mwestare ELEMENTS OF MUSIC NOTATION consists of five lines and four spaces. ———— All music is usually written upon a staff, The Treble Clef ‘The Bass Clef |The Neutral Clef THE CLEF SIGN is placed at the beginning of the music. ———— ——_ = Music for the drums is usually written in the bass or neutral clef. Bar Line Bar Line Bar Line Bart BAR LINES separate the staff into measures, NOTES AND THEIR EQUIVALENT RESTS ae Whole Note Half Note Quater Note Eighth Now 16th Note 32nd Nowe Whole Rest | Quarter Rest Eighth Rest 16th Rest 32nd Rest THE TIME SIGNATURES The Time Signatures are figures given in fractional form at the beginning of a piece of music. The numerator tells the number of beats to a measure; the denominator tells che ea eatoeal 4 or “Common Time" isthe time signature most often used in popular music. GLOSSARY TEMPO MARKS indicate the speed at which the music should be played. The most common markings are. Slow Tempos Moderate to Fast Tempos Grave Slowly, sadly Moderato Ata moderate speed Largo ~---— Slowly, broadly Allegro — Quickly Lento ——— Very slowly, very sadly Allegretto ——— More quickly than Allegro Adagio — Slowly Presto — Fast Andante —— Ata leisurely pace Vivace Very fast ‘Andantino ~~ Somewhat faster than Andante Common terms that indicate tempo changes are: Atempo — means a return to the original speed after there was a change in tempo. Accelerando — (abb. accel.) — means a gradual speeding up of the tempo. Ritardando — (abb. rit.) — means a gradual slowing down in the tempo of the music. ‘Ad Libitum — (abb. ad lib) ~ means at the performer's pleasure. DYNAMIC MARKS indicate the degree of loudness or softness of the music. The most common terms are: pp pianissimo Very soft Extra Terms 'p piano——— Soft Da Capo (0.C.) —— From the beginning mp mezzo piano —- Medium soft Dal Segno (D.S.)— From the sign (%) mg mezzo forte — Medium loud Coda ——----—— A closing section added at the end J forte — Loud of a piece, shown by the Sf fortissimo —— Very loud Fine ————— The end sf2_ sforzando A short, strong accent Poco a poco —--- Little by little ——— crescendo (ab. cresc:) Staccato Short, detached A gradual increase in the volume. Tutti <== decrescendo (abb. decresc.) > Fermata Indicates a gradual decrease in the volume of the music. —— All everybody, ensemble Pause before proceeding © Copyright 1963 by Joe! Rothman ORS Deumant Drive P.O Bex 1017 Vonwhees Mew Jersey OR043For the past several years, teachers have requested that | write an “all-in-one” drum method for beginning to intermediate students. BAS/C DRUMMING is just such a book. Obviously, no one study can possibly contain the total requirements of every private instructor saddled with the responsibility of tailoring a course of instruction to meet the individual needs of each student. Still, this book presents a wealth of highly organized material on a broad range of topics essential to the initial development of a well-rounded set player. Teachers will find sufficient exercises on most areas of drumming which they find necessary to teach. The one topic not covered in this book deals with the reading of drum charts. There simply wasn't enough room to explore the topic adequately. However, if this is an area of particular interest, | suggest the following books: CUT T/ME PARTS, DRUM ARRANGEMENTS, SHOW DRUMMING, and BIG BAND CHARTS. This edition has been revised and extended to include duets, mixed meters, additional roli studies and technique studies, as well asa mini dictionary of commonly used terms. in all there are over thirty pages of new material. TABLE OF CONTENTS SECTION ONE — READING BASIC RHYTHMS Reading in “Quarter” Time ee es Pgs. 345 Reading in “Eighth” Time 46-52 SECTION TWO — READING ROLLS Rolling in “Quarter’” Time ae 54.65 Rolling in “Eighth” Time aoe 66-67 SECTION THREE — BASIC DRUM TECHNIQUE Basic Sticking Patterns Featuring The Right Hand... . pee col Left Hand Control. . 