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ABO UT THE AUTHO RS

LOUIE BElLSO~ - Ref~rre? fo by iozz critic leonard Feather os "one or the most

~henomenal orummers I n h rs to ry . N Louie hos a reputalion fo r expressing himself on the drums

SInce he was three. years old. He has played and/or recorded \'11thsuch grea~s cs Duke

Ellln~.ton. Count 805;e. Benny ~oodmon. Tommy Dorsey Harry James and many others. As aprOIi,fiC com,poser/arronger, hIs compositions and orrongements soon a broad spectrum ot

~USIC fr?~ JOZZo symphonic works, He's one of Ihe pioneer instrumental and band clini-

cioris, giving selflessly to the music education community, cnd is Ihe author of a number ofbooks on drums and percussion.

HENRY BEllSON - The younger brother to Louie. Henry is also on accomplished drummer.

composer, (luther and educator. He hos p.oveo and/or recorded with such greats as Duke

ElHngton. Tommy Dorsey, Tony Pastor. Ray Brown. Tal Farlow, Oscor Pettiford and Hank Jones,

He is the author or co-ournor along with bro'rier Louie. of such drum books as BeNson's

Complete Drum Mefhod-VoJumes I anci 2, Bone Structure Drum Book and Rock"JOZLPhrasing. Henry currently teoches in lhe Los Angeles oreo, something he hos done for the

post 30 veers

DAVE BLACK - Percussionist/composer Dove Block received his Bachelor of Music in percus-

ston pertormonce hom Colifomio State Universi'v. Northridge. He has rrovcieo mound H1G

world with a variely of entertainers and shows. performing and/or recording wilh such ortisls

as Alan King, Robert Merrill, June Allyson. Anita O'Dov and Jerry Hey. As a widely published

composer/arranger. he nos writ1en l.<Jilh.and for Ille cones of louie Bellson. Sommy Nestioo.

Bill wotrous, Bobby Shew and Ed Shaughnessy. He is the recipient of 12 ASCAP Popular

Composer Awards and two Gromrny porticipalion/nominotion cemflcotes. He is the co-

author of severo\ na1ionol besl-seHing books. including Alfred's Drum Melhed - Books J & 2.

A/ired's Beginning Drurnsel Method. Orumset tnoeoenoence & Syncopation end CVmbo{s:

A Crust) Course, In addition, he hos written countless articles and book ono concert reviews

{Of such rnogozir.8S os Down Bent The instrumento/i'st. Modern Drummer. Jazz Educa/ors

Journal and others.

ACKNOWLEDGMENTS

The authors wish to thank the following people wlmou' wnose in~JO\UQble assistance this

book would not hove been possible: Sandy Fe!dstein. John O'ReIlly Joel Le~c~ and theU . M R "'tl Buddy Rich Sneli" Manne.

inspirotion of such great brush artists as Jo Jones. ox occ , .,'

Kenny Clerke. Ed Trligpen Clnd Philly Joe Jones.



46

CONTENTS

PAGE

ypes of Brushes

xplanatory Notes

HAPTER I-Conventional Brush Strokes

he Conventional Stroke

ight and Left Hand Accents

ighth and Sixteenth Nofe Triplets.

ariations on Ine Conventional Stroke

naccented Swish Movements.

ccented Swish Movements [lONK)

HAPTER II-Lotln Brushes

e Bosso-Novo .

II I

... 4

·.5

.. 6

.7

14

17

.23

· .27

· .30

33

ecial Effects .

HAPTER IV-Solo Exercises

ur-Four Time.

ree-Four Time .

HAPTER V

ntemporary Rock Beats

.37

.40

· .44



PREFACE

The or! of playing brushes has been one of the leost understood aspects otthe drummer's

technique, ond yet they are a necessary tool in order lor the drummer 10be well rounded.

Although brush technique should be considered equally lmporlani 10 slick techruoue.

most drummers todov are only able to play one or two strokes. usually in bouoo form.

In writing this book. we hove trleo 10give the drummer some new and original ways o

approaching the crt 01 playing brushes. 11s our hope Ihat the drummer will use the con-

Janis of this book to expand hisJher skills and lolenls and 10encourage drummers 10make

the art of playing brushes part of their 10101technique.

