœœ œ™œœ™œœ™œœ™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 R L R L L R L R L R L R 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 R L R L R L R L

Repeat 4x

/ ™™ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ ≈ œ œ ≈ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ™ œ œ™ œ ™™ ™™ 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 R L R L R L R L L R L R 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 L R R L R L R L R L R L R L

Sixteenth-Note Timing

/ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œ œœœ œœœ œœœ œœ œœœœœœœœœœœœœœœœ ≈œœœ≈œœœ≈œœœ≈œœœ
RLRLRLRLRLRLRLRL RLRRLRRLRRLR RLRLRLRLRLRLRLRL RRLRRLRRLRRL RLRLRLRLRLRLRLRL R L LR L LR L LR L L RLRLRLRLRLRLRLRL LRL LRL LRL LRL

Repeat 4x

2 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 ™™ ™™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 ™™ 8
R L R L R L R L R L R R L R R L R L R L R L R R L R R L R L R L R L R L R L L R L L R L R L R L R L L R L L R L R L R L R L R R L R L R R L R L R L R L L R L R L L R L

Triplet Timing
12
/ 8 œœœœœœœœœœœœ œœ‰œœ‰œœ‰œœ‰ œœœœœœœœœœœœ ‰œœ‰œœ‰œœ‰œœ œœœœœœœœœœœœ œ‰œœ‰ œœ‰œœ‰œ
R L R L R L R L R L R L R L L R R L L R R L R L R L R L R L R L L R R L L R R L R L R L R L R L R L R L R R L L R R L L

Repeat 4x

6 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 ™™ ™™8 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 R L R L R R L R R L R L R L L

Triplet 1-note
12 j j
/ 8 œœœœœœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ™™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ ™™ 12
8
R L R L R L R L R L R L R R R R R R R L R L R L R L R L R L L L L L L L R L R L R L R R R R L R L R L L L L
2
MULTIPLES / BOUNCE
Shups Repeat 4x

12 6 9 12
/ ™™ 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 œ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ ‰ œ œ ‰ œ œ ™™ ™™8 œ œ ‰ œ ‰ œ ‰ œ œ ™™ 8
RH
LH on repeat

Irish Spring
12 4
/ 8 œ ‰œ œ ‰œ œ ‰œ œ ‰œ œ‰œœ‰œœ‰œœœœ œ‰œœ‰œœ‰œœ‰œ œ‰œœ‰œœ‰œœœœ ™™ œ‰œœ‰œœ‰œœœœ œ‰œœ‰œœ‰œœœœ ™™ ™™ œ ‰œ œœœœ‰œœœœ ™™ œœœœœœœœœœœœ œœœœœœœœœœœœ 4
R R R R R R R R R RR RR RR L R L L L L L L L L L L L L L L LRL R RR RR RRLR L L L L L L LRL R R RLRL L LRL RRR L L L RRR L L L RR L L RR L LRR L L

Gallop

4
/ 4 œœœ œœœ œœœ œœœ œ œœœ œœœ œœœ œœ œœœ œœœ œ œœœ œœ œœœ œœœ œ œœœ œœ œœœ œ œœœœœ œ œœ œœœ œ œœœœœ œ œœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ
RR L RR L RR L RR L R L L R L L R L L R L L RR L RR L R L L R L L RR L RR L R L L R L L RR L R L L RR L R L L RR L R L L RR L R L L RR L L RR L L RR L L RR L L RR L L RR L L RR L L RR L L

SCV Stick Control

/ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ

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

> ^ ^
6
/ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœ‹ œœœœœœœ‹ œœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ 4
R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L R l l l R l l l l l l l R l l l R R R L R R R L R L L L R L L L R R R R L L L L R R L L R R L L

5-4-3-2

6 5 4
/ 4 œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ 4 œœœœ≈œœœœ œœœœ œœœœ œœœœ≈œœœœ œœœœ œœœœ 4
R... L... R... L...

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 3 4
4œ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ ≈ œ œ 4
R... L... R... L...

