G.l. stone accents and rebounds for snare drummer

1. y 0050 000 Bio) BS! Bo! 50) 50) e

ACCENIS and REBOUNDS

XK GS GE OS Ge Ge Ge a XK
for the
SNARE

DRUMMER

Price $9.00

2. PREFACE

Bo ao

ACCENTS AND REBOUNDS i an advanced textbook, designed to follow and reinforce the
authors previous book STICK CONTROL, so widely known and wed

At is presented at the slictation of (1) the many leading instructors who, having wed the

former book with such graying tes, ask for material to follow and (2) the many “name”
drummers who consider thee daily workowt with STICK CONTROL a must and who like“

vise suggest more ofthe same,

Accents in varying degres play an important part in music. Modern music calls more and
more for an infinite varity of emphasis. The drums fom their very nature poses poten-
tial for accentuation far greater than any other musical instrument. Hence the drummer is

looked 0 above all others for the most in dynamics.

“The accent routines have been carefully selected fom the authors private collection of hand.
conditioners and will, with faithful practic, further wo-handed dexterity and develop not
only the control but the nese to met today’s most exacting requirements.

ACCENTS AND REBOUNDS also presents, forthe fist time, a progresive approach to
contol ofthe secondary beat ofthe ell, so important in the fnished execution of thi, the
drummer's long tone, “The routines here are the result of yeas of study in roll production,
and have beca emplor by the author in his private teaching most succesful

“The routines in which accents and rebounds are combined are particularly adaptable
he clapet of FINGER BOUNCE EXECUTION, a yes effective in modern solia
Sn etc a sper tempos sick are manipulated mainly by Singer action.

A special chapter included on THE BUZZ ROLL in which its relationship to the pure two.

beat rolls pled out adits sein mode drumming justified

Sway of STICK CONTROL ic recommended fit, with ACCENTS AND REBOUNDS to
follow Regular practice ofcourse a necessity and 6 the student, he author urges the serv

ices of a local export instructor whenever available

non, Massachusetts

3. Accented Eighths wu ER
ee Tg
En

vy Y
i y AA
ya pa
AAA E pa E
de yo ur. -D-- BE =
EPP ETES EPP DEPS PTT R ee
2
wy, we ey pe N A a I
sl PEDTRPCESEE RE PES E
Vu vu vo yy voc oy voy
Hot mmm. "a El
AA ECS ere
vy MN vo VV voy ivory y
ER AE El
5 paa 4
a e a PV un Y
AAPP E E R
pr: CEPPEPEES
yy voyy An vir wv voy
ee --n------n--- nl a
A] EZ
yy vovyy A O, wy v_y
EL Es nr =
a pd CEPPETEER Di =
vy vo yy vy, very vv
be ee es =
MEEETEETE: EPPPEPCES eres
ENE ae
INC Tore CPPSEPPPE trees DCCÉTEETER
We a ER Vs LV MEN Be
5 3 ea
AA A PEER dat
VU, a ee E ee |
of = 2

peat each oxecive twenty timon or more before final ending,

4. Accented Eighths

5

À Ve nv put A io pu
shat te
Dre trrerrrecerre tree
YY YY vy
v_ CN E
AA pi
“ E
Y A ve
as PErrecereceere core
ee E mm
PTE FEPP PTE FPE SPP PTPE EP EP EEE EEE
vey vy AR TOR
ehe 3
so IEFFEE FE]
y vo Y M
Penn WB UNE UE A
pa pde
5
Y Ye ee OI YT
" A CETTE
PA Vor vy
he ee ee ed ee -W-- A
» ELLE DEFPÉPERS
VV ety Ye erty AY
My ecrreerrecerrectrect ere Peter 7
vn Vo Yo
u nV PY ee ee peed Yo“
ea
Vey ety pete ple veel eh Yo
IATA i
al EEFFFE Zz

cent bovin praetion—Lighte in actual playing.

5. Accented Eighths
yy wy y

AAA

26)

an]

28.