@ Track 1 ABO UT THE RECO RDING,. f . d nstrating many of the illustrate

Included 'tIith this book is 0, recorcmq 0 LOU~e~:~ B including this recording. th

~trokes ,and ~xobmplefi~ cr~:~~~~~~~~t~~~~ ~I~yed V J h i l : following Hie vlsuol diag,romslistener nos t e ene o. .T t n minute drumset solo (Track 30) that mcoThe recording concludes \\llth an exci Ing e \

porotes all of the techniques discussed in the bOOK.



TYPES O F BRUSHES

jrmovouve occesso-ies for 10

day's creative drummer

Several models ore double-

er-oeo rnoking 11,8')euracue.,{e! practical combinotions

Ihe answer lor evetv multi-

petcusstor' plover.

There are severo! types of brushes available tocov. Brushes can be mode of wire or nylon,can be retractable or non-retractable, and have handles mode of WOOd.plaslic or motor.

They come in a variety ot sizes and \.;eights

The brushes and eHed sticks, pictured below, are specifically designed by louie ond

manufoclured by ;\riike Balter. Several of these mallets ore double-ended in order 10give

the drummer a grecle,r amount 01 fiexibil1ty. The brushes are made 01 wire. are non-

reuoctooie and hove woooen handles.

Many manufoclurers make excellent brushes. The choice. like sticks. isa pefSOno.\ one. Theauthors suggest vou try severo I duterent lvpes. and choose the kind tho! \ V i i i fi t your needs.

LO U IE BELLSO N DRUMSET MALLETS

No. LB1 Drum l'llQUetNo. LB2 Slick Mollet

No . LB3 B ru sh i..clle!No. LB .4 Slick Brush

No. LB5 Jingle Slick

No . LB 6 Brust lc~ I \I (I "o l (N' " PSO\C\) 1



EXPLANATO RY NO TES

Thtoughoul this book ''''Ie will use the face of a I

descnbing the various brush positions on 'he COCk as a reference ocro- wrten

assumed Ihot the 12 o'clock oositton ls I "h ,n,ore drum. t~ toms and cymbals Ii s. 'J ~ ur es awav rom toe player

12

11

10 2

9~3

\~~' 56

2. Arrows vIii! be usee 10snow the ouecuon In ';'/hleh 1he brush suokes should move A

brush strokes will stor! 01 Ihe fall of the orrow one move 1 ',' rd the pOint

1\ thick BLACK arrow v,11l l be oseo 10 Indicate .'Jhe~ 1he leU hand 1$ ~.""Ished ocross In

head....-----...... A then BLACK QHO,,", ', 't l l l be used 10 , nCheo l a Ihcl Ihe ilgnl ncoc

swished OOOSS Ihe head #----..._

. . .1. Iruck or thm GREY crrows ~ .......... will t : > e used 10 Indicoie '...,heil ln

brush should oe hUed rrorn Ihe surface ot ihe drum heed one moved :0 ina ne,1 oeo

Of count mark \,/rlhout conlachng the play!ng suucce

5. The notonon will oppeor as follows



CHAPTER I

Conventional Brush Strokes

SECTION A

The Conventional Brush Stroke

The basic figure:

LeHHand The leI! nand ·.,1illswish in a continuous clockwise circle, starling alIne toil of

the arrow Ii will compte Ie one full circle or oneholt circle per beat

depending on the iernpo you are playing. The diagram below shows one-

halt CIrcle per oeot. The left hand should stort on the len side of the snare

drum between the '11 o'clock end 12 o'clock positions. II '.'fill swish 10the 5

o'clock position on beoi two. and back to the starting position to begin beals

three and four Beals II-Iree Gild four \'Iil! be played the same as ceo's one

andlwo

Rlghf Hand: The right hand should sturt or. the r'lghl side of the snare drum at the 30'ciock

POSition with c lop on lhe firs! beat. It wililhen cross over the left nand \'Jllh

each beet to the 9 oc.cce position on b8t::lt lwo. On its \'./oy bock io beat

three II ·.,,/111lay trle secono port ol ihe triplet [AH). f3eots !h.ree and lour ....ill be

struck In the some ploce os :Jeo\s one and h·m.

12

11

10 2



n:ample 1

@ TrQCk2

Example 2:

@TrOCk3

)

fl F 2 I i : : :I

Exomple 3:

~ Irock a

The conventional cymbal pattern in the right hand. while the lett hand

swishes clockwise.