Hugadics
>- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- > - >- >- >- >-
4 3
/ 4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œ œ œœ œ œœ œ œœœœœ 4
R... L... R... L... R... L... R... L... 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

>- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >-
3 4 3 3 4
/ 4 œ œœœ œœœ œœ4 œœœœ≈œœœ≈œœœ≈œœœ œœœ œœœœœœ œœœœœ4 œ œœœœœœ≈œœœ4 œœœœœœœœœœœœ œœœœœœœœœœœœ 4
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 L l l L l l R r r R r r L l l L l l R r r L l l R r r L l l R r r L l l R r r L l l

Flam-Tap Breakdown
> - > - > - > - > - > - > - > - > - > > - > > - > > - > > - > - > - > - > - > - > - >
j
™
™
/ 4
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œjœ œjœ œ œjœ œjœ œ œjœ œjœ œ œjœ
œ
j
œ œ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ ™™ 14
16
R... R... R r L R r L R r L R r L R r L l R r L l R r L l R r L
LH lead on repeat

Swiss-Tap
>- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >- >-
14 j j j j j j j j j j 8 j j j j j j j j j j j j 5 j j j j j j j j 4
/ 16 œœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœ œ œœœ œ œœœ œ œœœ œ œœœ œ 16 œœ œ œœœ œ œœœ œ œœ œ œœœ œ œœœ œ œœ œ œœœ œ œœœ œ œœ œ œœœ œ œœœ œ 16 œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ 4
R r l R r l R r l R r l R r L l r L l r L l r L l r L l R r l R r l R r L l r L l r L l R r l R r l R r L l r L l r L l R r l R r L l r L l R r l R r L l r L l

SCV Threes
> > > > > 6> > > > > > > > 6> > > >j > > >6 > > > >j > > > 6> > > > > > > > > > 6> > > > > > > > 6> > > >j > > >6 > > > >j > > > 6> > > > >
4
/4œ œ œœœœœœœ œ œœœœœœ œ œœœœœœœ œœœœœœœ œ œ œ œœœœœœœ œ œœœœœœ œ œœœœœœœ œœœœœœœ œ
R L R R R L L L R L R R R L L L R L L L R R R L R R R L L L R L R L R R R L L L R L R R R L L L R L L L R R R L R R R L L L R L

> > > > >6> > > > > > >6> > > > 6> > > > 6> > > >j > >3 > > > >6> > > > > > > >6> > > > > > >6> > > >j > > 5:3
> > > > > 5:3
>>>> > >>>>> ^
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‹ 12
8
R l r L R R R L L L r L r l R R R L L L R l l R R R L r r L L L R L L L R R R L L L R l r L R R R L L L r L r l R R R L L L R R R R L L R R R L L R L R L R L R R
 3
STROKE-TYPES / TWO-HEIGHTS
Basic-er Strokes

12
/ 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 œ œ œ œ œ œ œ œ œ œ œ œ
R L R L R L R L R L R L R L R L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L

4
/ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ 4
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 R L R L R L R L R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R

Plus / Minus
> >> >>> >>>> >>>>> >>>>>> >>>>>>> >>>>>>>>
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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
RH
LH on repeat

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

/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™

Accent-Tap
> > > > > > > > > > > > > > > > > > > >
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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 4
RH
LH on repeat

5-4-3-2 Accent Tap

> > > > > > > > > > > > > > > >
8
/4 œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ 7 œ œœœ œ œ ≈ œœœœ œ œœœœ ≈ œ œœœœ œ œœœ œ œ ≈ œœœœ œ œœœœ ≈ œ œœœœ 46
4
R... L... R... L...

> > > > > > > > > > > > > > > > > > > > > > > >
6 5 4 6
/ 4 œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ 4 œ œœ≈œ œœ œ œ œ œ≈œœ œ œœ≈œ œœ œ œ œ œ≈œœ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
R... L... R... L... R... L...

Quick Accent
> > > > > > > > > > > > > > > >
6 5 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 œ œ œ œ œ œ œ œ 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 4
RH
LH on repeat

> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
4 3 3 4 5
/ 4 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ 4 œ œ œ ≈ œœ œ œ œ œ œœ ≈ œ œ œ œ œ 4 œ œ œ ≈ œœ œ œ œ œ œœ ≈ œ œ œ œ œ 4 œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ 4

> > > > > > > > > > > > > > > >
5 6 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 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 ™™ 4

Prep-Timing
> > > > > > >>>> >>>> > > > > > > > > > > > > > >
4
/4œ Œ Ó œ Œ Ó œ Œ œ Œ œ Œ œ Œ œ œ œ œ œ œ œ œ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ
R L R L R L R L R L R L R L R... L... R... L... R... L... R r L l R r L l R r L l R r L l