2

A

a

ssl

s|

voya YA NY
bee es | eo.
RER
Y y AA NN V
os pe Wi =

ten +

NN Ye 2

vy 4

bon

re Ve Cp ppt

Lo Y y 7
ima
aaa pobla =

ye vey
==

yoy AN

EPR PIPE ttre rrrs

ema da
ERRE

FR;

a eet
Se:

ee
i np en ee ee

ho ey ee o eh er pe Eee KT
HR RE

6. Accented Eighths v

ow Y vw a ME vy
Drerrrerrrectiretrrertirettre: 3
PB A A]
»E eerre cite: ; =
vw vy yw ry I

FETES ERP EE
[paa SPE rere! =

: Yee ee Wey yo wy
AAA AAA 3
See Y wy
Wye A AS
Sie es VU DT
HE E

ye wy vv vow vy |

Wa errrerrrecrrre rete tree cere

ee
RÉ.
EEE
e li Vs Cr VE NY
‚BE Seren
vu wy a
AAA A
ey ee We ey yy
De ee ey

7. Accented Dotted Notes

Bete th a E
=
ie + Va y YA Y
ha a ts a e e a Ye a
Masa dh du
A A E À
a HSE.
da ee Le pire dre ri yoy
vv yy oy “ pe ar Y
‘ AAA AAA
sis ss ha aa El
E
ee hee re
Merise ere ees: ate
Bet bE y yo À y
Ye te ee he ré ee eo
AAA A boty
i +
ey yy En ES a
s AAA AAA
+ Y y y voy
his aa is aa =
Le a SET: E
E L vy RE +
tra ía rte pra Yes FRE
wo AAA
+ — vv
Eran + no =
Wa a ae
Bee ham. Pur 1
© resi o arin eg spre m Four

or too bte jets: € FF D I A

8. Accented Dotted Notes
er

Y y Y y y Y ee 3 Y
AAA AAA A 1

yoy ov voy vy vy vy vy |
a mur Ena E da

a oe A eee

Y
E

eT
is

voy y yo yey vy voy
fm 2 22 mm 22 a

18 = =!
N vy vy y T

Bee SS.
I [Ewe eat ae pts

wey vv
En rh nu

20 [ja

APA A 7

e SE

RARA

Acatcavily in practical in actu playing.

9. # Accented Dotted Notes

vv y voy pe AR
y y y y y

AAA ==]

Y pa A A T
a AN

=

vy
sta
y
ir
LIPÉEECEE
vee Yew yy yo ey ev
EFF} TEFBEFFFETFERLFERITERRIEFR:
20 zi E ras
Y pe y Y

een:
ys Pa a

e
ss tree FR
re VV VV 4
Py FR
re yoy y vy eV

A AAA AA

L_Yv vy vv vv vv 4

so

Practice als in the interpretation of jazz — 7] 753 I

10. Accented Dotted Notes
Vos YY yy yy

n

yoy vy ey Y
ba ke bo seele 1
a EPP EEE LE

PP Entrées nn eine ENS
3! ERRE a
vo
ia EE RATA
u z EEE
fee Ben es rs et ee Bl. BEL
a E EEPErFErSN EEES |

an ke tm ee KT
IEERTHPRECRELE Fee SF re

mn

“

y Y TT TS
4 RE

Seen ae ot
TE CELLS:

Y" AY
pa GH

11. Kara: a ur

FE A a a a ER A u |

EEE

fe

vv ry ary 7

vv vy VV oy ory Y El

Eras men pe
IEPELFELCELEER

vv vy vy vv ry ov yO

vw

PA TIF

2

ooo M

ai

Va ee Se ee OY yO
Yo hs a nn
BEIFEEFFFLFELEEIT:

Ree

ath exercise twenty tines or moro before final ending.

12. Accented Triplets pros a"
E SE tS ES yay Ty
moe AS
FPrerrerecer teeters =p 1
vay ty Sy vv Tv yi 1
Paracas e nea
sz RE:
VV VV vo yy ory vn =
pas fon oo.
sl pe
yoy iv ov vy y 7
pt

vv v

voy Y

Py y yu

ss]

ae A A
morada ama
hits}

VV VV NV NN TT 7
Po pia ao N
WELL PFLEELEER:

vv vv oy yy ry vy vin =|

vv

van

nv

vn

cost heil in practico lighter in actual playing.

