The "Stoned"

Hand-drum

By
Benjamin Franklin Jacoby
benj@mrk-inc.com
(Copyright March, 2003)
Rev. 1

A labor of love!
The following book has been a labor of love. Its purpose is to help hand-drummers
improve their playing skills (chops) rather than to make money by sales of this book.
Therefore, fair use is permitted for interested persons who may download a free copy for
student or research uses. However, commercial use requires permission of author.
Commercial applications ARE encouraged! The author can be contacted at the email
address listed on the cover page or at the snail-mail address below.
While the purpose of this little work was not as a money making project, this book
can be considered as "shareware". If you find this work to be of some value, a donation of
a few bucks stuffed in an envelope and mailed to :
B. Jacoby
88 W. Frankfort St.
Columbus OH, 43206
will insure my continued interest in these projects and will help provide motivation to
continue the series. A number of projects have already been started. I hope that not only
student hand-drummers, but also teachers and players at all levels might find something
of value within this little book.
Additional copies of this book in the form of a .pdf file can be downloaded from my socalled website: http://www.drbengenius.com/. To download simply click on the
appropriate topic found under the titles on the first page and proceed as usual.
Enjoy!

Contents
A labor of Love

Page 2

Contents

Page 3

Stone's "Stick Control" Applied to Hand-Drums

Page 4

Preface

Page 4

Why These Exercises Work

Page 4

Tone Separation

Page 4

How to Practice These Exercises

Page 5

Tablature Box Notation Key

Page 7

Exercises in 4/4 Time

Page 8

Exercises in 6/8 Time

Page 13

Exercises in "other sounds"

Page 18

The Muff Tone

Page 18

The Touch Note

Page 19

"Bent" Tones

Page 19

Rim Shots

Page 20

Flams

Page 21

"Heel-Toe" Exercises in 4/4 Time for the Conga Drum

Page 22

"Heel-Toe" Exercises in 6/8 Time for the Conga Drum

Page 27

Blank "Tab" Page in 4/4 Time

Page 30

Blank "Tab" Page in 6/8 Time

Page 31

Stone's "Stick Control " applied to Hand - Drums

Preface
Chances are that if you are just starting on conga drums you may have already
read my companion book "A Newbie's Introduction to Conga Drums". While that book
was designed for rank beginners, this book is intended for the player who has mastered
the basics, but now wishes to build techniques and mastery of the instrument.
In that first book we strongly recommended obtaining a copy of the book "Stick
1
Control" by George Lawrence Stone and adapting those exercises to the conga drums.
Here we do that work for you and adapt the Stone-like exercises to any hand-drums using
bass, open tone and slap as the primary sounds. This includes common hand-drums
such as congas, djembes and ashikos. However, we have also included an additional
"bonus" exercise section using "heel-toe" just for conga players. Typically, "heel-toe"
technique is not used with other hand-drums.

Why These Exercises Work

The idea behind these exercises is quite old, but nevertheless very effective. This
idea found in the classic piano exercises of Hanon as well as in the above mentioned
snare drum book by Stone revolves around separating musical knowledge from pure
muscle motions. Musical knowledge is not covered here. You must obtain that in other
ways. The whole purpose of these exercises is to simply build "muscle memory" and
force new nervous pathways in your brain! And we are sorry to relate that the only way
we know to do this is constant repetition. Yes these patterns are going to be boring! If you
want to be amused we suggest you look elsewhere! But we also suggest that "elsewhere"
is not as likely to give you the killer hand-drum chops you seek!
While drummers often ask how one develops limb independence or how one
makes the left hand (weak hand) as strong and fast as the right (strong) hand, the answer
is not usually appreciated. Practice! How do you make any muscle strong? You go to the
gym and do horrible boring repetitive strokes that train and develop the muscle in
question! It's exactly the same for musicians be they piano players or drummers.
The hand-drum exercises in this book have been inspired by the earlier works of
Hanon and Stone, but have been specifically designed to develop the techniques needed
by hand-drummers. They consist of various permutations of drum patterns using both
hands for the bass, open, and slap sounds.

Tone Separation
Hand-drums, unlike drums played with sticks, produce a number of different
sounds or "notes" depending upon how you strike the drumhead with your hands. We
1

"Stick Control for the Snare Drummer" by George Lawrence Stone; Copyright 1935, 1963 by George
B. Stone & Son, Inc.; P.O. Box 324, Randolph, MA 02368-2437
4

assume that the student already knows how to produce these basic sounds correctly.
However, when playing rhythmic patterns each of these different sounds, or notes, must
be clear and distinct. The ability to do this is called "Tone Separation". If the student is
sloppy and notes like slaps and open tones start to sound alike, you will actually be
playing a different rhythm than the correct one! Clear distinct notes are part of each
rhythmic pattern! If you play a given rhythm and then through lack of tone separation you
exchange the slaps and open notes in your sound, you will then be playing some other
rhythmic pattern!
Thus as you play these exercises care must be taken to keep each hand-sound
clear and distinct. Slaps must not sound like opens and bass notes must not muffle a
following open tone or slap. Tone separation is one key to what makes a master
drummer! Never play these exercises so rapidly that you begin to loose tone separation.
This point will occur at different speeds for different exercises. Play slowly and clearly
and speed will come with time.

How to practice these exercises

When you start to play a new instrument, at first you tend to be rather spastic and
have limited control over your hands/feet/fingers or whatever is required to play the
instrument. The reason is that you have never done this before and the nervous
pathways in your brain needed to effect this control have not formed yet so every motion
is forced. But the human brain is a wondrous organ. It is also a lazy organ. It doesn't like
to think if it doesn't have to. Therefore, if a given operation is repeated often enough, the
brain grows new pathways that essentially wire it for performing those operations without
thinking. THIS is what practicing a musical instrument is all about! Studies with dancers
have shown that it takes about 180 repetitions for the brain to "hardwire" any given set of
moves. This gives you an indication of the amount of work necessary to master this little
book!
These exercises use these facts to hone your technical skills. The way they are
used is to obtain a metronome, set the metronome at a slow speed and practice the
exercises by repeating each one at least 20 times before going on to the next one. As you
repeat these exercises increase the tempo of the metronome, but it is absolutely essential
that you not try to practice the exercises faster than a tempo at which they can be done
perfectly! Speed comes automatically with practice. If you try to force speed and play
sloppily, you will be training your hands to play the wrong things! Always keep your
metronome at a speed at which you can play the patterns perfectly. Also remember that
20 minutes of practice every day is far more effective than 8 hours of practice one day
and doing nothing for the rest of the week.
Studies have also shown that after a practice session, the brain continues to think
about the rhythms and continue perfecting pathways for up to 5 hours after you quit! This
explains why daily short practice sessions are much more effective than one weekly
monster session. Furthermore if you practice too many different rhythms at one sitting
rather than concentrating on simply repeating a single pattern or two over and over, your
brain can become confused and you loose a great deal of the effect of the "afterglow".
The bottom line, therefore is to practice daily with short sessions and stick to emphasizing
5

one or two new patterns in each session.