> 3 3 3 3 > 3 3 3 3 > 3 3 > 3 3 > 3 3 > 3 3 > 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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœœ œœœœœœœœœœœœ
R... L... R... L... R... L... R r r L l l R r r L l l R r r L l l R r r L l l

> > > > > > > > > > > > > >
12
/ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ 8
R... L... R... L... R... L... R r r r L l l l R r r r L l l l R r r r L l l l R r r r L l l l

Huckdigadigs
> > > > > > > >
12 12
/ ™™ 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 ‰ œ œ œ œ ™™ 8
R... L...

Flam-Accent Breakdown
> > > > > > > > > > > > > > > > > > > > > > > >
12 j j j j j j j j j j j j j j j j j j j j j j 12
/ ™™ 8 œ ‰ œ œ œ ‰ œ ‰ œ œ œ ‰ œœ ‰ œ œ œ ‰œœ ‰ œ œ œ ‰ œœ ‰ œœœ œ ‰œœ ‰ œœœ œ ‰ œœ ‰ œœœ œ ‰œœ ‰ œœœ œ ‰ œœ œ œœœ œ ‰œœ œ œœœ œ ‰ œœ œ œœœ œ œœœ œ œœœ œ œ œœ œ œœœ œ œœœ œ œœœ ™ ™™ 8
R... R r L r R r L r R r L r R r L r R l r L r R l r L r R l r L r l R l r L r l R l r L r l R l r L
LH lead on repeat
4 DIDDLES
Paradiddle Breakdown
> > > > > > > > > > > > > > > > > > > >
12 3
/ ™™ 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™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™œ™œ™œ™ ™™ 4
R r R r R r R r R r r R r r R r r R r r R l r r R l r r R l r r R l r r R r r l l R r r l l R r r l l R r r l l R l r r l l R l r r l l R l r r l l R l r r
LH lead on repeat

Paradiddle Breakdown Duple

> > > > > > > > > > > > > > > >
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 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R r l R r l R l r l R l r l R r l R r l R r r l R r r l R r l R r l R l r r l R l r r l R r l R r l R l r r l l R l r r l l
LH lead on repeat

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

PuhDuhDuh Breakdown
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
12
/ 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™ œ œ œ œ™ œ™ œ™ œ œ œ œ™ œ™ œ™ œ œ œ œ™
R R R R R l l R l l R l l R L L L L L r r L r r L r r L R R R l l R L L L r r l R R R l l R L L L r r L

> > > > > > > > > > > > > > > > > > > >> > > > > >> >> >> >
12
/ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœœœœœœœœœ 8
R l l R l l R l l R l l r r L r r L r r L r r L R l l R l l R l l R l l r r L r r 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 r L r r L R l l r r L R l l r r L R l l r r L R l l r r L

Short-Short-Long

12 æ æ æ æ æ æ æ æ æ æ æ æ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ œæ ™™ 12
/ ™™ 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 8
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 R L R L R L R L

Triplet Diddle

12 æ æ æ æ æ æ æ æ æ æ æ æ æ æ
/ 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 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 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 R L R L R L R L

æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ4
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
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 R L R L R L R L R L R L R L R L R L R L

Chicken and a Roll

4 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 4
/4œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ 4
R L R L ...

Sixteenth-Note Diddle

4 æ æ æ æ æ æ æ æ
/4œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ
R L R L ...

æ æ æ æ æ æ æ æ æ æ æ æ æ æ 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

æææ æææ æææ æææ æ æææ ææ ææ æææ æ ææææææææ æææææææ

/ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ

Diddle McNuggets
Repeat 3x

ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær
/ ™™ œœœœœœœœ œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈ œœœœœœœœ œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈ œœœœ œ ≈œ ≈œ ≈œ ≈ œœœœ œ ≈œ ≈œ ≈œ ≈ œœœœ œ ≈œ ≈œ ≈œ ≈ œœœœ œ ≈œ ≈œ ≈œ ≈
RH
LH
Double Stops
Alternating

ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær ær j ær j ær j ær j ær j ær j ær j ær j ær
/ œ œ œ≈œ≈œ œ œ≈œ≈ œ œ œ≈œ≈œ œ œ≈œ≈ œ œ œ≈œ≈œ œ œ≈œ≈ œ œ œ≈œ≈œ œ œ≈œ≈ œ œ≈œ œ≈œ œ≈œ œ≈ œ œ≈œ œ≈œ œ≈œ œ≈

j ær j ær j ær j ær j ær j ær j ær j ær j ær ær j ær ær j ær ær j ær ær j ær ær j ær ær j ær ær j ær ær 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 ≈ œ œ ≈ œ ≈ ™™ 4
GRIDS / SKILL BUILDERS 5

Sixteenth Note Grid

> > > > > > > > > > > > > > > >
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 œ œ œ œ œ œ œ œ 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 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 r l r L r l r L r 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 œ œ œ œ œ œ 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 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

Poole
Repeat entire exercise ALL UP
> > > > > > > > > > > > > > > >
/ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 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 l l R l l l R l l l R l l l r l r r r L r r r L r r r L r r l l R l l l R l l l R l l l R l r r r L r r r L r r r L r r 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 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 l l R l l l r L r r r L r r l l R l l l R l r r r L r r r L R l l l r L r r l l R l r r r L R l l l r L r r l l R l r r r L

Triplet Grid
> > > > > > > > > > > > > > > > > > > > > > > >
12 6 9 12
/ 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 ™™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 ™™ 8
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 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

Triplet Grid- Flow Variation

> > > > > > > > > > > > > > > > > > > >
12 6
/ 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 8œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R r r L l l R r r L l l l R r r L l l R r r L l l l R r r L l l R r r L R r r L l l l R r r L l l l R r r L R r r L l l

> > > > > > > > > > > > > > > >
/ œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12
8
l R r r L l l l R r r L R r r r L l l l R L l l l R r r r L R r r r L l l l R L l l l R r r r L

Triplet Grid- Invert Variation

> > > > > > > > > > > > > > > > > > > >
12 6
/ 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 8œ 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 l L r r R l l L r r r R l l L r r R l l L r r r R l l L r r R l l L R l l L r r r R l l L r r r R l l L R l l L r r

> > > > > > > > > > > > > > > >
/ œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
4
r R l l L r r r R l l L R l l l L r r r R L r r r R l l l L R l l l L r r r R L r r r R l l l L

Fivelet Grid
> 5 > 5 > 5 > 5 > > 5 > > 5 > > 5 > > 5 > >5 > >5 > >5 > >5 > 5 > > 5 > > 5 > > 5 > > 5 > > 5 > > 5 > > 5 >
4 2
/ 4 œ œœœœœ œœœœœ œœœœœ œœœœ œ œ œœœœ œ œœœœ œ œœœœ œ œœœ œ œœ œœœ œœ œœœ œœ œœœ œœ œœ œ œœœ œœ œœœ œœ œœœ œœ œœœ œ œ œœœœ œ œœœœ œ œœœœ œ œœœœ 4
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 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 R l r l R L r l r L R l r l R L r l r L

5 5 Repeat 4x
> > >> >> 5
> > > > > > > > > >> > >5 >> > >5 > 5> > 5 > 5 5 5 5 5 5 5 5

™2
/ ™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 œ œ œ œ œ ™ ™
™ ™41 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™™ 68
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 R l r l R L r l r L R
L

Fulcrum Freddie
> > > > > > > >
6 j j 4 æ æ æ æ 6 j j 4 æ æ æ æ 6 j 4 6 j 4 6
/ 8 œœ œ œ œœ œ œ 8 œ œ œ œ 8 œœ œ œ œœ œ œ 8 œ œ œ œ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ œ œ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ œ œ 8
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 r l r l r l r l

> > > > > > > >

6 j 4 æ æ 6 j 4 æ æ 6 j 4 æ æ 6 j 4 æ æ 12
/ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ 8 œ œ œ œœ œ œ 8 œ œ œ œ œ œ 8
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 r l r l r l r l

> > > > > > > >

12 j j j 8 æ æ æ æ æ æ æ æ 12 j j j 8 12
/ 8 œ œ œ œœ œ œ œœ œ œ œœ œ œ 8 œ œ œ œ œ œ œ œ 8 œ œ œ œœ œ œ œœ œ œ œœ œ œ 8 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 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