82-86 Accent-Studies . . . 87-91 Rudimental-Type Exercises . eee eee 92119 The 40 International Rudiments... . aoe 120-121 Sticking Patterns with Quintuplets and Septuplets .. .. . . Dieteee 122 SECTION FOUR ~ BASIC ROCK DRUMMING Rock Beats with 1/8 Notes . + 124-127 Rock Beats with 1/16 Notes. . 0... 4 sees 128-138 Rock Beats with 1/16 Note Triplets. sss ee eee 139-140 Rock Coordination Phrased 3/8, 3/8, 2/8... . . « 141 Rock Beats with a 6/8 or 12/8 Feel. 142-145 Shuffle Rock Beats... . . . eee 146 1/16 Note Cymbal Beats . . ae ee ee. 147-149 Rock Beats in 3/4, 5/4, & 7/4... 0... aa sees 150151 Disco-Style To Develop Hi-Hat Splashes. . « tee 152157 Rock Breaks... . 158-163 SECTION FIVE - BASIC JAZZ DRUMMING. Cymbal-Snare Coordination . 165-171 Cymbal-Snare-Bass Coord . 172 Cymbal Variations... . . . 173 Simple Jazz Breaks . . Goe0e : 174 Four-Measure Solos... . . ae Sa6 ren AL) SECTION SIX — DANCE BAND BEATS AND VARIATIONS Part One: Rock Beats, Waltz, Lindy, Polka, Peabody, Tarantella, Mexican 181-186 Hat Dance, Irish Jig, Jewish Beats, Greek Beats, Military Beats. Part Two: (Latin Rhythms): Clave Beat, Merengue, Bossa Nova, Mambo, 187-190 Cha Cha, Rhumba, Beguine, Bolero, Samba, Tango, Afro Cuban, Conga, Paila Beats, Paso Doble. NOTE: Two pages of drum manuscript paper are presented at the end, as well as a Mini ‘Music Dictionary. ©Copyright 1983 by Joe! Rothman 1085 Oumont Drive, P.O. Box 1017, Voorhees, New Jersey 08043, International Copyright Secured Made in U.S.A. All Rights ReservedSECTION ONE READING BASIC RHYTHM This section contains two main parts. The first, and most extensive part, deals with the reading of rhythm in “quarter” time, where the quarter-note represents the basic beat. The exercises are mostly in 4/4 time, but there are a few in 2/4 “and 3/4 time, as well as summary exercises in 5/4 time and mixed meters. ‘The second part of this section deals with reading rhythm in “eighth” time, with the eighth-note acting as the basic beat. Dynamic marks are sprinkled throughout the entire section. However, since the book is mostly for beginning to intermediate students, the dynamics should be thought of as secondary. First, try to gain understanding and fluency ith the rhythm in each exercise, then replay the exercises and include the indicated dynamics. A more thorough presentation of dynamics can be found in DYNAMIC CONTROL, and MUSICAL STUDIES FOR THE INTERMEDIATE SNARE DRUMMER. Once this section has been completed, return to the begin- ning and replay selected exercises in cut time.READING IN “QUARTER” TIME 1/4 NOTES AND 1/4 RESTS © Copyright 1983, by Joel Rothman 3SUMMARY OF 1/4 NOTES AND 1/4 RESTS1/2 NOTES AND 1/4 NOTES cut: 1 2 9 4 1 2 3 4 4 2 3 4 1 2 3 4 1/2 NOTES, 1/4 NOTES, AND 1/4 RESTS cut: 1 2 3 4 + 2 3 4 4 2 3 4 4 2 3 4 HALF RESTS, WHOLE NOTES, AND WHOLE RESTS coum: 1 2 9 4 1 2 3 4 1203 4 1 2 39 4SUMMARY IN 5/4 TIME 2 la eee