The use of a metronome is essential as it provides a reference point to tell the
student where the "1" is. Without the "1" many of these exercises are identical hand
motions whether they start on the left hand or right hand. Giving a slight accent to the "1"
or to each metronome beat will help ingrain this relationship of hands to the "1". Be
aware of the "1".
As you start to develop some drum chops, and your speed and strength increase,
you can also extend the time you practice the patterns. Long periods at high (but perfect!)
speeds are great for developing the stamina you need to play hand-drums. Remember to
relax and drop those shoulders! You need to relax your mind as well, which is why the
boring repetitive nature of these exercises is good. When you can play these patterns
perfectly at high speed for 5 minutes (a long time in drumming!) without faltering or
straining, you will be well on the way to master drummer as far as your technique goes.
To really be a master drummer, of course also requires the musical knowledge that these
exercises cannot and are not intended to give you.
This book is divided into two parts consisting of 4/4 patterns (based on 4 beats to
the measure) and 6/8 patterns based on 3 or 6 beats to the measure. Observe that in all
patterns with an odd number of beats (such as 3) your hands reverse after each
measure. Hence the first pattern may start on your right hand, but when you repeat the
rhythm in the next measure it will start with the left hand. It takes some practice to get
used to this. All note values in these patterns are equal. The patterns are all even strokes
with no notes ever being omitted. Tempo is always relative to the metronome setting you
choose. The patterns start with simple alternating hand stokes and develop into more
complex moves as the numbers get higher. You do not have to practice the patterns in
any particular order, although the lower numbers may be easier for beginners than the
more complex patterns. In any case, if a given pattern is too complex or difficult to
perform perfectly, then slow down the metronome until you can do it smoothly and
correctly.
A simple "tablature" box notation is used for the exercise patterns so that the
student is not required to be able to read normal music notation in order to use this book.
Each "box" represents a sixteenth note of standard music notation and the letter inside
the box tells which hand stroke should be used to play the given note. B means a bass
note, O means and open tone, and S means a slap sound should be played for that box.
For playing patterns at a slower tempo it can help if you assign a click to every other
stroke or even to each stroke. We have included blank 4/4 and 6/8 tablature pages in the
back of this book that will allow you to add your own rhythms or patterns.
We noted above that patterns with odd numbers of strokes are naturally selfreversing. This means that first the pattern starts with one hand and the next time it starts
with the other hand. But for patterns which do not self-reverse we have printed out two
versions one starting with your strong hand and the other starting with your weak hand.
Some or the patterns lead with the right hand in one part and lead with the left in another
portion. These patterns are not printed reversed as both leads are used within the
6

exercise. The great hand-drumming goal is to be able to play any pattern starting with
either hand. Another great goal is to have perfect tone separation. Bass, open tones, and
slaps should be clearly distinguishable and should not sound alike. Furthermore, a bass
note, an open note, or a slap note should sound the same with either hand. A person
listening to you with their eyes closed should not be able to tell which hand you used to
play a given note! Practice these things and good luck!

Tablature Box Notation Key

B = Bass Note
P = Palm Note (Conga Bass Note plus "fingers" added)
O = Open Tone
o = Bent Tone (Open tone with pitch raised by elbow)
M = Muff Note (Open tone muffled by keeping fingers pressed on drumhead after strike)
C = "Cah" on a Djembe (Lion's Claw)
S = Closed Conga Slap Note or Open Djembe Slap Note
$ = Muted Slap (Open or closed slap with other hand on drumhead)
p = Conga "Pop"
K = Bass Flam
L = Slap Flam
N = Tone Flam
R = Rim Shot
H = "Heel" of a conga heel-toe-move
T = "Toe" of a heel-toe move or a "Touch" when the note is alone
(Some people use "F" for "T", calling our "Touch" a "Fingers" stroke)

X = Stick on the side of the drum shell

G = Ghost Note
Some box notations make a distinction between a conga "touch" [T] where the
fingers do not force the heel of the hand up off the drum and a "fingers" which we have
called "toe" [T] where the heel of the hand is forced up. We have simply lumped these
together allowing the player to determine the height of the heel in any given move.
Touch is also a djembe note, though in that case it is usually not combined with heel-toe
moves. Also, when more emphasis is desired for a given conga "touch" [T] note, a "palm"
note can be used. Normally we indicate this as [P]. The player must determine the
amount of "fingers" sound to incorporate into the given note in context. Some of the
sounds in the table are not used in these exercises. Usually heel-toe as well as the
"palm" sounds are only used for conga playing and are typically not used with other handdrums. Thus we have only used these sounds in the Heel-toe section of this book which
is specifically designed for conga players.
Some of the sounds, such as muff and touch are used on all hand-drums, though
performed differently on the various drums. Some sounds like a "Cah" are specific to the
dejmbe. Except for the "other sounds" section and the heel-toe conga section, we have
not employed any of these more advanced sounds in the exercises, and use only Bass,
Tone and Open. However, the "other sounds" section has included a few exercises to
practice these less common hand-drum notes, but these few exercises should not be
considered definitive practice on these sounds.
7

The "Stoned" Hand-Drum

^

Exercises in 4/4 time

^

(metronome clicks)

1.

B B B B B B
R L R L R L

B
R

B
L

B
R

B
L

B
R

B
L

B
R

B
L

B
R

B
L

2.

B B B B B
L R L R L

B
R

B
L

B
R

B
L

B
R

B
L

B
R

B
L

B
R

B
L

B
R

3.

O O O O O O
R L R L R L

O
R

O
L

O
R

O
L

O
R

O
L

O
R

O
L

O
R

O
L

4.

O O O O O
L R L R L

O
R

O
L

O
R

O
L

O
R

O
L

O
R

O
L

O
R

O
L

O
R

5.

S S S S S S
R L R L R L

S
R

S
L

S
R

S
L

S
R

S
L

S
R

S
L

S
R

S
L

6.