> > > > > > > >

12 j j j 8 æ æ æ æ 12 j j j 8 æ æ æ æ 12
/ 8 œ œ œ œœ œ œ œœ œ œ œœ œ œ 8 œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ œœ œ œ œœ œ œ œœ œ œ 8 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 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

> > > > > > > >

12 j j j j j j j 8 ææææææææ ææ ææ ææ æ æ 12
/ 8 œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ 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 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 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 r l r l r l r l r l r l r l r l r l r l

> > > > > > > > >

12 j j j j j j j 8 ææææææææ ææ ææ ææ ææ 12
/ 8 œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œœ œ œ œœ 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 œ œ œ œ œ 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 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 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
6
FLAMS / SPREE
Flam-Taps
> > > > > - > - > - > - > - > - > > > > > - > - > - > - > - > -
j j j j j
12
/ 8 œœ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ œ
œ
j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ j
œ œ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ œ
R l r L r l R l r L r l R r L l R r L l R r L l R l r L r l R l r L r l R r L l R r L l R r L l

Swiss-Army
> > > > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
R l r L r l R l r L r l R R l R R l R R l R l r L r l R l r L r l R l r L L r L L r L L r L r l

Flam-Mill
> > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œjœ œ œ œ œjœ œ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œ œjœ œ œ œ œjœ œ œ œ
œ
R l r L r l R l r L r l R R l r L L r l R R l r L r l R l r L r l R l r L L r l R R l r L L r l

Double Flam
> > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œjœ œ œ œjœ œjœ œ œ œjœ œjœ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œjœ œ œ œjœ œjœ œ œ œjœ œjœ œ œ
œ
R l r L r l R l r L r l R R l r L L r l R R l r L r l R l r L r l R l r L L r l R R l r L L r l

Flam-Paradiddle
> > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œ œjœ œ œ œ œjœ œ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œ œjœ œ œ œ œjœ œ œ œ
œ
R l r L r l R l r L r l R l r r L r l l R l r r L r l R l r L r l R l r L r l l R l r r L r l l

Choo-Choo
> > > > > > > > > > > > > >
j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œ œjœ œ œ œ œjœ œ œ œ œjœ œ
R l r L r l R l r L r l R l r r L r l l R l r r L r l R l r L r l R l r L r l l R l r r L r l l

Dachata
> > > > > > > > > > > > > > > >
j j j œ œjœ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œjœ œ
/ œ œ œ œœ œ œ œœ œ œ œœ 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 R l r L r l R l r L r l

Dachata-Swiss
> > > > > > > > > > > > > > > >
j j j œ œjœ œ œ œjœ œ œ œjœ œ œ œ œ j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
R l r L r l R l r L r l 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 r r L r r L r r L r l

Pataflafla
> > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œjœ œjœ œ œ œjœ œjœ œ œ œjœ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œjœ œjœ œ œ œjœ œjœ œ œ œjœ
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 L r l R l r L r l R l r L r l R L r l R L r l R

Flamacue
> > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ 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 r L r l R l r L r l R l

Chatachuh
> > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œjœ œjœ œ œjœ œjœ œ œjœ œjœ œ œjœ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œjœ œjœ œ œjœ œjœ œ œjœ œjœ œ œjœ
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 R l r L r l R l r L r l

Inverts
> > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œ œjœ œ œjœ œ œjœ œ œjœ œ œjœ œ
œ
R l r L r l R l r L r l R l L r R l L r R l L r R l r L r l R l r L r l R l L r R l L r R l L r

Fubars
> > > > > > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œjœ œ œjœ œjœ œ œjœ œjœ œ œjœ œjœ œ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œjœ œ œjœ œjœ œ œjœ œjœ œ œjœ œjœ œ
œ
R l r L r l R l r L r l R R l L L r R R l L L r R l r L r l R l r L r l R R l L L r R R l L L r

Flam-Drags
> > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œæ œ œjœ œæ œ œjœ œæ œ œjœ œæ œ
j
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ œ œæ œ œjœ œæ œ œjœ œæ œ œjœ œæ œ
j
œ
Rl 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 r l R l r L r l

Cheese
> > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œæ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ
j
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ œæ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ
j
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 R l r L r l R l r L r l
 7