13. " Accented Triplets
BEE E RE e Er giro
et ei eg Y

5 _m

ee nn,
Piro e ale to en e

a
pet
a

Yon YoY oes Yon YY me vv var
bee ee ee TY

“|

CRT vvvv EE o y yory

28

AA RR
q

vovy Y o o o vory 7

yovy oy vo vv vv voy vy voy oO
| z to
vovy oy vovvy vovvy OUT vV vy voy 74

yeyy oy vovy yoy vy voy vy vory 4

MARRAS |
TRATAR hs
as ita pr

14. Accented Triplets

15

A IAE
DRE fév jet |
Y N AY ITY
bbe pee pe Se
SE HA
Ve ewe Y yyy A
aii a
a PORTE
pa A A

ir in a
oy [naa tae nao pS]
vow ow vow wvw pa von A
Ye te A OA PEER
à TEELPFLFELTER =
vow vy. vow ER yw yy 7
me ac bn
4 5
WW vw ov yw vw vy ry
beth beth bee ei
M im RE:
vow vw vw vy vow RTE Ran
fo he en Lo ee :
pe RE:
ww vw vw vw wiv van
np: D DOS De
oy vy RE a A
RE. FEITTELDELFELETACFLTFLEEL FE: nee |
vow ow vw ov vow vw fv ov wry 1
a, =

15. 6
REBOUND CONTROL (For the Two-beat Roll)

‘Thal age-old liche 4 chain ie only as strong as ite weakest Fink could be paraphrased thus: The
ta secondary beat.

rummerk vol is only as much

Wis impossible to produce aerfot”roll on a drum because, wile the initial rll-beat of either
stick is struck by hand (or finger) action, the following (ho secondary) boat must be produced by ro-
bounding by bounee

‘The bouncing of drumstck maybe compared with that of a rubber ball. In bouncing the ball to
the floor. its initial impact produces a blow of given power, but the rebounds which follow strike
vito correspondingly les power, one by one, util Ib ball finally comes to est

‘Tho same principle applies to the rebounding of he sticks. Indeed, with either sticks or bal
wo could make rebounds (one or more) as strong in power as th initial impact, Ue sticks would re.
ound to perfetion,the ball would bounce forever, and wo would have discovered the secret of per-
pelaal motion.

galarity in power between our inital

Hence we find there must ever bo a certain degree of ir
roll-beat and is rebound

‘The following routes in which rebounds often appear and are accented om Ae barro designed
Control of rebounds to the extent that our rolls will, at least to the ear, most

perfection”

En oo o o al
A AA

Sooo Se oo o o ab
poe]

VOW MG Wo VW YW
Mn SSS eS DT RE
M=ITTETE TETE A EE

vvyvy ooo yo MO ON yoyo vo y
ESS FO.
A CREER TETE)

NV Y YY YY Y Y VV VOVOVV VUVVVVUV Vy VV OV VO

vvvvvyvvy VUVVVVVY Vv vy vv vv

6 ae PES: Zr:
Slow even tempos fist striking bob rllbests by individual hand action

Paster speeds laser, now rebounding. ap bo capacity

16. 7

REBOUND CONTROL
DN AFA

a
(For the Two-beat Roll)

aaa,

[nun 4233 00833000 5397
Al POSEE

10]

4

12

“

15

oe.

oS.
iaa

vv voy vuyioy
jam 2 0-0 Mama!

vw yoy yy yy

bh eee Buunl

vv y

VV y

HRS

SEHE
eee terres

RN
FRERES.

VV vv vy
FD ees.

vy VV yy
Jamal eel

y
AN sn

AR DORA

vyvyyvvy y yyy yy yy
E HH eee EE EEE
pereetrrrerierrestttrrreceeeerrriees|

Oo SSeS 00337 SOR SR oo
pb] MM

oO SSeS oo ae FOS SR
ol

vv yoy yy yy yy yy vy yy
A

vv ov vv vv vv yy vv vy

lo ll f

a e] [E

VIV Y vv yyy Y vy

wy uv y
FETE

www YUV
Fess toe

BEPFIEFIEI

wWwvyy vy vyvvyy voy

wavy WWW

vw Y Y y

i =

Accent heavily in practico.

17. 8

REBOUND CONTROL (For the Two-beat Roll)

EE

Soa 1

A 15

| SEER Sa
; A
ee A a
Ey Sen
; i ne
ee No ER
: -» AA
a O | Biever Lt
See eee
: m E
Tu A. UE
March
: AA
£ , EEE
a sl À
EE
A [A ae AAA
a i a
ey ey yyy

|

vv vv vn wy vv vv vn vu

YY vv vv y

vu www Ve ve vv. VW VV VV vv

e IBA. AA
+ peer] y FW eee eens
© races ej othe: o FERS FF

18. REBOUND CONTROL (in 6)

1

o 0.0 ee!
[aaa aa aaa a a Fa a]

EE
ener sers

Soo.