Thesame as example 1.except that we've added the boss.drum on beals'

2. J and 4 The hi-hot ( X ) plays on beats 2 and 4 r •

;

- m 1 ; : i

J

r.;-J

1



Example 4 : 1 " .

®lr(]C!.:5

3$11:

Example 5:

@TrOCk6

~t.'~s~m.e4oseXomp!~3.exceot Inot we've added thebossejrum on ('eols .no and the tu-hcton beals 2 and 4 - I,

J

F

A combinction of examples 2 end 4, wilh the bass drum 0(1beats 1 2,.3and

4 or-o lhe hi-hot on beats 2 and 4. '

I

;~

The next four examples utilize the some corwenftonol stroke, except the right bond pattern

is aUered slightly in eoct- exornple. Note thot the boss drum is playing on beets 1. 2. .3 end

4 and the hi-hot on beals 2 and 4



2Q

Vi .sUQI Diagram 4:

8

56

LH

2

1211

10

t J2

9 3

8 4.5

6

R H

l71I

4

left Hond: The lett hond swebes in a diagonal. counter-clockwise motion from the 1

o'clock oosiuon 10the 8 o'clock postnon on beals 2 coer 4. the left hand

should pass in front of. nol over, the right bond and should rnoinlafn a flat

position on the snare drum.

Right Hand: The right hand should lollow Ihe same orccsoore as shown in diagram ~.

swishIng one complete couotercicckwise circle per beat. SlOppirlQell four

beals 01 the bottom (7 o'cfockj of the circle.

~ :;~ ~

-r~~-~d~1- . _ ~I I



Visual Diagram 5:

121211

11

10 2 10 2

4

9

8 4 8

7 5 56

LH6R H

LeI! Hand: The teli hand ttcvets in a strolghl line swishing molion trcrn Ihe center of the

snore drum to the 9 o'clock position on beats 2 and 4.

RighI Hand: The right hand executes the corwenti'of'lol cymbal pal1em on Ina I1ght 01 the

more drum head at the . 3 o'ctcck oosftion. The conventional stroke will be

executed in a stationary position. and wilt not cross over the le1t hand os In

sectton A .

"The following examples based on the pnr-ciptes shown in diagram 5. incorpcrote varia.

lions on the right hand cymbal pottern. Pbv each exercise Htst wilh just the lIght Qnd lell

hand. then plov the same exercises adding the bass drum on beals 1.2. 3. one 4 and the

hi-hot on beats 2 and 4.



J

~; ~!

E~omp(1? 3 ~

Example 32:



23

SECTIO N E

Unaccented SwishMovements Utilizing Both Hands

I

In the .previous sections 01. the beck, the leIT hand has mainly been responsible 10'executing the. swishing rnohoo~ and the righl hand the lapping strokes ThiSsecncn w';t

Include exercises ulillzing swish movements in both the li§hl and lett hO~dS. ., I

p~ocllce the following exerctsea wilh just the right ond left hondo After becoming lamllialWith Ihe movements. odd the boss drum on all four beals and the hl·hal On beats 2 and -i

Visual Diagram 6:

1211

10 2

~9;:'~3

8 4

7 56

Leu Hand: The lett hand stcrts of the Q o'clock oosiuoo. leH ot center, and swishes

ctockwtse 10the 3 o'clock position on beats 2 and 4, Thelefl hand fGl!owsthe

right hond arc on the drum head.

RIghtHand: the rigl11 hand starts of the 9 o'clock posihon. left of center, and swishesclockwise to the ;3 o'clock postilon on beets 'I and : > . {1he rlghl hand in the

(oHowlng exercises \"'Jill swi~h ahead of the left hond.)

The following examples include right and leff hand variations based on Ihe prlociolesshown in diagram 6. Play each exercise first with justine right and letl hone. then play the

same exercises adding the ooss drum on beals 1,2. 3 ond 4 ond the hi·hol on beals 2 ond 4.