Flam 5s
> > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œæ œ œjœæ œæ œ œjœæ œæ œ œjœæ œæ œ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œæ œ œjœæ œæ œ œjœæ œæ œ œjœæ œæ œ
j
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 R l r L r l R l r L r l

Swiss-Drag
> > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œ œæ œ œjœ œæ œ œjœ œæ œ œjœ œ œ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œæ œ œjœ œæ œ œjœ œæ œ œjœ œ œ
j
œ
R l r L r l R l r L r l R r l R r l R r l R l r L r l R l r L r l R l r L l r L l r L l r L r l

Flam Double-Drags
> > > > > > > - > > > > > > > -
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œ œæ œ œæ œ œjœ œæ œ œæ œ œjœ œ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œæ œ œæ œ œjœ œæ œ œæ œ œjœ œ
j
œ
R l r L r l R l r L r l R l r l r L r l r l R r L r l R l r L r l R l r L r l r l R l r l r L l

Flam-Drag-Flafla
> > > > > > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œ œæ œ œjœ œjœ œæ œ œjœ œjœ œæ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œæ œ œjœ œjœ œæ œ œjœ œjœ œæ œ œjœ
j
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 L r l R l r L r l R l r L r l R L r l R L r l R

Double-Flam Drag
> > > > > > > > > > > > > > > > > > > >
/
j
œ
œ œ œ j j j
œœ œ œ œœ œ œ œœ œ œ
j
œ œ œæ œ œjœ œjœ œæ œ œjœ œjœ œæ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œæ œ œjœ œjœ œæ œ œjœ œjœ œæ œ œjœ
j
œ
R l r L r l R l r L r l R l r L L r l R R l r L L r l R l r L r l R l r L r l R R l r L L r l R

Cheese-Flafla
> > > > > > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œ œ œjœ œjœæ œ œ œjœ œjœæ œ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œ œ œjœ œjœæ œ œ œjœ œjœæ œ œ œjœ
j
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 L r l R l r L r l R l r L r l R L r l R L r l R

Chut-Cheese
> > > > > > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œ œ œjœ œjœæ œ œ œjœ œjœæ œ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œ œ œjœ œjœæ œ œ œjœ œjœæ œ œ œjœ
j
œ
R l r L r l R l r L r l R l r L L r l R R l r L L r l R l r L r l R l r L r l R R l r L L r l R

Cheese-Five-Flafla
> > > > > > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œæ œ œjœ œjœæ œæ œ œjœ œjœæ œæ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œæ œ œjœ œjœæ œæ œ œjœ œjœæ œæ œ œjœ
j
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 L r l R l r L r l R l r L r l R L r l R L r l R

Chut-Cheese-Five
> > > > > > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œæ œ œjœ œjœæ œæ œ œjœ œjœæ œæ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œæ œ œjœ œjœæ œæ œ œjœ œjœæ œæ œ œjœ
j
œ
R l r L r l R l r L r l R l r L L r l R R l r L L r l R l r L r l R l r L r l R R l r L L r l R

Cheese-acue
> > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ
j
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 r L r l R l r L r l R l

Cheese-Dachata
> > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œ œjœæ œ œ œjœæ œ œ œjœæ œ œ œjœæ 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 R l r L r l R l r L r l

Cheese-Chatachuh
> > > > > > > > > > > > > > > >
j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œ œjœ œjœæ œ œjœ œjœæ œ œjœ œjœæ œ œjœ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œ œjœ œjœæ œ œjœ œjœæ œ œjœ œjœæ œ œjœ
j
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 R l r L r l R l r L r l

Book Report
> > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œæ œ œjœ œæ œæ œ œjœ œæ œæ œ œjœ œæ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œ œjœ œæ œæ œ œjœ œæ œæ œ œjœ œæ
R l r L r l R l r L r l R l r r L r l l R l r r L r l R l r L r l R l r L r l l R l r r L r l l

Invert Cheese
> > > > > > > > > > > > > > > > > > > >
j
œ j j j
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ
j
œ œæ œ œjœæ œ œjœæ œ œjœæ œ œjœæ œ œjœæ œ j
œ œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ œæ œ œjœæ œ œjœæ œ œjœæ œ œjœæ œ œjœæ œ
j
œ
R l r L r l R l r L r l R l L r R l L r R l L r R l r L r l R l r L r l R l L r R l L r R l L r