S S S S S
L R L R L

S
R

S
L

S
R

S
L

S
R

S
L

S
R

S
L

S
R

S
L

S
R

7.

B B O O B B
R L R L R L

O
R

O
L

B
R

B
L

O
R

O
L

B
R

B
L

O
R

O
L

8.

B B O O B
L R L R L

B
R

O
L

O
R

B
L

B
R

O
L

O
R

B
L

B
R

O
L

O
R

9.

O O B B O O
R L R L R L

B
R

B
L

O
R

O
L

B
R

B
L

O
R

O
L

B
R

B
L

10.

O O B B O
L R L R L

O
R

B
L

B
R

O
L

O
R

B
L

B
R

O
L

O
R

B
L

B
R

11.

B B S S B B
R L R L R L

S
R

S
L

B
R

B
L

S
R

S
L

B
R

B
L

S
R

S
L

12.

B B S S B
L R L R L

B
R

S
L

S
R

B
L

B
R

S
L

S
R

B
L

B
R

S
L

S
R

13.

S S B B S S
R L R L R L

B
R

B
L

S
R

S
L

B
R

B
L

S
R

S
L

B
R

B
L

14.

S S B B S
L R L R L

B
L

B
R

S
L

S
R

B
L

B
R

S
L

S
R

B
L

B
R

S
R

15.

S S O O S S
R L R L R L

O
R

O
L

S
R

S
L

16.

S S O O S S O
L R L R L R L

O
R

S
L

S O O S S O O
R L R L R L

17.

O O S S O O
R L R L R L

S
R

S
L

O
R

O
L

S
R

S
L

O
R

O
L

S
R

S
L

18.

O O S S O
L R L R L

O
R

S
L

S
R

O
L

O
R

S
L

S
R

O
L

O
R

S
L

S
R

19.

B B O O S S
R L R L R L

O
R

O
L

B
R

B
L

O
R

O
L

S
R

S
L

O
R

O
L

20.

B B O O
L R L R

S
L

O
L

O
R

B
L

B
R

O
L

O
R

S
L

S O O
R L R

21.

B
R

B
R

O
L

O
L

S S O O
R R L L

B B O
R R L

O
L

S
R

S
R

O O
L L

B
L

O
R

O
R

S
L

S
R

O
R

O
L

S
R

S
L

O
R

O
L

22.

B
L

S
L

O
R

O
R

B
L

B
L

O
R

O S
R L

S
L

O O
R R

23.

B B O O S S
R L R L R L

B
R

B
L

B
R

B
L

O
R

O
L

S
R

S
L

B
R

24.

B B O O
L R L R

S
L

B
L

B
R

B
L

B
R

O
L

O
R

S
L

S B B
R L R

25.

B
R

B
R

O
L

O
L

S S B B
R R L L

B B O
R R L

O
L

S
R

S
R

B B
L L

B
L

O
R

O
R

S
L

S
R

B
L

26.

B
L

S
L

B
R

B
R

B
L

B
L

O
R

O S
R L

S
L

B B
R R

27.

S S O O B B
R L R L R L

B
R

B
L

S
R

S
L

O
R

O
L

B
R

B
L

B
R

28.

S S O O
L R L R

B
L

B
L

B
R

B
L

B
R

O
L

O
R

B
L

B B B
R L R

29.

S
R

B B B B
R R L L

S S O
R R L

O
L

B
R

B
R

S
R

O
L

O
L

B
R

B
L

B B
L L

30.

S
L

S
L

O
R

O
R

B
L

B
L

B
R

B
R

S
L

S
L

O
R

O B
R L

B
L

B B
R R

31.

S S O O B B
R L R L R L

S
R

S
L

S
R

S
L

O
R

O
L

B
R

B
L

S
R

32.

S S O O
L R L R

B
L

S
L

S
R

S
L

S
R

O
L

O
R

B
L

B S S
R L R

33.

S
R

S
R

O
L

O
L

B B S S
R R L L

S S O
R R L

O
L

B
R

B
R

S S
L L

34.

S
L

S
L

O
R

O
R

B
L

B
L

S
L

S
L

O
R

O B
R L

B
L

S S
R R

35.

B
R

B O O
L R R

B
L

B O O B
R L L R

B
L

O O B
R R L

B O O
R L L

36.

O
R

O B B
L R R

O
L

O B B O
R L L R

O
L

B B O
R R L

O B B
R L L

37.

B
R

B S S
L R R

B
L

B S S B
R L L R

B
L

S S B
R R L

B S S
R L L

38.

S
R

S B B
L R R

S
L

S B B S
R L L R

S
L

B B S
R R L

S B B
R L L

39.

O
R

O S S
L R R

O
L

O S S O
R L L R

O
L

S S O
R R L

O S S
R L L

40.

S
R

S O O
L R R

S
L

S O O S
R L L R

S
L

O O S
R R L

S O O
R L L
S
L

B
R

S
R

B S O
L R L

S
R

41.

B S O O
R L R R

O
L

B
R

S
L

O
R

42.

B S O O B S O O
R L R R L R L L

B
R

S
L

O O B
R R L

S O O
R L L

43.

O
R

O
R

S
R

S
R

S
L

S O O
L L L

O
R

O
R

S S S
R R L

S
L

O
L

O
L

44.

B
R

O S
L L

O
L

B
R

O
L

B
R

O
L

S
L

O
L

S
L

O
L

S
L

O
L

10

O
L

O
L

B
R

B
R

O
R

S
L

O
L

45.

B O S O
L R R R

B
L

O
R

S
R

46.

B
R

O
R

S
R

O
R

B
L

O S O
L L L

B O S O B O
R R R R L L

S O
L L

47.

S
R

S
R

O
R

B
R

S
L

S O B
L L L

S S O B S S
R R R R L L

O B
L L

48.

S
R

O
R

B
R

O
R

S
L

O B O
L L L

S O B O S O
R R R R L L

B O
L L

49.

O
R

B
R

S
R

S
R

O
L

B S S
L L L

O B S S O B
R R R R L L

S S
L L

50.

O O
L L

S
L

S O O
L R R

O
L

51.

B
R

O
L

O
L

B
R

B
L

O O B
R R L

B O
R L

52.

O
R

S
L

S
L

O
R

O
L

S S O
R R L

53.

S
R

O
L

O
L

S
R

S
L

O O S
R R L

54.

O O B
R R L

B O O
R L L

B
R

B
L

55.