Example 35:

~o':\ TrO Ck 19 I_

\ : t c l t = - t ?I I I

I

t ;! - I I rij

I I

Example 36:



2

Example 37:

2

Example 39:

" 1 3

Visual Dfogrom 7·

Thisexercise is the same os diagram 6, except lnat we've reversed tt\e hand ccsuces

1211

8 4

56

lel1 Hand: The lell hand stoas 01 Ihe :) o'clock position. rig\ll o( center, and swishes

c(:::uJnter-dock'tiis€ on beals 1 and 3 (Theleft hand In Ihe following exercises

SW15hesoneco 01 the right hancL)

Righi Hand: The fight hand storls or !he 3 o'clock positico. righl 01center, and ; ,wls 'nes

counler-clockwise to tne 9 o'clock position on beets 2 ond t. i

""tole:olf(w1ng BJomples Include rIght coo left r-ooo variotlons based on the pnnrncles

n c • ':"" II CI<.ll;JfOH I Pk. :v 6(](,ii" exercl~e l ie sl ' /11 th i lJ sl the righl a n d left honel then o r ov the

!Y)'" '" e/"".:f{,':.e 'Yi' !i(lt! !h€' r,(lss df',J010(\ I JOO I $ 1 2. 3000 4 cmd the r l l -ho! on beals 1 .. ond /,



Left Hand: The teft hand ",III slort 01 the center of the snare drum 01 the 10lt of the aWYN

The leO nona swtsnes counfer-clock\-'lise toward the o o'clock position. (I Wilt

'~/IISh$lffiul!ane011s!y in 110((clfcles w{!h lhe right h(lnd

)~Ight Hand- Jhe flgh: ""and '~,'dlSlo;101 rhe CF.1(11er1the snore d!\)n~n1

\tIe 11))101 1r,e\,lf'{Y'"

Ine rrgn! h(J(tt.J~wJshes In G cJock'l'JjSe ore IOWoIOlhe.J o clOCk positron II \', '

t, I o ; .t l - ;' Ir , «'JftOl1tt ' : ' IUs.!v t(l. hull .I!CI"._' _ . ' _ ' ' ' ' _ ' ' h ~ , ~ _ e _ , e _ f _ f h _ , _ : r r _ , , _ ' _ ~ _ _ ~

Example 40:

Example 41:

Example 42:. - f - h f ~ -xample 43:

II~ I I : P r = P r s P t = r L r - 'xample 44:

Visual Diagram 8:

1211

10 2u

1.7

9A~~'3

8 4

56

25

2

2

2

4 " ~ J

2

*

· i l



'1111,01.)1' "'-'Ie~" '' ' .... \'.'1\/1Jll~f \ f , . ; , ; . i'qnl alll' "ell

<::111)('111\,:.'crss O'1...rn 011 bedf., I I -< _ '1l('H"I{I Illen 1)loy \he ~rne {o::<erCIl'Ie-$('Jd

~ , " ~, unc Ii ono Ihe hlho, on beets ? rtl"_; ': '

Example 46:

Visual Diagram 9: 1211

10 \.2 2

LeU Hand: Diagram 9 is the exact opposite of diagram 8. The {eft hand storrs 01 ihe leffof the snare drum at the 9 o'clock position, It will swish simultaneously with the

right hand in hott circles 10the center ot Ihe drum. moving clockwise.

Right Hand: The right hone stcrls at Ihe righl side of the snore drum at the 3 octcck cost.

lion. It will swish simultaneously with the left hand in half circles to the eer-ier 01the drum, moving covnter-clockwtse.

Play eocn exercise first with just the right and iert hand, then play the same exercises ad-

ding the bass drum on beals 1. 2, 3 and 4 and Ihe hi-halon beals 2 and 4 .

Example 47'

Example 48:



27

:il

SECT IO N F

Accented Swish Movements (ZONK)

Brush oceents ora used when a flatter. heavier sound is desired We call ttus ecce-a

"20NK" because of the way il sounds. The sound Isachieved by slopping the bose ot thebrush (where the handle meets the b,ush) againsl the drum head.

h ~The fOllowing exercises It/llt incorpofole short (1)nd long ( ; ) "ZONK"occenrs. The left

hand will execute a slap. fOllowed by a swish In 0 Clockwise moflon. The righl nooc witl es-ecute a slap. followed by a swishin a counter-cfockwtaa motion.

Example 49:

@Track21

1 1: J ! 4 I l :

Righi hono accents.

-~., . .~.

Example 50: Lett hond occerss.

c-

G

Example 51: Len and right hond accents combined.

<

1 .~

l ) 1 i : 1 11 1 3 I I :I ~ j!

Example 52: Lefl ono Jighl hand accents combined

,

~1 f : , _



Exomple 53· len and right hand ccceors combIned

Example 54: let! one right hand accents. adding the boss drum one hi-hot.