chee) {1/8 NOTES AND 1/4 NOTES count: 1 | = (Repeat previous measure)SUMMARY OF 1/8 NOTES AND 1/4 NOTES com: 1 203 4+ ieee zee Serna, Tet onTIaEe T+ 2eaeae 1st and 2nd endings are commonly used in music. First, play the entire exercise including the 1st ending. Then repeat to the beginning of the music, Do not play the 2nd ending at this time. The second time you play the exercise, skip the Ist ending measure and go directly to the 2nd ending. SUMMARY IN 3/4 TIME * Note: From now on, dynamic marks will appear in most exercises. 9SUMMARY IN 5/4 TIMEDUET1/8 RESTS ON THE UPBEAT Pata aS Eee Tasos1/8 RESTS ON THE DOWNBEAT coumts1 + 243444 Ve2egeae Verztaeae (imenceersnerane counts} +2434 4 saa) ice re) 142 344+ Ve 2zegtas mf cout + 2+ 3944+ Leozeat ar T+ 24 3444 t+ 2+aeaeMORE 1/8 RESTS ON THE DOWNBEAT count: 1+ 2 344+ T4243 4+ 1+2 344% ease)COMBINATIONS OF 1/8 RESTS ON THE UPBEAT AND DOWNBEAT count: + 2G HAE T+24+3444 Pee aeat 1+24 344+ coum:t + 24+ 344+ re2earar ve 2+ arate Teese one ale af ‘erese. poco a poco Sf cums 2+ Ha r+ 2+ arae 1+24 3444 1+24 344+SUMMARY OF PREVIOUSLY LEARNED RHYTHMS count: 1+ 243 44 tee sae) re243 44 142 3444 peli a et a hd mf sempreSUMMARY IN 5/4 TIME Count: 243 445 Ja eas ease) pee ees hetal Oe ae) ace asi " SUMMARY IN MIXED METERS Counts + 2 + 1 2 eet 2) 1 424 ae 1 +24 3TIES FROM 1/4 NOTES (As written) (As played) (As written) (As played) coun: 1 2 3 4 4 2 3 4 1203 4 4 2 3 4 TIES FROM 1/2 NOTES (As written) {As counted) (As written} (As counted} cous 20 3 TIES FROM DOWNBEAT 1/8 NOTES {As written) {As played) (As written) {As played) coum: 1) 2e 3+ 4e THD. 4R +4 Le resear rH2+3 46TIES ONTO DOWNBEAT 1/8 NOTES (As written) (As counted) (As written) (As counted) cout: 14249444 eats cetlale ote snenaes Te 2zeae at TIES FROM UPBEAT 1/8 NOTES Ra PR A A AiDOTTED 1/2 NOTES (As written) (As played) (As written) (As played) DOTTED 1/4 NOTES (As written) {As played) (As written) (As played) 4 a4 = pS S decresc. poco a poco A single dot placed after a note increases its duration by a half, 20SYNCOPATION WITH 1/8 NOTES AND 1/4 NOTES (As written) (As played) (As written) (As played) count: 1+ 249444 Vezegeas re2ze gear 1+2+3ae44 re 24 ae ae verzeageae V+2z+arat Ve2eaeas count:t + 2 + 344+ re2zeate ae rezegeae Te2earat 2SYNCOPATION WITH 1/8 RESTS ON THE DOWNBEAT count: 1 +24 344 1+24 3944 1424 grat eeazaeaot tas) pees sah ae Bas || a eS Ee SYNCOPATION WITH 1/8 RESTS ON THE UPBEAT AND DOTTED 1/4 NOTES counts} + 2+ 3444 reat ae at 142+ a44atMORE SYNCOPATION (As written) (As played) {As written) (As played) T+ 243444 com 1+ 24 SH4s VH2434 44 Te2tatae cout: 1+ 24 944 + T+2+344 V+2ear ase T+ 2eae4e SUMMARY OF SYNCOPATIONSUMMARY OF SYNCOPATION IN 5/4 TIME 2°39 445+ 14243 4 5 qaph NN atl N ht hsINTRODUCING 1/16 NOTES coun: 14 24SF de td 1+ 2tSe detd 1424+ 304044 142+ 3e+aa+ coun: 1 +24 9etddetd 1424 3e+ddetd 1+ 2e+dat derad — > —_S ———aS coun: 1 + 2+ 3etd 1+ Dera + leta2+a+ Terd2esda+ 251/16 NOTES ON THE UPBEAT count: 142+ 3+ 44d 14+2+ 34 446 1+2+ 34444 Lt2t+ s+das — cout:1 +2 3+ 44d 142 9404 1+24da4 4 1+d2+3 4 count:1 4 2etd3 44d 1 24d34 4e4d 12 Setd4td 1 2etaataa TSE. | ASD SE a alata pe1/16 NOTES ON THE DOWNBEAT coun: 142434404 1+ 24394404 L+2 430+ 4+ 1+ 2+ ger ae mf count +2 3 +4e+ 142 Bet ae 1+2er ata te+ 2+ a4 4 yf conti etd? 34+ 4e+ 1+ 2e+ Zeta letd2+3e+4 1 2e+ 34 4etd 271/16 NOTES ON THE UPBEAT AND DOWNBEAT count: 142 34 4e+ 1+2 443 4e+ 1 24 34d4e+ 