O O S
R R L

S O O
R L L

S
R

56.

S S
L L

B
R

B
L

S
R

S
R

57.

S
R

S
R

O
R

B
L

O O
L L

58.

S S
L L

O
L

59.

O O B
R R L

S
R

O
R

S
L

O
R

O
R

S
R

O
L

B
R

B
L

O
R

O B
R L

O S
R L

S
L

O
R

O
L

S
R

S O
R L

S O
R L

O
L

S
R

S
L

O
R

O S
R L

O
R

O B
R L

B
R

O
L

O
L

B
R

B
L

S
L

O
R

O S
R L

S
R

O
L

O
L

S
R

S
L

B
L

B
R

S
L

S B B S S B
L R L R R L

B
R

S
R

B
R

B
R

O
L

S
R

S
L

B O O S
R R R L

B B O O O S S S
L L R R R L L L

S
R

S
R

O B B
R L R

S B O
R L R

S
R

B O S O B O S O
L R R R L R R R

11

O S
L L

O
L

S
R

O
L

S
R

S
R

S
R

O O O S S
L R L R L

60.

O O B S S B O O
L L R L L R L L

61.

B O O
R L L

O
R

O O O S S
R L R L R
B
R

O B
L R

S
L

62.

B O O B S S O
L R R L R R L

O O S O O B
R R L R R L

O B
R L

S
R

63.

B S O O O O
R L R R L L

S
L

S S
L R

S O O B S O O
R R R L R L L

64.

B B O
R R L

O S S
L R L

O
R

O
R

O
L

65.

B B
L L

O S
R L

S O
R L

O O
L R

66.

S S S S O
R R R R L

O S
L R

S
R

67.

O O O O O O O O O O O O O
R L R R L R L L R L R R L

O O O
R L R

68.

S S S S S S S S S S S S S
R L R R L R L L R L R R L

S S S
R L R

69.

B B B B B B B B B B B B B
R L R R L R L L R L R R L

B B B
R L R

70.

B B O O B B S S B B O O B
R L R R L R L L R L R R L

B S S
R L R

71.

B B S S B B O O B B S S B
R L R R L R L L R L R R L

B O O
R L R

72.

B O S S B O S S B O S S B
R L R R L R L L R L R R L

O S S
R L R

O
R

B S S
R L L

B B S
R L L

O O S O O
L L R L L

O
L

S S
L L

S
R

O S S S
R R R L

B B
L R

S
R

O
L

S
R

S O O
R R R
S O
L L

O
L

O
L

O
L

S
R

73.

74.

12

The "Stoned" Hand-Drum

Exercises in 6/8 time
(Exercises 1-27 represent all permutations of triplets using B, O, S)
(Metronome Clicks)

1.

^
^
^
B B B B B B B
R L R L R L R

B
L

^
B B
R L

2.

O O O O O O O
L R L R L R L

O
R

O
L

O O O
R L R

3.

S S S S S S
R L R L R L

S
R

S
L

S
R

S
L

4.

B O O B O O B
L R L R L R L

O
R

O
L

B O O
R L R

5.

S O O S O O
R L R L R L

S
R

O
L

O
R

S
L

6.

B S S B S S B
L R L R L R L

S
R

S
L

B S S
R L R

7.

S B B S B B
R L R L R L

S
R

B
L

B
R

S
L

8.

O S S O S S O
L R L R L R L

S
R

S
L

O S S
R L R

9.

O O B O O B
R L R L R L

O
R

O
L

B
R

O
L

10.

O O S O O S O
L R L R L R L

O
R

S
L

O O S
R L R

11.

O B B O B B
R L R L R L

O
R

B
L

B
R

O
L

12.

B B O B B O B
L R L R L R L

B
R

O
L

B B O
R L R

13.

B B S B B S
R L R L R L

B
L

S
R

B
L

B
R

13

B
R

S
R

O
R

B
R

O
R

B
R

B
R

B
L

S
L

O
L

B
L

B
L

B
L

S
L

14.

S S O S S O S
L R L R L R L

S
R

O
L

S S O
R L R

15.

S S B S S B
R L R L R L

S
R

S
L

B
R

S
L

16.

B O B B O B B
L R L R L R L

O
R

B
L

B O B
R L R

17.

B O S B O S
R L R L R L

B
R

O
L

S
R

B
L

18.

B S B B S B B
L R L R L R L

S
R

B
L

B S B
R L R

19.

B S O B S O
R L R L R L

B
R

S
L

O
R

B
L

20.

O B O O B O O
L R L R L R L

B
R

O
L

O B O
R L R

21.

O B S O B S
R L R L R L

O
R

B
L

S
R

O
L

22.

O S B O S B O
L R L R L R L

S
R

B
L

O S B
R L R

23.

O S O O S O
R L R L R L

O
R

S
L

O
R

O
L

24.

S B O S B O S
L R L R L R L

B
R

O
L

S B O
R L R

25.

S B S S B S
R L R L R L

S
R

B
L

S
R

S
L

26.

S O B S O B S
L R L R L R L

O
R

B
L

S O B
R L R

27.

S O S S O S
R L R L R L

O
L

S
R

S
L

S
R

14

S
R

O
R

S
R

B
R

S
R

B
R

O
R

B
L

S
L

O
L

S
L

O
L

S
L

S
L

28.

B B B O O O S
L R L R L R L

S
R

S
L

O O O
R L R

29.

B B B O O O
R L R L R L

S
R

S
L

S
R

O
L

30.

B B B O O O B
L R L R L R L

B
R

B
L

S S S
R L R

31.

B B B O O O
R L R L R L

B
R

B
L

B
R

S
L

32.

S S S O O O S
L R L R L R L

S
R

S
L

B B B
R L R

33.

S S S O O O
R L R L R L

S
R

S
L

S
R

B
L

B
R

B
L

34.

B B S O O O B
L R L R L R L

B
R

S
L

O
R

O
L

O
R

35.

B B S O O O
R L R L R L

B
R

B
L

S
R

O
L

O
R

O
L

36.

B O O S O O B
L R L R L R L

O
R

O
L

S O O
R L R

37.

B O O S O O
R L R L R L

B
R

O
L

O
R

S
L

38.

B O O B S S B
L R L R L R L

O
R

O
L

B S S
R L R

39.

B O O B S S
R L R L R L

B
R

O
L

O
R

B
L

40.

B S B B O O B
L R L R L R L

S
R

B
L

B O O
R L R

41

B S B B O O
R L R L R L

B
R

S
L

B
R

B
L

42.