Example 55:

Example 56·

Example 57:



CHAPTER II

Latin Brushes

Some latin rhythms, such as the bosso-nova and samba. are PIOYed with one Slick ana

one brush, The eighth or sixteenth note taps Or swishes ore usuonv plaYed with Ihe hand

containing the brush. The hand conloining the slick is usually responsible for playing the

syncopated figures (usually simulating a clave beat) across Ihe rim of the snore drum,

ThiS chapter Contains exercises Ihot will demOflslrole the use 01 the blush.sllck techniqueas applied to bossa-novo and samba rhythms

OrumlTl9lS e,:lrOOfd'flOlre. lOtJe 8of Ison GOO

Bucdv ~, lwo 0: !I\o grOOlesl d!um.so! C';'SlS

carTlIOlIOblO III en/ InS:/uroenl01 cornQInohon

You know the Irme ISnghl \~'hen yOU ccmcme

louIe BeUsotl ana Roy Brm.,." In 1M! scme

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11 'S lic k '" ~I hone.OCIOSS Ihe 10m 01

1M Sl\Cro drum

SECTION A

The Bossa-Nova

The basic ligures:

When plc'ling cossc-r-ovo beals, the brush ; $ held in lhe light hond and Ihe stickIn lhe lett

Right hand eighth nate patterns wiln dots above them ( j - - - - j ) 'NUlbe lapped. Those 'Nlth

sloshes (/f) wi/! be swished. When using the swishing tecboique. slide the brush to Ihe

righl. then to Ihe lett in a back and forth rronon. Ir s not necessary 10nn the brush Irorn Ihe

playing surface. Beats 1.2.3 and 4 should be accented. Therighl nono brush pattern mcv

be played on Ihe snore drum or on the small or large tom-tom.

DIagram 10:

12

10

9

--8

5

Blush ,n o gn r "000sltd lf 'lg bO ck a n d 10111 '1

The following examples ore vanations Of the bossa-nova and Incorporate the VQHO\JS

techntques mentioned above



3 <

j } } }e-

o·

j b ~" f ! " }} f j•¥I I '

- - 1

~ # - 1 =~

t ,r~

:~

DI1 1 ~ 1

Example 59:

J j j J j j J ' j ' ") ~ ) J J• J

~ ~=~ I ~~

~ ~~ ~ I$~ I 0

Example 60:



E'Xomple 61:

j

§t][~

Example 62:

Example 63:

f 1~V



SECTIO N B

The Samba

R R C c

J J~ J J I I

The basic figure:

~ ~ ~z r

lA'hen playing samba beats. the brush js held in the lett hand coo Ihe stIck in 'he right. ire

brush in the leff hand should rest flally On the head of lhe snare drum. The Irg!)! hand Will

aflemate between the rim (R) of the snare drum and the center (C) of Ihe drum. The right

hand stick poHern may be ploved on Ihe snore drum or on Ihe 5maUor lorge lom-torns.

Diagram 11:

1211

10 2

S'oClot'I''O-ti(rc<'oClC"'-'U'l(lhng C)( '! . .. eonh<nO"'O~I{'1

The following examples are vonotrons 01 me samba and Incorporate Ihe venous

techniques mentioned above The snares should be turned off when ploVfn-;:, Ihe lollowlng

exercises.

•

.



b'omple 65:

Example 06:

R R C C C R R C C

"J I J J JJ J I ~

I J J

~

J

i l l2 f 1 ;r r I c r

C R R R C C C RR C C

~~J

r ~

\

J~ j J J

£ 1 E f i V



Example 68:

R R C C R R

£ E j I iR C c

I~

J

J ; I r ~ "J J

=~P I i "

Example 69:

R R C C

"R C c

J J~~

rJ

J L t f d 4j J

~'II' ~1r t t

R C C R C C

-I

J ; w;:I4 i~

I

t 4J

~IE l : . r

,xample 70,



c

~ n p 1 i I i "~~~Example 73:



CHAPTER IIISpecial Effects

1. A one·honded roll:

@ Tra c k 24

Thefollowing examples represent special etfects thai Conbe produced with brushes.A J [ ofthe examples in this section may be plaYed by either hone.

tnorder to execufe a rol/ on the cymbal with one brush. the brush isheld ina vertical eosr.

lion wilh half of Ihe wires above and halt beneath rhe cvrnbo! (B e careful not to pushthe

brush 100 lor into Ihe cymbal). The roll is executed by rapidly moving the brush in On upand down mol ion with Ihe wrist.