1442 Seta P poco a poco crese. r | Ee tata aa a SUMMARY OF 1/16 NOTES IN 3/4 TIME count: te+d2+d3e+ 1e+d2 +d3e4 let+é2e+ 3 +0 letd2e+ a+d = = = mf sempreDUET1/16 NOTE RESTS count: Le td 2e +d letd2e+d tet+d2eta letd2etdTIES ON 1/16 NOTES (As written) (As counted) (As written) {As counted) 31DOTTED 1/8 NOTES (As written) (As played) ta 2+ count: 1 +d 20 + 1 count 142434440 1424 34044 +2 (pS eae = ae Ge ; = E == 1424 34ddetd 1td2e+d3atd4 aS Sa 22DOTTED 1/4 NOTES WITH 1/16 NOTES ON THE UPBEAT (As written) (As played) count: 1 2+d3 4 +d 12443 444 count: 142+ Jetda Is2edaeras 14243 + 4e+d 1424034 deta DOUBLE DOTTED 1/4 NOTES {As written) (As played) {As played) count: 2+4 3 4¢d 1 2+4 3 44d 1 24d 3 440 count: 142+ Je td W42+d3era4 reat aera _ | NR | | | aS \ a Two dots placed after a note increaces its duration by three quarters of its original value. 33SYNCOPATION WITH 1/8 NOTES AND 1/16 NOTES (As written) (As played) (As counted) count: 1e+d 2e +d tet+td2era le+d2e+d1/8 NOTE AND 1/16 NOTE SYNCOPATION— WITH RESTS AND DOTS count: Te+d2 etd 1tet+d2e+d¢ 1 +d2e4+d 1 e+a2 +46 countste td 2etd Letd2e +4 SS - ial —=. mf count: e +d 2 etd tetd2e +d 1 +42 e+% 1oetd2 44 35INTRODUCING 1/8 NOTE TRIPLETS count: 1 2 3 4wiplet 1 2 3 4triptet 12 Striptet 4 12 Striptet 4 3 3 3 3. In playing triplets, there are several counts that can be used. | suggest the student first count 1 trip-let, 2 trip-let, 3 trip-let, 4 trip-let. After developing a feel for the triplet rhythm, the count may be reduced to 1, 2, 3, 4 The student should also become familiar with two distinct sticking patterns for the triplet. Te first is alternating hands. The second is playing the triplets with two rights followed by a left (RRL). This pattern enables the player to always lead with the right hand, and a natural accent falls on the third part of the triplet producing a more “swinging” sound. Both stickings are important and each should be incorporated at the appropriate time. 361/8 TRIPLETS WITH'A REST ON THE UPBEAT Ss Sy ——==_F The fermata sign over a note (@) means pause before proceeding. SUMMARY IN 3/4 TIME 371/8 TRIPLETS WITH A REST IN THE MIDDLE1/8 NOTE TRIPLETS WITH TWO RESTS1/4 NOTE TRIPLETS (As written) (As played) {As written) (As counted) nl 3 3 To 3 3 1/2 NOTE TRIPLETS (As written) {As played) (As written) (As counted) ——3— I 3 —3— 33 3 31/8 NOTE TRIPLETS CONTAINING 1/16 NOTES 3 (SSSR eS SS ay1/8 NOTES AND 1/8 NOTE TRIPLETS 421/16 NOTE TRIPLETS — FROM THE UPBEAT 1/16 NOTE TRIPLETS FROM THE UPBEAT AND DOWNBEAT SUMMARY OF 1/16 NOTE TRIPLETS 3 33 3. 3 3 3 es pees ee ne1/16 NOTE TRIPLETS WITH 1/16 NOTES 3 3 aaa aa. =45READING IN “EIGHTH” TIME 1/8 NOTES AND 1/8 RESTS cont 1239456 123456 123456 123 456 oT Bee poten era fe rey ere ~ = mf sempre ~ = Sa1/4 NOTES AND DOTTED 1/4 NOTES 47SUMMARY IN 3/8, 9/8 AND 12/8 li oa aia EB ace es eee potas S PY pesstegtaatephe =SUMMARY IN 5/8, 7/8 AND MIXED METERS 123456 te2+1 ae 49INTRODUCING 1/16 NOTES cout: 123 45 6+ = =< F sempre 12+3 45 61/16 NOTE RESTS count: 12344564 if sempre 1243 4546 14243444546 51DOTTED 1/8 NOTES 1424344 546 1243 45+ 6+ {As Written) 12+3 4 546 ro2- (As Played) Duplet 52SECTION TWO READING ROLLS There are two methods for teaching rolls. One is the press roll app: roach, where the student is able to produce a sustained roll in a com: paratively short period of time. Rolls produced in this manner, how: ever, initially sound sloppy and