B B O O S S B
L R L R L R L

B
R

O
L

O S S
R L R

15

O
R

S
R

O
R

S
R

O
R

O
L

S
L

O
L

S
L

O
L

43.

B B O O S S
R L R L R L

44.

B B
L L

O O
R L

S S B
R R L

B
L

45.

B
R

O
L

S S
L L

B O
R L

O
R

46.

S S O O B B S
L R L R L R L

S
R

O
L

O B B
R L R

47.

S S O O B B
R L R L R L

S
R

S
L

O
R

O
L

48.

S S
L L

O O
R L

B B S
R R L

S
L

O
R

O B B
L R R

49.

S
R

O
L

B B
L L

S O
R L

O
R

50.

B O O O S O B
L R L R L R L

O
R

O
L

O S O
R L R

51.

B O O O S O
R L R L R L

B
R

O
L

O
R

O
L

52.

S O O O B O S
L R L R L R L

O
R

O
L

O B O
R L R

53.

S O O O B O
R L R L R L

S
R

O
L

O
R

O
L

54.

B S O S S S B
L R L R L R L

S
R

O
L

S S S
R L R

55.

B S O S S S
R L R L R L

B
R

S
L

O
R

S
L

56.

S S O S B S S
L R L R L R L

S
R

O
L

S B S
R L R

57.

S S O S B S
R L R L R L

S
L

O
R

S
L

B
R

S
R

O
R

O
R

B
R

B
L

O
R

O
L

O
R

O S S
L R R

B
R

S
R

S
R

16

S
R

S
L

B
R

B
L

S
R

B
R

S
R

B
R

S
L

S
L

B
L

B
L

O
L

O
L

S
L

S
L

58.

B B O B S B B
L R L R L R L

B
R

O
L

B S B
R L R

59.

B B O B S B
R L R L R L

B
R

B
L

O
R

B
L

60.

S B O B B B S
L R L R L R L

B
R

O
L

B B B
R L R

61.

S B O B B B
R L R L R L

S
R

B
L

O
R

B
L

62.

B B B O O O S
L R L R L R L

S
R

S
L

O O O B B B
R L R L R L

S
R

S
L

63.

B B B O O O
R L R L R L

S
R

S
L

S
R

O
L

B
R

S
L

S S
R L

64.

S S S O O O B
L R L R L R L

B
R

B
L

O O O S S S
R L R L R L

B
R

B
L

65.

S S S O O O
R L R L R L

B
R

B
L

B
R

O
L

66.

67.

68.

69.

17

S
R

B
R

O
R

B
L

B
L

O
L

O
R

O
L

B
R

S
R

B
L

S
R

B
R

S
L

S
R

B
L

B B
R L

The "Stoned" Hand-Drum

Exercises in "other sounds" in 4/4 time

The Muff Tone

The Muff tone is the usual open tone only the hand is pressed into the drumhead
to partially muffle the tone. Careful practice is needed to train the hands to lift the
opposite hand before striking the next muff tone. If the opposite hand is not lifted soon
enough it will completely muffle the stroke and your muff note will turn into a "touch".
Hence a rhythm Muff-Muff will begin to sound like Muff-Touch. It if very important to
develop proper tone separation so that Muff notes, Open notes, and Touch notes are
distinctly different and do not sound alike.
^

(metronome clicks)

1.

M M M M M M
R L R L R L

M
R

M
L

M
R

M
L

M
R

M
L

M
R

M
L

M
R

M
L

2.

M M M M M
L R L R L

M
L

M
R

M
L

M
R

M
L

M
R

M
L

M
R

M
L

M
R

M
L

M
R

3.

M
R

M
R

M
L

M M M M
L R R L

M
L

M
R

M M
R L

M
R

M
R

M M
L L

M
R

M M
R L

4.

M M
L L

M
L

M
R

M
R

M
L

M M M M
L R R L

M
L

M
R

M
R

5.

M M O O M M
R L R L R L

O
R

O
L

M
R

M
L

O
R

O
L

M
R

M
L

O
R

O
L

6.

M M O O M
L R L R L

O
L

O
R

M
L

M
R

O
L

O
R

M
L

M
R

O
L

O
R

7.

M M O
R R L

O M M O O
L R R L L

M
R

M O
R L

O
L

M
R

M O O
R L: L

M
R

9.

M M O O S S
R L R L R L

M
R

M
L

O
R

O
L

S
R

S
L

M
R

M
L

O
R

O
L

10.

B B M M S S
R L R L R L

O
R

O
L

B
R

B
L

M
R

M
L

S
R

S
L

O
R

O
L

11.

B B O O M M
R L R L R L

T
R

T
L

B
R

B
L

O
R

O
L

M
R

M
L

T
R

T
L

8.

18

The Touch Note

The "touch" tone is performed by simply bringing the finger tips (or tip on some
drums) down and touching the head. The finger(s) are held against the head rather than
bounced off so the note is more like a dull thud than a singing open note. With the
djembe, often just a single finger tip is used in the touch, while with congas the finger tips
are usually bunched together to perform a touch. In the exercises that follow care should
be taken to get the tone separation between the dull touches and the singing open notes.

1.

O T O T O T
R L R L R L

O
R

T
L

O
R

T
L

O
R

T
L

O
R

T
L

O
R

T
L

O
L

T
R

O
L

T
R

O
L

T
R

O
L

T
R

O
L

2.

O T O T O
L R L R L

3.

O O T T O O T
R L R R L R L

T
L

O
R

O
L

T T O
R R L

5.

O O T T O
L R L R L

O
R

T
L

T
R

O
L

O T T O O T T
R L R L R L R

4.

O
R

O
L

T
R

T
R

O
L

O
L

6.

T T T O T T T O
R R R L R R R L

T
R

T T O T T T O
R R L R R R L

7.

T T
L L

T
L

T T
L L

O
R

T
L

T
L

T
L

O
R

O
R

T
L

T
R

T
L

T
L

O
R

T T O
R R L

O
R

T
L

O T T
R L L

O T T
R L L

T
L

T
L

O
R

Bent Tones
Bent notes are simply open notes played with the elbow of the other arm pressing
into the drumhead to raise the pitch of the note. Here we use a lower case "o" to
designate the open note with the higher pitch. On conga drums the elbow is usually
placed just inside the drum rim, with other drums you may have to press closer to the
center of the head to get good results. Experiment with elbow placement on your drum to
find the best tone.