Flam-Flams
> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
j j j j j
œ
/ œ œ œ œœ œ œ œœ œ œ œœ œ œ œ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ
œ
j
œ œ œ œjœ œ œ œjœ œ œ œjœ œ œ
œ
j
œ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ œjœ 44
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 R L R L R L R L R L R L
8
Independence
Duple
1-note 2-note 3-note

œ œ œ œ
Base Patterns / 44 œ œ œ œ œ œ œ œ œœœ œœœ œœœ œœœ 44

1s
4 j j j j j j j j r r r r r r r r r r r r
/4œ œ œ œ ∑ ≈ œ™ ≈ œ™ ≈ œ™ ≈ œ™ ∑ ‰œ‰œ‰œ‰œ ∑ ‰™ œ ‰™ œ ‰™ œ ‰™ œ ∑ œœœœœœœœ ∑ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ≈œ ∑

2s
/ œ œ™ œ œ™ œ œ™ œ œ™ ∑ ≈œœ ≈œœ ≈œœ ≈œœ ∑ ‰ œœ‰ œœ‰ œœ‰ œœ ∑ œ™ œ œ™ œ œ™ œ œ™ œ ∑

3s
/ œœœ œœœ œœœ œœœ ∑ œ œ œœ œ œœ œ œœ œ œ ∑ œ œœœ œœœ œœœ œœ ∑ ≈œœœ≈œœœ≈œœœ≈œœœ ∑ 12
8

Independence
Triple
1-note 2-note 3-note

12
Base Patterns / 8 œ™ œ™ œ™ œ™ œ‰ œœ‰ œœ‰ œœ‰ œ œœœ‰ œœœ‰ œœœ‰

1s
j j j j j j j j j
/ œ™ œ™ œ™ œ™ ∑ ‰ œ‰ ‰ œ‰ ‰ œ‰ ‰ œ‰ ∑ ‰ ‰ œ‰ ‰ œ‰ ‰ œ‰ ‰ œ ∑ œ œ œ œ œ œ ∑ ‰œ œ œ œ œ œ ∑

2s
/ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ∑ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ∑ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ∑

3s
/ œ œ œ ‰ œ œ œ ‰ œ œ œ ‰ ∑ œ œ œ œ œ œ œ œ œ œ œ œ ∑

To practice this exercise:

- Play one of the "Base Patterns" at a piano height on the edge of the drum with one hand.
-Play each isolated pattern at an accented height in the center of the drum with the opposite hand.
- During each bar of rest, continue to play the base pattern.

Variations on the exercise:

-Take out the bar of rest between the isolated patterns within the phrase but leave the measure of rest in between note groupings.
(i.e -- no bar of rests between all of the 1s but then bar of rest between 1s and 2s)
-Flip which hand is piano and which hand is accented
-put different heights in the exercise
 Shadow Drum and Bugle Corps
Cymbal Line Audition Material

Thank you for your interest in the Shadow Drum and Bugle Corps Cymbal Line! We take great
pride in the cymbal culture here, and whether you’ve played cymbals before or not, this packet
will provide you with some fundamental information to help you prepare for auditions.
Questions can be directed to Bryan Kendrick at bryankendrick9@gmail.com. Welcome!

APPROACH

At Shadow, we provide endless instruction to hone students’ abilities at their craft. However,
there are several principles that the cymbal line will always fall back on. These principles are the
foundation of our technique program. By understanding these principles, you will have an idea of
how we approach playing cymbals, even before putting them on your hands.

Musicality: Performers must always have a sense of tempo, dynamics, and a deep understanding
of rhythmic accuracy. At Shadow, we try and take a very musical approach, to achieve the best
sound quality, while keeping dynamics and touch in mind to add to our role in the ensemble.

Accuracy: We strive to be the best, and doing so requires a high level of accuracy to consciously
play the correct music or do the correct visual sequence every time. Through repetition, we
become more accurate, but it is up to the individual member to strive for greater accuracy every
time.

Control & Body Awareness: When maneuvering the cymbals, it is important that one controls
the cymbals; one don’t let the cymbals take control. We must understand our physical presence/
responsibilities, so we can determine whether our cymbals are in the correct positions at the right
times. The cymbals are an extension of the forearm and must be controlled as such.