uneven. As the student progresses, it is expected that he will develop a finer skill to execute these rolls with smoothness and finesse. Proponents of this approach assert that for all Practical purposes, since the press rolll is the roll that is actually used, especially in orchestral playing, students should be trained early in their studies to think of a roll simply as a continuous and smooth sound for a given length of time. The second method for teaching rolls is based upon the rudimental or traditional approach, which requires a student in the early stages of learning to play a precise number of “open” double strokes when he reads a written roll. As the student's technical prowess increases, he is able to play the open doubles at an increasingly greater speed. Even tually, the student will reach a maximum speed with open doubles, at which point the closed or press roll comes almost naturally. It takes an average student anywhere from one to two years to play a smooth closed roll through the rudimental approach. Although this method is initially tedious and time-consuming, its advocates claim that as an end result, the student gains much greater control and overall technique than in the press roll approach. Moreover, this greater control with open doubles and its resulting machine gun-like sound on the snare is extremely useful when it comes to playing jazz and rock solos around the drum set. In general, this author tends to agree with the advocates of the latter method, and the approach that is notated on the following pages is basically a traditional or rudimental one. All exercises are presented as “measured” rolls, with a predetermined number of double strokes for each beat. The two approaches, however, are not mutually exclusive Teaching the press roll should be initiated and incorporated at an early stage, in combination with the approach that | have chosen to illustrate. In fact, the exercises in this study not only can be played as'written, with 3 predetermined number of double strokes per beat, but they can also be played with press rolls. It should be added that the same exer: cises could even be played with alternating sticking, thereby providing the reader with the opportunity to develop his single-stroke rolls. One final point’ the pages in this section contain measured rolls which are based upon doubling sixteenth-notes, enabling a nine-stroke roll to be played for each beat. If the section is replayed in cut time, the rolls would be played as five strokes to a beat. However, another group of measured rolls exists, based upon doubling sixteenth-note .triplets, allowing thirteen-stroke rolls to be played for each beat. Since there isn’t enough room to present a separate study with these triplet rolls, | suggest that the reader replay all the exercises, using thirteen-stroke rolls to a beat. Page 109 contains a series of exercises to develop triplet rolls. . For a further study of rolls in all théir ramifications, | recommend the books ROLL CONTROL, and ROLLS, ROLLS, ROLLS.ROLLS ON 1/4 NOTES Nine strokes to a beat (quarter-note). (As written) (As played) bok LLRA LEARROLLS ON 1/2 NOTES a = fae faa] ROLLS ON WHOLE NOTES Z __g1/8 NOTE ROLLS FROM THE DOWNBEAT (As written) (As played) RRELR LURRLE 5 strokes — (As written) (As played)1/8 NOTE ROLLS FROM THE UPBEAT {As written) (As played) = eri en 1 5 strokes-— 871/8 NOTE ROLLS FROM THE UPBEAT