A]

vyvvuvyy vv¥vvvv vv yyy

vvvvvv
Mer Sr EI Ben Ben

Pee eee ee
sl

VV VV VV OV VV VV vvv
SER

voy vv yy
E)

ES FFE
ok POROS

FE
ErErFe PSE

DD 3433.00 535300530,
FE, EPA ee Tras
E o oe

CÉEAECITES ERA IT I EEE Ger;
VV Y y vey

wav y

VV VV vv voy

Fe: =

RATE

19. $
_REBOUND CONTROL (1p%) |

bo mn

FRE 8

ee eS
poh

y y
Se SS.

ERRE

y Y
papa

Y
E E.

FE
ME ee ee ee ee

vv vy

y
ESF

EA
A eee eee

vv vy
SSS

y yyy
FREE

al
eee eee

je
No SS

(In %)
Vu y Y yyy Y
ı rnrn 2 0-8 Moo al
TEA AA PEER ESS PPE
yee y Y Y
boo eo ee oe e en
2 =
AE ae ee ,
oo oe Se oo

DEERE CPAP PSE EEE TEE

CFPRESCEEREFEE

RER a Ze
ET Ps E
A id dits Er:

vyvyvvy
Peco.

vvvv vy

3 eS

Errore eters

vvvvvVy

vy vvvvy

20. REBOUND CONTROL (In the Four-stroke Ruff)

+ Fl 5 5 5-5 .
en en 2
pa

3

mi

4

poa a RO o
ae en ss

E EH ee er
Fi 5 ee
8

pit mie mt

21. u REBOUND CONTROL-A (In Triplets and Dots)

2 mie y Y
y En]
J pore DEEE
ry ara! thin!
i fil +
y vv
or FEU af Pots}
pied til A
Y viv oy iy
ees ee ol ee
a IPELFPEFFLELTELTFLTEIE;
Y tt y yyy
See oe aaa AA
aba aba AR
sl
EE yoy yy vs Ve ve ve
554212. 2.5s553 mmmm
CEL EEE Lei eee eee
1

hhh ey
Bese pepe hmm
(SS Se oe

vy
aa sm asp e
ALL SE

,
Somo sema o la la tn
SS amem Seema

ä RSR

_ vv vv vv vv
mon en la

9 1a jus tom moe tp o 58 N

22. REBOUND CONTROL-B (In Triplets and Dots) a

po. thy tay

fs
aii vay tal

E = Bere Th
meo eu Nat int

; ee
Feier ces aa] a]
None per rrr RA
A Pi AAA
A See

. a as nn

PERS

à

Pose peor St, ohm

E AAA
ee abholen
F DAA
asma asa 3m

; BER:

em aman

pee RE

23. AN

TWO-BEAT ROLL versus THE BUZZ

‘THE TWO-BBAT ROLL isthe puro roll
‘of too Beals of either stick; the frst
est struck, the second best rebounded
(vounced).

A BRAT AND REDOUND OF EITHER STICK

‘THE BUZZ ROLL is tho roll
‘of more than two beats of
ter sick.

A BUZZ OF EITHER STICK

AMAA **

WHEREAS A SLIGHT DOWNWARD PRESSURE OF HANDS AND FINGERS as a stick

strikes its

A bat produces tho

dowaward pressure will give two, three or more rebounds

lo rebound of the TWO-BEAT ROLL, a farther

. produciog the BUZZ.

TWO-BEAT ROLL VERSUS THE BUZZ

Among drummers, manly bee fe racer, wer
nd tant face mt fly ben dario
jue gi apor atl in cy wat
‘hich the dene’ dui wee cone 10 oto
Dents or mari se
“hg ra de emp 3 sn re do
Tare al fee bey es ay Ct ace:
mc; ar er er na nme

adhe tum and La a
ore fl

THEN AND NOW

Trout inner ae nw deo in
om an eal lr Swain, nw eh
hea i bee he or

Sorte af a ee Peine allo
Mel Mgt ne D ml extn ul
So eden trodes vol. esas

ROLLS VERSUS SANDPAPER.
feof Grants sd nene hi as there
SEE pe ech ee date ts fr

(Reprinted by fermion rom the ethos TECHNIQUE OF PERCUSSION in Intestino Maser)

ure we ral comes Gott ramet
‘pre e's epee e,
dom pled ih gh td more i +
Rae ft og no he testing of