1.

O o O o O o O o
R R R R R R R R

O
R

O O o O o O o
R R R R R R R

2.

O o
L L

O
L

O
L

O
L

o O
L L

o
L

O o
L L

19

O o
L L

O
L

o O
L L

o
L

3.

B B O O o O B B
R L R R R R R L

B
R

B
L

O
R

O
R

o
R

O B B
R R L

4.

B B O
L R L

O
L

o
L

O
L

B
L

B
R

O
L

o O
L L

B
L

B
R

B
L

B O
R L

5.

S S O o
R L R R

S
R

S
L

O
R

o
R

S
R

S
L

O o
R R

S
R

S
L

O
R

o
R

6.

S S O
L R L

S S
L R

O
L

o
L

S
L

S
R

O
L

S
L

S O
R L

O
L

o
L

o
L

Rim Shots
Rim shots are high pitched notes obtained by striking the drum head with just
The finger tip or tips projecting over the rim of the drum. For those familiar with bongos. A
rim shot on a larger drum is very much the same as a bongo rim shot though the other
notes are not played with just fingers as are many bongo tones. As with all the special
notes in this section, care must be taken to generate complete tone separation so that the
special notes stand out from the usual bass, open tone, and slap notes. Practice slowly
and carefully!

1.

B R B O B R
R L R L R L

B
R

O
L

B
R

R
L

B
R

O
L

B
R

R
L

B
R

O
L

R
R

B
L

O
R

B
L

R
R

B
L

O
R

B
L

R
R

B
L

2.

B R B O B
L R L R L

3.

B O R O B O
R L R L R L

R
R

O
L

B
R

O
L

R
R

O
L

B
R

O
L

R
R

O
L

4.

B O R O B
L R L R L

O
R

R
L

O
R

B
L

O
R

R
L

O
R

B
L

O
R

R
L

O
R

5.

B B O O R R
R L R L R L

O
R

O
L

B
R

B
L

O
R

O
L

R
R

R
L

O
R

O
L
R
L

6.

O R
L L

O
L

R
L

O
L

R
L

O R
L L

O
L

R
L

O
L

R
L

O
L

R O
L L

7.

O R O R
R R R R

O
R

R
R

O
R

O
R

R
R

O
R

R
R

O
R

R O R
R R R

R
R

20

Flams
A "flam" in drumming means that one hits the drum with both hands at once.
Usually one hand is slightly delayed behind the other. It is the delayed hand that is on
the beat, the hand that arrives first is ahead of the beat so that the first hit is a grace note
slightly ahead of the main beat. The purpose of a flam is to "fatten" up the duration of a
given drum sound by spreading it over two hits. While any stroke can be turned into a
flam, usually in hand-drumming only Bass, Open tone and Slap Flams are common. One
wants to practice until the timing of the two hits can be precisely controlled at will. This
includes striking both hands exactly together to give increase loudness to a given note.
That stroke is called a "flat flam".
[K= Bass Flam; N = Open Flam; L = Slap Flam]
For Flams R or L denotes the hand striking first

1.

K N S O K N S O
R R R L R R R L

K
R

N
R

S O
R L

2.

B B N
L R L

N
L

B B
L R

N N
L L

B
R

B
L

N N B B N N
R R R L R R

3.

K K
R R

N
R

N
R

L L N N
R R R R

B
R

B O O S S O O
L R L R L R L

4.

K K
L L

N
L

N
L

L
L

L
L

N N
L L

B B O O S S O O
R L R L R L R L

5.

K K B B
R R R L

N
R

N
R

O O
R L

L
R

L S S S O S O
R R L R L R L

6.

K K
L L

N
L

N
L

O
L

O
R

L
L

L S
L L

7.

K K N N
R L R L

N N
R L

B
R

B
L

B
L

B
R

L L
R L

21

K
R

N
R

S
R

S S O S
R L R L

O O
R L

S
R

O
L

O
R

S O O
L R L

The "Stoned" Hand-Drum

"Heel-Toe" Exercises in 4/4 time for the Conga Drum
^

H
R

2.

3.

H H T T H H
R L R L R L

T
R

T
L

H H
R L

T
R

T
L

H
R

H
L

T
R

T
L

4.

H H T T H
L R L R L

H
R

T
L

T
R

H
L

H
R

T
L

T
R

H
L

H
R

T
L

T
R

5.

H T
L L

T
L

T
R

H
R

H
L

T T H H T
L R R L L

T
R

H
R

6.

H
R

H H T T H
L R R L L

H
R

T
R

H
L

H
R

T T H
R L L

7.

H T
L L

H
L

T H T
L R R

H
R

T
R

H
R

T
R

8.

H T
R R

H
R

T
R

9.

T H
L L

T T
R L

T
R

H
L

T H T H T
L R R L L

T H T H T
L R R L L

H
R

T
R

H
L

T
L

H
R

T H T
R L L

H H
R L

H
R

(metronome clicks)

H
R

T
R

T
L

1.

T H
R L

T H
R L

H T
L L

T
L

H
R

T
R

H
R

T
R

H
L

T H T
L L L

T H
L L

T
L

H
R

T
R

H T H
R R L

T
L

H
L

T
L

T
L

H T H T H T
L R R R R L

H
L

T
L

T
R

H
R

T
R

H
R

10.

T H
R R

T
R

H
R

H
R

T H T
R R L

H
L

T
L

H
L

11.

H T
L L

H
L

T T H T H H
L R R R R L

T H T
L L L

T
R

H
R

T
R

H
R

12.

H T
R R

H
R

T
R

13.

H T
L L

B
R

B H
R L

14.

H T B
R R L

H
L

T
L

T
L

H T
L L

H
L

T
R

H
L

H T
L L

H
L

H
R

T
R

H T T
R R L

H
L

T
L

H
L

T
L

B
R

B
R

H
L

T
L

B B H
R R L

T
L

B
R

B
R

B H T B
L R R L

B
L

H
R

T
R

B
L

22

B
L

H T B B
R R L L

15.

H T
L L

O
R

O H
R L

T
L

16.

H T O
R R L

O H T O
L R R L

O
L

17.

H T
L L

S
R

S H
R L

S H
R L

18.

H
R

T
R

S
L

S H T S S
L R R L L

19.

H T
L L

O
R

O
R

O
R

H
L

T
L

O O H
R R L

H
R

T
R

O
L

S
R

20.

H
R

T
R

O
L

21.