Calm Aggression & Performance: All movements are done quickly and with a purpose.
Movements need to be aggressive to create the explosive look that we desire; however, we must
also remain calm. Motions should not look difficult or forced. Your face should not show any
signs of difficulty, but rather be kept relaxed and composed. In both performance and in
rehearsal, facial expressions and body posture must be controlled. We want to be expressive and
engaged at all times. We are constantly performing, so every rep must be treated with the same
mindset regardless of practice or performance.

Situational Awareness: Situational awareness is the ability to observe one’s surroundings and
adjust accordingly. In a perfect world, no adjustments would ever be necessary. However, this is
not usually the case, so members must be able to adjust quickly and efficiently if need be.
 CYMBAL TECHNIQUE

Set Position
This is where we begin and end every rep. It’s important to have a strong but comfortable
posture. The knots of the cymbals are at your sides, slightly behind the center of your hips.
Elbows are slightly bent. The cymbals should be parallel to each other and perpendicular to the
ground. When looking in a mirror, you should only be able to see the blades or edges of the
cymbals.

Gumption (AKA Low Port)

We have two port positions where we do most of our crashing: Gumption and Vertical. In this
position, the center of the cymbals is aligned with the center of your chest. The cymbals should
be at a “seatbelt” angle, drawing a line from the left shoulder to the right hip. The top of the
cymbals should be in line with the top of the shoulder.
 Vertical (AKA Port or High Port)
At vertical, the knots of the cymbals are at eye level. The cymbals are as far away from the body
to make the arms, more specifically the triceps, parallel to the ground. Elbows should be pushed
out at a comfortable position in line with the shoulders. This position can be difficult to achieve
in the band uniforms, so it is important to develop proper postures with a forward presence to
avoid the tendency to lean back.

Flips

We will define flips in two ways: in or out flips. In flips are initiated and motivated by the
thumb, while OUT flips use more pressure from the pinky & ring fingers

When will we use in versus out flips?

Flip up (either to Gumption or Vertical): two in flips

Flip down from Vertical: two out flips
Flip down from Gumption: left hand in flip & right hand out flip (this one has many names; I’ve
heard it referred to as a can opener, etc)
Flipping between Gumption and Vertical: left hand in flip & right hand out flip (AKA can opener
as above)

Timing of flips should always be interpreted as landing on the count, with as fast of a flip as
possible. Example: If the flip up is on 1, the flip should be initiated just before 1 in order to stop
all motion on the downbeat.
 CYMBAL WARM-UPS/EXERCISES

There are exercises you need for auditions, videos of which can all be found in this google drive
folder: https://drive.google.com/drive/folders/0ByoHLsI3D1ZZV3ZYUUpMOVJuWDQ.

If you are attending camp, be familiar with all 6 of them. If you’re sending a video audition,
please submit three of them (Ups, Downs, and one of your choice) as well as the longer Timing
Exercise (attached at the end of this packet, which can be performed as hand claps while marking
time). The second two shorter timing exercises will be played live at camp as the building blocks
for splits and rhythmic accuracy. Feel free to ask questions!

VISUAL PRODUCTION

Aside from sound production, cymbals add visual effect to the ensemble. We will utilize various
flips and release-reloads to produce our visual ideas and phrases. Our goal as a cymbal line is to
be “clean,” where every performer moves at the same time in the same way, or where a ripple is
executed perfectly. A well-designed and performed visual phrase can elevate the musical phrase
by adding another level of energy and emotion.

Visual production will happen as show music and drill is learned. The best you can do to prepare
for this is to become more familiar with how cymbals feel on your hands. The above exercises
will get you familiar with the basics. You can also watch other cymbal lines. Try to mimic what
they are doing visually and learn something new.

Thanks again for your interest in the Shadow Drum and Bugle Corps Cymbal Line! Teaching and
playing cymbals is a complex activity, so this packet serves to give a basic idea of what to expect
as a member. It is very difficult to portray the nuances and intricacies that come with cymbal
playing in words alone. However, having a good understanding of the material in this packet will
allow you to perform much more efficiently when cymbals are on your hands.

If you have any other questions, you can contact Bryan Kendrick at bryankendrick9@gmail.com.
Please be sure to subject your emails along the lines of “Shadow Cymbal Line.” Thank you, and
have fun!