2. A soft crash or roll:

@ Track2S

3. Using the metal ring:

A sot! crosh or roll con be produced by using the opposite end of the wire b~\jShe~.The

sound is produced by hitting the edge of the cymbal wd h Ihe rubber cove-eo shott

Example A:

@ Track26



' .

Thisspecial effect isproduced b slidlf\the edge of the cymbal. y g the roe-or ring (rom the edge of the bell to\oJcrd

5. The rtnvstop stroke:

( : § ) Track 28

This effe~t is produced by Sl~jking the rim of Ihe snore drum wj!h the shaff 01 the brush The

brush Will snap forward ana hi! the surface of the snore drum. .

Ilus effect is achieved by ftrst loying the brush. in a Hat position. on Ihe surface of Ihe snore

drum. Next. place the palrn of your hand on fop of the shaft so that i f Isalso resting in a tlot

oosmcn. The rol11sexecuted by rapidly moving the brush in a back and forlh motion with

lile Iwnd Itus technique can be used to execute exoct rhythms.

4. Sliding the nng:

@TfOCk27

6. Rolling the brush:

@ Tfock29

'~

, J

~



CHAPTER IV

Solo Exercises

The following four-bar exercises tnccecorcte the basic principles 01the conventiono! stroke

and eigh1h nole tnpiet. previously covered in thisbook. PlOYeach exercise tirstwith jus!Ihe

right and lel"thand, then play the same exercises adding the bass drum on beals 'J , 2, 3

and 4 and the hi-hoi on beals 2 and 4.

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...ce ~r 10I1TV:l1 01" I,:) '.CMoS' tJhlle KAflny Clore j-eeps c

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1 f 5

Example 74:

zI-~

Example 75:

J J J J

@ £ I 4 Y f i J 4 3 f I I ';=:1

Example 76:

Example 77:

Example 78:

Example 79:

, J .1 J J

~~ ~_:j_ ;3~ 1-'~7 l ' -I



I p 4 Q ¥ i j J

. ,

Example 80:

J 3 3 3

i l l ~ P ' f P l'Ii " 6 I~ ~

Example 61:

J J J J

j l 1 w f B ~ ' z V i I~ -3

Example 82.

J 3 J J

::¢I~IJ

",~ iI Ir : I I

Example 84:

. J 3 3 J

~~~~~)~~~~~~:~

~

Example 8S;

"/;

"/ .



b:omple 86:

J j j .)

:ia+~,~ID·;J:-1J21- ,u: : tF3'~r- -r - r - = = F

Example 87:

Example 88,

Example 91:



- -The loflowing four-bor exercises incorporOle Quarter note triplets wilhin Ihe corwenhonQI

stroke Play each exerCise first wtth just the fight ond left hand. then olov tha SOtTle

exercises adding the bass drum on beals." 2. J and 4 coo the hi-hot on beats 2and A

Example 92:

Example 93,



Example 99·

J] 3 3

1-:;-"1 I r:l i 7 " " ! I I. I ~ 1 r::I • I I~i~" .: •• ,.~ ~/' • .'fI. ~·i •• f ••

YfIf~;-~~~~I t c c r r t I ( '

JFl~

: 1 1,

The following four b .

3/4. time. PIc -hor e)(~rCJS~s incorporcra the bcsic princi I

adding the b : s s ~ ~ \ J m e ~ ~ r b s e!rSI wrlh just .'he right and left h ~ : d ,~~~~e ,conventional ~Iro~e in

eat 1, and the hl·nor on beals 2 and 3. p oy the some exercises

Example 96:

Exomple 97:

Exomple 98:

Example 100,



45

J 3

~ 0"lm

Example 104:J J J J 33 J. J

~t$~~t t t t t

E>ample 106:

.3 _J_

.-,.',.

I I I t - ~ fl'~; • I I



CHAPTER VContemporary Rock Beats

The fOllowIng two-bar exercises ere COnlernpOrOf'l reck beals thol Con be ployed with

'cruShes Because 0' Ihe difficulfy ot some of these contemporary exercises. it is impOftonlfhoJ you stuov Ihe examples carefully.

Example 107:

111)fl!1

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Example 108:

~IIll!:A:t

Example 109,

!;y 11:0

Example 110:

E~ample 111,



Example 112:.,

Example 113:

~ J

Example 114:

Example 115:

Example 116:

: 1

Example 117,

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