H T
L L

O
R

O
R

O
R

H T O O
R R L L
T
L

S
R

H
R

T S
R L

T
R

S S
L L

S
R

H
L

T
L

O H T S
L R R L

S
L

H T O O
R R L L

O
R

B
R

B
R

H
L

T
L

O O H T
R R L L

B
R

B
R

22.

H T O
R R L

O H T B
L R R L

B
L

H
R

T
R

O
L

O
L

H
R

T
R

B
L

B
L

23.

H
L

O
R

O H
R L

T
L

B
R

O H
R L

T
L

B
R

O
R

24.

H T B
R R L

O H T B
L R R L

O
L

H
R

T
R

B
L

O
L

H
R

T
R

B
L

O
L

25.

H
L

B
R

B H
R L

T
L

O
R

B H
R L

T
L

O
R

B
R

26.

H T O
R R L

B H T O
L R R L

B
L

H
R

T
R

O
L

B
L

H
R

T
R

O
L

B
L

27.

H T
L L

O
R

S
R

O
R

H
L

T
L

S O H
R R L

T
L

S
R

O
R

28.

H T S
R R L

O H T S
L R R L

O
L

H
R

T
R

S
L

O H
L R

T
R

S
L

O
L

29.

H
L

S
R

S H
R L

T
L

O
R

S H
R L

T
L

O
R

S
R

T
L

T
L

T
L

B
R

O
R

S
R

O
R

H
L

H
L

H
L

H
L

H
L

T
L

T
L

T
L

T
L

T
L

T
L

S
R

O
L

T
L

T S S H
L R R L

H
L

T
L

O
R

B
R

O
R

O
R

23

S
L

H
R

O O H T
R R L L
H
R

T
R

S
R

S
R

S
R

S S
L L

30.

H
R

T
R

O
L

S
L

H
R

T O
R L

S
L

H
R

T O S
R L L

31.

H T
L L

B
R

S
R

H
L

T
L

B
R

S
R

H
L

T
L

B S H
R R L

T
L

B
R

S
R

32.

H T B
R R L

S H T B
L R R L

S
L

H
R

T
R

B
L

S H
L R

T
R

B
L

S
L

33.

H T
L L

H
L

O
R

H T
L L

H
L

O
R

H
L

T H
L L

O
R

H
L

T
L

H
L

O
R

34.

H
R

T
R

H
R

O
L

H
R

T
R

H
R

O
L

H
R

T
R

H
R

O
L

H
R

T
R

H
R

O
L

35.

H
L

O
R

H
L

O
R

H
L

O
R

H
L

O
R

H
L

O
R

H
L

O
R

H
L

O
R

H O
L R

36.

H
R

O
L

H
R

O
L

H
R

O
L

H
R

O
L

H
R

O
L

H O
R L

H
R

O H O
L R L

37.

H
L

T
L

S
R

S
R

T
L

H
L

B
R

B H
R L

T
L

S
R

S T
R L

H
L

B
R

S
R

38.

H T S
R R L

S T H B
L R R L

B
L

H
R

T
R

B
L

O
L

H
R

B
L

O
L

39.

H T
L L

S
R

T
L

H
L

T
L

S
R

T
L

H
L

T S T H
L R L L

T S
L R

T
L

40.

H
R

T
R

S
L

T
R

H
R

T
R

S
L

T
R

H
R

T
R

S
L

T
R

H
R

T S
R L

T
R

41.

H T
L L

S
R

T
L

H
L

T
L

O
R

O
R

H
L

T
L

S
R

T
L

H
L

T O O
L R R

42.

H
R

T
R

S
L

T
R

H
R

T
R

O
L

O H
L R

T
R

S
L

T
R

H
R

T
R

O
L

O
L

43.

H T
L L

S
R

T
L

H T
L L

B
R

O H
R L

T
L

S
R

T
L

H
L

T
L

B
R

O
R

44.

H
R

S
L

T
R

H T B
R R L

H T
R R

S
L

T
R

H T
R R

T
R

O
L

24

H
R

T
R

T O S
R L L

B O
L L

45.

H T
L L

S
R

T
L

B O
L R

T
L

S
R

T
L

B
L

46.

H
R

S
L

T
R

B O B
R L R

O
L

H T
R R

S
L

T
R

B O
R L

B O
R L

47.

O T S T O T
R L R L R L

S
R

T
L

O
R

T
L

S
R

T
L

O
R

T
L

S
R

T
L

48.

O
L

T
R

S
L

T
R

O
L

T
R

S
L

T
R

O
L

T
R

S
L

T
R

49.

O P S T O P
R L R L R L

S
R

T
L

O
R

P
L

S
R

T
L

O
R

P
L

S
R

T
L

50.

O
L

P
R

S
L

T
R

O
L

P
R

S
L

T
R

O
L

P
R

S
L

T
R

O
L

P
R

S
L

T
R

51.

B
R

H
L

T
L

S
R

S T
R L

H
L

T
L

B
R

B
R

H T
L L

52.

B
L

H
R

T S
R L

S
L

H
R

T B B
R L L

53.

H T
L L

54.

H T O
R R L

55.

H T
L L

56.

H T S
R R L

57.

H T
L L

58.

H T S
R R L

59.

H T
L L

T
R

T
R

S
L

T
R

O
L

T
R

O T H T
R L L L
T
R

H
R

T
R

S T H T
R L L L
T
R

H
R

T
R

S T H T
R L L L
T
R

H
R

T
R

B T H T
R L L L

B
L

O H
R L

O B
R L

O
R

S O O O
R L R L

H T S
R R L

O O O
R L R

O O H T
R R L L

S
R

T
L

T
L

O O
R R

O
L

H T
R R

S
L

T H T
R R R

O O
L L

S O H T
R R L L

S
R

T
L

T
L

S O
R R

S
L

H T
R R

S
L

T H T
R R R

S O
L L

O S H T
R R L L

S
R

T
L

T
L

O S
R R

O
L

H T
R R

S
L

T H T
R R R

O S
L L

B O H T
R R L L

S
R

T
L

B O
R R

O
L

O
L

S
L

25

H
L

H
L

H
L

H
L

T
L

60.

H T B
R R L

61.

H T
L L

62.

H T S
R R L

63.

H T
L L

64.

H T S
R R L

65.

H T
L L

66.

H T S
R R L

67.

H T
L L

68.

H T S
R R L

69.

H T
L L

70.

H T S
R R L

71.

O P
L L

72.

O P S
R R L

73.

O P
L L

74.