AND DOWNBEATROLLS ON SYNCOPATED RHYTHMS (As written) (As played) (As written) (As played) (As written) (As played) 59ROLLS WITHOUT TIES (As written) (As played) (As written) (As played) (As written) (As played) SUMMARY OF ROLLS WITH AND WITHOUT TIESROLLS TIED TO 1/16 NOTES (As written] (As played) 61“INSIDE” 1/8 NOTE ROLLS FIVE-STROKE ROLLS STARTING ON “E” AND ENDING ON “D”" (As Written) or {As Written) (As Played) aor ae Meee 5 stroke roll FIVE-STROKE ROLLS STARTING ON “D” AND ENDING ON “E”” (As Written} (As pan iene eoaeis fede atd eecemeaies bi 4 I ALR CURAL ROL Al 6 stroke ral 62DOTTED 1/8 NOTE ROLLS ON THE DOWNBEAT (As Written) (As Played) RL ROL RARLLRRL, RALLARL 7 stroke rolls (As written) (As played) > FE fas iS Pee —* : iS=2 DOTTED 1/8 NOTE ROLLS ON THE COUNT of “E” (As Written) (As played) , Letd2 + te +6 27+ R LURRLLA 7 stroke roll 63SEVEN-STROKE ROLLS STARTING ON “AN” AND ENDING ON “E” (As Written) a era2e+ RL ARLLRRU RL (As Played) “Tstroke roll” SEVEN-STROKE ROLLS STARTING ON “D”’ AND ENDING ON “AN” (As Written} or (As Written} (As Played) esd 2erd ve+ta2 + etd 2 es ‘T stroke roll”9, 11, 13, AND 15 STROKE ROLLS STARTING AND ENDING ON DIFFERENT PARTS OF THE BEAT 7 9 9 7 9 RUCARLLARL AL : a Numbers above the notes indicate the length of the double-stroke rolls. 65ROLLING IN “EIGHTH” TIME AT SLOW TEMPOS 5 STROKES TO THE BEAT (As Written) (As Played) (As Written} (As Played) SS PortROLLING IN “EIGHTH” TIME AT MODERATE TEMPOS 9 STROKES TO THE DOTTED 1/4 NOTE Doubling the Quadruplet Quadruptet {As Played} Es — ne (As Written) Replay the first three lines at a fast tempo using seven stroke rolls to a tied dotted quarter-note roll As Written As Played le " TRRULLRA LOR 67SECTION THREE BASIC DRUM TECHNIQUE This section starts with basic sticking patterns using eighth: notes and triplets, For the most part, the right hand is featured, and it predominates in all the exercises. Replaying each exercise in reverse will allow the left hand to play the predominant role, and the second part of this section presents a comprehensive study tailored specifically to developing left hand contro! The third part of Section Three is an accent study with eighth: notes and triplets. By playing all accented notes on various tom toms, and all unaccented notes on the snare, the reader will be able to develop fluency with fundamental patterns around the drums. If you desire extra material along these lines, | suggest the book: A QUARTET OF RECIPES AROUND THE DRUMS, After the accent study, there is an extensive presentation of rudimental-type exercises including flams, ruffs, drags, single. stroke rolls, double-stroke open rolls, paradiddles, the 40 international rudiments, as well as special exercises with quintuplets and septuplets. EASY DRUM SOLOS TO DEVELOP TECHNIQUE is a, new book which incorporates all these topic in easy-to-play four- measure solos. For the most in-depth study of all aspects of technique | suggest: BASIC DRUM TECHNIQUE AND BEYOND.BASIC STICKING PATTERNS WITH 1/8 NOTES (Featuring the Right Hand) roy pO oy poony poo Dy py poy poy poy py pO Oy pony 2B 26. 27. 