AVOID THE BUZZ" 1S FOR
"THe HECINNER,

[Epes ond pre He beta pet

‘ga ti a a
is ae, wre SOUNDSCOPE OF
TIMP KOU, THE DRUMMERS LONG TONE

24. 2
TWO-BEAT ROLL versus THE BUZZ
In te folowing exercises the extention of on rol is contrasted with that of tbe her Th object
is o develop sensitivity of hands and fingers and through
in rolling

fiest at unvarying tempo, with completely relaxed muscular action,
ment bore, WITH. HANDS MOVING AT THE SAME RATE OF
isndeney to rash the buzzes)

Slow practico is india
Timing in the most impor
SPEED IN ONE ROLL AS IN THE OTHER. (Avoid tho nat

Noto well, that in slow tempos tho Busses wil suffer, sounding crudo and rage spaces ia
between. However when in later practice, speed ls ncronsd to normal playing tempos, the buzzes in
the same exercises will*smaoth up"to sound as normal rolls should.

Dre filet ies
Jamal
AAA,
Re
EA mA AAA
EE re
FFE
ARR ne 3
“ane SE D Se
pi A

Repost each exociso 20 or more timos

25. TWO-BEAT ROLL versus THE BUZZ

rare

ENT h,

4 wir
FEES

sr

a AAA»,

FACE Fi
> RU

FAA a,

A ae

EN

26. ee ty

r 1

Dd

28. TWO-BEAT ROLL versus THE BUZZ

FA

ma

ma
PDP

mom.

mo

Dir ¿leido
à u

: EN

A A E:
Pe ae em AA

29. ” TWO-BEAT ROLL versus THE BUZZ

13 rm FEN FL FE
ide
Ena Fra FDA
Porn er e
FH FOR mm
copie pe et:
PL E IN
i Det abs
fo ma 0 EE
” AAA
mmm EA MR ma AA
Mi PIPPI PERLE A TEE II

30. TWO-BEAT ROLL versus THE BUZZ

31. ACCENTS IN PROGRESSIVE ROLLS (Right Lead)

ooo ES CFE

2
ooo so
a
ooo os ba tm ww
RER
4

DARAS

y Y y Y

E
ooo ee ses be en be ke
> EE.

ESC Se E

Y Y Y y

eE

Y

Slow speeds frst, ste
speeds Tater, now rebound

g secondary roll beats

j both rll-boats (bo doubled sixteenth) by individual hand action, Paster

y to capacity,

32. ACCENTS IN PROGRESSIVE ROLLS (Left Lead)

a,

cmo props ss

AEREA =
v y y Y
is E tb
AAA

[oc lc o BeR

[cc ES Ml o Eee

Y Y y Y
EA

eg
ooo cease À
Pre
ES EU ee 1.
ss
Mo o o Meno o bee
à AAA

y y y y
Se Se SEE

oe
Bein

u v y y

‘Twente

Do not bre

33. “ ACCENTS IN FIVE-STROKE ROLLS

wey Y VA
he a mias
ERERELEELTEEEN: 14
A yy Ye Vy ay,
- , oe a
N „ee: Te
yo yy PRE EE nr
be tot eet E e
AA a eres
al 1 ze
ee yey v
pa rh aoe, oe.
PRE E
yy We eV i E
MEE | El
Y Y Y
BEC,
se
. se
Y Ye Er
milan ime Deere
2 3 AAA
YN Y yoy yoy
o_o tt ee
ál 20 idées |
yyy Vy ey
AB,
Y vv vv u
EHRE Ia did
Yee ES y
Ap or 3
AO CS y
CS ER

Stow speeds first string both roles (the dbled sisters) by inticidual a. Faster

pende laters now reboundiag ocondary evl-beals.