O P S
R R L

T
R

H
R

T
R

S T H T
R L L L
T
R

H
R

T
R

S T H O
R L L L
T
R

H
R

O
R

S T B O
R L L L
T
R

B
R

O
R

S S H T
R L L L
S
R

H
R

T
R

S B B T
R L L L
B
R

B
R

T
R

S T H T
R L L L
T
R

H
R

T
R

S S H T
R L L L
T
R

H
R

T
R

B
L

O
L

H T
R R

S
L

T H T
R R R

B O
L L

H O H T
R R L L

S
R

T
L

T
L

H O
R R

H
L

H T
R R

S
L

T H T
R R R

H O
L L

H O H T
R R L L

S
R

T
L

O
L

H O
R R

H
L

H T
R R

S
L

T H O
R R R

H O
L L

B O H T
R R L L

S
R

T
L

O
L

B O
R R

B
L

H T
R R

S
L

T B O
R R R

B O
L L

O O H T
R R L L

S
R

S
L

T
L

O O
R R

O
L

H T
R R

S
L

S H T
R R R

O O
L L

O O H T
R R L L

S
R

B
L

T
L

O O
R R

O
L

H T
R R

S
L

B B T
R R R

O O
L L

O O H T
R R L L

S
R

T
L

T
L

O O
R R

O
L

H T
R R

S
L

T H T
R R R

O O
L L

O O H T
R R L L

S
R

T
L

T
L

O O
R R

O
L

S
L

T H T
R R R

O O
L L

O
L

O
L

O
L

O
L

O
L

O
L

O
L

H T
R R

26

H
L

H
L

B
L

H
L

B
L

H
L

H
L

The "Stoned" Hand-Drum

"Heel-Toe" Exercises in 6/8 time for the Conga Drum
[Emphasize beats to give triplet feel]
(Metronome Clicks)

1.

^
B H T
R L L

^
B H
R L

^
T B
L R

H
L

T
L

^
B H T
R L L

2.

B H T B H T B
L R R L R R L

H
R

T
R

B
L

3.

O H T
R L L

O
R

H
L

T
L

O H T
R L L

4.

O H T O H T O
L R R L R R L

H
R

T
R

O
L

5.

S H T
R L L

S
R

H
L

T
L

S H T
R L L

6.

S H T S H T S
L R R L R R L

H
R

T
R

S
L

7.

H
L

T
L

B H
R L

T B
L R

H
L

T
L

B H T
R L L

B
R

8.

H
R

T
R

B
L

T
R

B
L

H
R

T
R

B
L

T
R

B
L

9.

H
L

T
L

O H
R L

T O
L R

H
L

T
L

O H T
R L L

O
R

10.

H
R

T
R

O
L

T
R

O
L

H
R

T
R

O
L

T
R

O
L

11.

H
L

T
L

S H
R L

T S
L R

H
L

T
L

S H T
R L L

S
R

12.

H
R

T
R

S
L

T
R

H
R

T
R

S
L

S
L

O H
R L

S H
R L

H
R

H
R

H
R

T
L

T
L

S
L

27

H
R

H
R

H
R

H T
R R

H T
R R

H T
R R

T
R

13.

H T
L L

B B
R L

14.

H T
R R

B
L

S
R

S
R

H
L

T B
L R

B S S
L R R

B S S
R L L

H
R

T B
R L

B S S
R L: L

15.

H T
L L

H T O O H
R R L R L

T H
L R

T O O
R L R

16.

H T
R R

H
L

17.

H T
L L

S T
R L

18.

H T S
R R L

19.

H T
L L

T O O
L R L

H T H
R R L

T
L

O
R

H
L

T
L

T O O
L R R

T O O
R L L

H
R

T S
R L

T
R

O
R

H
L

T
L

T S O
L R R

20.

H T B
R R L

T S O
R L L

H
R

T B
R L

T
R

21.

B H T
R L L

O H
R L

S
R

H
L

T
L

B H T
R L L

22.

B H T O H T S
L R R L R R L

H
R

T
R

B
L

23.

H
L

T
L

S H
R L

T O
L R

H
L

T
L

B H T
R L L

S
R

H T
L L

O
R

T
L

B
R

24.

H
R

T
R

S
L

T
R

H
R

T
R

B
L

S
L

H T
R R

O H T
L R R

B
L

25.

B
R

B B H T S H
L R L L R L

26.

B
L

B
R

B T
R L

B
L

H
R

H
R

O
R

S
R

T
R

T
L

O
L

S
R

B
R

H
R

T S B
L R R

S H T
L R R

S
L

28

B
L

O O
R L

O
L

S
L

O
L

O
L
O
R

H T O
R R L

T
R

H T
L L

S
R

H
L

T
L

H T S H T
R R L R R
H
L

B B H T
L R L L

S
R

H
L

T S
L R

B
R

S
L

H
R

T
R

B
L

H
R

T
R

S
L

27.

O
R

O O H T S H
L R L L R L

28.

O
L

O
R

O
L

H
R

T
R

29.

H
L

T
L

H
L

B
R

B B
L R

H
L

30.

H
R

T
R

H
R

B
L

B
R

B
L

31.

H
L

T
L

H
L

O
R

32.

H
R

T
R

H
R

33.

H
L

T
L

34.

H
R

35.

T S O
L R R

O O H T
L R L L

S
R

H
L

T S
L R

O
L

O
R

O
L

H
R

T
R

S
L

H
R

T
R

T
L

H B
L R

B
L

B
R

H
L

T
L

H
L

B B B
R L R

H
R

T
R

H
R

B
L

B
R

B
L

H T
R R

H
R

B
L

O O
L R

H
L

T
L

H O
L R

O
L

O
R

H
L

T
L

H
L

O O O
R L R

O
L

O
R

O
L

H
R

T
R

H
R

O
L

O
R

O
L

H T
R R

H
R

O
L

O
R

O
L

H
L

S
R

S S
L R

H
L

T
L

H
L

S
R

S S
L R

H
L

T
L

H
L

S
R

S
L

S
R

T
R

H
R

S
L

S
R

S
L

H
R

T
R

H
R

S
L

S
R

S
L

H T
R R

H
R

S
L

S
R

S
L

36.

37.

38.

S H T
L R R

S
L

29

B
R

S
L

B
L

Blank "Tab" Diagrams in 4/4 Time

(Make Copies to save your own patterns)

30

Blank "Tab" Diagrams in 6/8 Time

(Make Copies to save your own patterns)

31