28. I I E sean cg a asincsrgniaiat Mm ancaiccrsia ag leanne | poy poy poo, STL y Aik A i 4 p 2 3s 2s Hs di A i db dl wey pL Wy py poo r 2 ‘ “ RLU RRULUL RLULRURRL RLLRALRLE TRLURLALR | 69COMBINING BASIC STICKING PATTERNS FOR TWO MEASURES Group One 1 2 HAIN NTs 5 4 STITT. icine taieeel lense en in prgr niceayt aggre ivan trite a 4 Ik LY 4h 1,2 y RURCALRL! ALLALURE RLRLRUCAL | AARLRLRAL Hoy pom, RLRERERE! RERRALREL RLRLRUERL ) RUERRLRAL pO om, " RUERLRUERL | LRLEARLALR ae WOOT, oy poo, omy RURLALAL! LRRLR ALR RLRLALAL! LRLLALLA Group Two 1 2 pT Oy INO, Amy RURLA RULER RLEARRLALE RLRULRRLR RULER ARERAL TAO, any pono, onan, RLRLRARLR ALLALALL RLALRRER RLLALLAE PID, Ty jo, oom, RULRLARLAR LARLALRLR REC IR UEAGA) Cele ae CERI tin dA) ees ITT STO, pI, Jy 70 =oGroup Three ros aa ooy Too oom RURRLRRL | RARLALRLL To, Samy poo, omy RLERALCRAL! RLARRLRLA RURRLRAL! RLRALRLL TOT RULRALRAL! RALLARER at 0. OTT IT, RUERRLERAL! LRLLALLAR RULRRURRL | CRRURALR Group Four Inyo, RUERRULALL! RALLERALL RURALALLE | RALARLRL po wy sam RLRALRLL: RALALRAL RURRLRLE | RRLALLAL TIO Ty pO oy ALARLALLE | RLLRALLR RURRERLL |! RLLRLREL ooo, ¢o on. omy RURRLERLL! RLELALRRE RURRERLEL | RLERLLRE ne770 TL, ST Ty tran aa oy f= PEePeEee ,onony, |; RRURALA STN ITD RULALL AL Group Five RRLRULRARL \ T0 ‘ TOT To ANT ONT, a fh TOOT, FOI y pO, oom RARLARLAR RRLARLAR J7T1.JTD5 RRUR ALAR JNO AALARLRR my LRLRLERLLE Group Six my LRURLALL TmODy pO, y LRU RLERRLE RRULRRLRAR . LRLRARLAL LERRLLRL | TT RRLRALRR LLRLERLL RRUERRUERA LERLEARL 10. LRRLULRALL RRLARRUERR L 72 TT rm, RLLRLUERL LRRURRLR RRLARRLRR! LRLALLALGroup Seven ny RRLRULRRL | RARLARLRL a, RRLRLARL | REAR RLARL Group Eight jon, ono, RRULRULRRL | RRERLREL RRLALRARL ITT ITT. LRLLARLL To omy Pea age e ee RLRRALALL Rl Cee Cee eae Ry ena RALRLARL | 4 Oy RURRURRL 3 NRRL RRURL ono RRURRLLR Poo, ono, TOTDy RULRLRRLL Group Nine Group Ten RRULRLARLR pO omy RRLARLRLR PRRURROERL! AREALALE 0 Oy Rag) OER Inte e URC RECO j ODO, ono y RURRURRL om RRLRRLLR omomy LRLALRLLGroup Eleven pO RRURLLAL | pT RRURLURL 4 pODOD, ooo, LRLULRLRGL GARCIA een Coee (Cnt R ina ere Ay Oooo, CRRLURARL Gr RALRUERLL RRURULRLL | JT ARLURALL RRLALLARL | RLRALALL oup Twelve 4 pO, oom, aCe ten her eng erence RLRLRARLL Woo besitetcteractcedl Group Thirteen AALULRALR RRULLRALL Sooty pola RURRURRL LRURLRLL Gro RRLLRURL STN MRA LLRALR.! ARLRARAL TOO Any poy RRLURALR | LRLERELRE up Fourteen 2. pO AA LUERARLL ARLALRARL | RRLLARALL RRURLRLL 4 poy RRULLRALL LRURLRL 74Group Fifteen woh Soy pO oom, RULLRRLLR RLLRALAL iS cetRER UeUER eae Ree er ear aR ST TT. JIT) fT, FAT y RLUERRLER! LERLLRLL ALLERRLER LALRLRE Group Sixteen ro oy} my RLLRLERAL! LRALRELA Rye Re) Cee ean Group Seventeen pO, OOo y RULLRRURL |) LARLRLALA | 4 Ps IUCR EG CAR Caen ee na aes pO, OOo, 4m, om, = 2 Group Eighteen pO, Ono y RLLRURLR | LCRLRURARL pon ony poo. oon, MY i] LALURALA RLLALRLR — 75Group Nineteen poo Oy 7.0, oom, RURLALRA | LRLALLRL RURULRLRR! LRLLALLL JT Oy 4» OO oo, RULRLRLAR) LCRRLLARL RLRLALAR LURALLRE =: Group Twenty oo oy po, oo AUREL RLLR! REL RRLELE RLRLRLLR | RLULARLRLR I BE k E 7 ‘ Group Twenty One 1 2 4 Ty poo) omy AUREL ALR CERLEALE RULALLERLER | LALRLALR Group Twenty Two an, onony po oy ALRLLE RRL! LALLURLLR RURLLRRLE LRLELALRAL 1 cn y pa LRRLURLR RLALLRRL | RUERRCRLL 76Group Twenty Three RRLURLRL! CRLELRLRL — RRURRRUR! RALRRLERL RRLURLAL Group Twenty Four Tay i}. oy . HOF ny pom, RARURRRLR RRUERLARLR RRULRRARLR ! 1 2. L a. BLS I. IKeraattatbestestad =I Group Twenty Five RURRLLRL WAP Wy oy po, Cie Cer tenpe rs LITT y RRURLALL RRURLRRE AAD y “URURLA CRT CRIES rt, oy pono mony RURRLUERL LRUELALLR I RURRLERLR! RUERRLARL 3 7 Group Twenty Six MTT y= pT. RURALURL RURRURUR LRURLRAL +A TTL y LRURURLL HAI pA oy