34. ACCENTS IN FIVE-STROKE ROLLS a

A yoy yyy
a [a
voy y

da EEE,

Y
ti ld
PRA LE
ois ip oo i D Ph
linia RASE. E

vvv
Fo eo
[eee eww rere

35. 30

yy

1

a

ACCENTS IN SEVEN-STROKE ROLLS

NY
rm sss

IERELEELEIZEER

Ve yoy oy YY Y
DARRO LEE FER
al IELDELLPEFFLELE WM CELA ILERS

vow Y
see
Prrrrere rest
#5

voy yoy yy vey vv vv
FILTER
4 »E BE
Vo v vv u vu v vv
voy uv v Mev oY yyy
. Ea «A Ba
Vevey PS yoy vv Y
3 of Z
vv vy y Vw Vey
Dist
F al N,
Vevey A vo oY vey yyy
: e AA

vv

AAA

voy

ae Y Y

y y

y

a Ets ra te
4 AA RE
D ey vey yy

Fr oo a.
‘a A, r

36. a7

ACCENTS IN SEVEN-STROKE ROLLS

+ | + AR, hh bee MEAR
2 Rp

tn eee Mint Dont
FRE A ad]

sf

voy ov y voy yyy
+ me, Seen beet
fe zi
vv ov voy
roe ee coe
voy oy voy oy Vu My v
a eee eee
#4 z M E
VON OV voy y
| EHEM 22m
oof 4
VON ON vv iy VV yyy
E VAS Es
IEEE DDEC sE PELLE ELLE = eg
vv U vivo vu vv vv
ee O
fe zZ ui RS.
vovey voy y vVYvv oy ov iy
ml
ME He fe
CN vv v
AA ES
ae EE
Voy y YY vy
E, AAA
a a y] ARA

37. » ACCENTS IN FIVES AND SEVENS

ey yoy oy ov yy
A AAA |,

vv Y yoy oy RE PE EL ZO
SOB aD oa
BERPEFFILFTE:

vv VV yoy vy vv v
Feen ma
ee,
YAM voy vv vv vv
FRA San
4Æ E eA] fe
UV vv vv
vo vey vv vv yy yyy oy
os eo oe
sl pede ewes] FN CCC E LEE CE Z
vvv Y o vv
HE Po re en to tre ee
7 2] sof £
VMN, CN OV N VV y
E y COBRE oe
a 20] paid)

Homo hiso mn mt
AA ET
ON UE THEER UWE

ey y yyy
FE; hah, en,
ener AE AR M ey

DES. ETS
MAA AAA PRES.

38. sw

ACCENTS IN FIVES AND SEVENS

Y Y Y YY
rm aa
Were

vy vy iy

yyy wy y
CPE

VON MOV

#2

vy vy

vy y

vy

AGRE, Ta
AAA NA inal
IRA aia,

yovyvyy ETES
Ao rR. TS
pi
Y A vv vv v
ï COBRA oo ES En
a as =
YY vy yy vy y
e

UT A ET TETE RTE

A daa AN ente ver
eee Y vowy yyy

RE

“Auf

TT

Y vv YY vy v

Y yv vv y

Y VU YY Y

39. ROLLING IN MIXED RHYTHM (4)
: 2 A

ES EEE E
en P 5

RE
Dr eee ae

EA DAD AAA =

DIH EA _ SL

oS eS

EES FE DARA ty

Fhe

40. ROLLING IN MIXED RHYTHM(A)
PEE EE =
PR
EA N
“ =
oe = oft
55
EEE
E = Mu
1 =
B 5 2 B
PE £ =
A A
18) Te
A fi

=
TRE AT RERURCRER DT
A
LEP

‘The Twosbeatoot

bo Buns th prefered ral Bore.

41. “ ROLLING IN MIXED RHYTHM (B)

0 ES Mu! rh
Fr

AE

Ei ean Mu) HE

ERAS A
AE A

E LS er

2 A i
> pr

42. ROLLING IN MIXED RHYTHM (B) *

SOS O AAA PA
ER RE

43. AAA

ROLLING IN MIXED RHYTHM (C)
Pi 5 2 a

Somos

as
a EEE pay

A a Bap ty
4

2 A

2 A

44. ROLLING IN MIXED RHYTHM(C)

A B 3

FR Os
oS

ere
RERLR LR CR EREREL R 4

hen à

AN
AAA 1

FRE N
== = == |

AA AA

45. ROLLING IN MIXED RHYTHM(D)

5 2

a rn N
rer Sea 5 0
= à 2 Da,

E DAA

y = Er
Behr eee |

s

FF

.

A
roo

3

“ RER.
RENE

DAR
# Fags

46. ROLLING IN MIXED RHYTHM (D)