ID THIGPnI: BiocrraDhv

alike to be one of the finest dnfiilE S

Considered by mlsicians and critics
jazz,
i\
ldl]rnld Thigpen vas Lorn in Chicago Decglber 28,
and pelcussionists
1930. He iias raised in I-os Angeles, i!*!ere he attended ThcnEs Jefferson Htgh
SchcoL. there, under the instruction of SarTuel Brorne, he gained his firsl
practical jazz experience playing with the school's s,!.,ingband.
He was the first
and only dnnllrr to win the high schcoL's Music Aqalil. Aftel
graduation,
he studied at l-os Angeles City Coltege as a sociology nEjor but,
;-i,rihd

^^ :

-:rrDr

in m,ci^

laFf

:riar

^ha vp:r

H p -I -i v a l- f o r

a year

l-l

St- louis, I'Lissor.r-ri witi his father, Ben Thigpen, well-].J1o!,m as the aL!1irn]er
of the Andy K.irk Bend in the 1930s and 40s.
York,
In 1951, Ed joined t]re Cootie wiuianrs Band at tie Sa\.'oy Ba1lio<tr in 1'1ev7
\,ocal
and
singers
with
many
liell-knorn
rhythrL-and-bfues
and t-raveu-ed AnErica
g.].oups,
on d.runs rvith
Serving in the Arrny from 1952 to 1954, Ed becane an instructor
he served in
later
Port
ord,
california.
tne sixtn AnTry Band Ttaining unit at
Korea irith the Ei.ghtl:r Lmry Band.
i'rom 1954 tiiough 1958, he uorked successively with Dina-h washinqiton, Johnny
the BiILy
HoC,ges'Band, ci1 MeLfe, Hutta Hipp, Toshiko Akiyoshi, and finally
now included concetts, clubs, recordTayLor Trio. His professlonal activities
'rgs, t-]le educational Iv series, " The Subject Is Jazz", and \dork as a clinician
"or the Ludrig Dnnn ccfirpany.
In 1959 Ed joined t}le Osca! Peterson Trio. This group, consisting oi thigpen'
all
appeared in nightclubs
bassist Ray Brc(,m, and the gtreat Canadian pianist,
' lt
PhiltlafiDnic
Jazz
at
the
with
Nonran
Granz'
over the lior1d and in concetts
by
classics
are
stil1
considered
of
recordings
that
made an extensive series
jazz collector:s. In 1959 Ed and Efvin Jones shared a tie New Star Award in the
Po11.
Down Beat Critics'
Ed left ttle trio to settle in Canada, br.1t after six fiDnths r{as cafled to go on
In 1967 he settled in los Angeles to \^,ork as a
ttre road with Ella Fitzger:rld,
jjnqles,
and 1\/ and nDvie sound-tlacks.
in
recordings,
free-lance Itusicj.an
Pe99'y
Pat Boone, Andy willialrrs,
period
l4athis,
he
liorked
r.rith
Jobrmy
Drring tnat
l,ee, oliver Nelson, and Gerald wilson, aIIDng others. Tcward the end of 1968 he
-Fj^:

until

16.l Fl

ci.?dorald

re r -errnanent

nEmber of

her

Lr-Lo. He stayed

! ^ ' iL h h e r

Septqrdre!, 1972, vihen he (oved to Copenhagen, Demark.

Since then, Ed has used CopenlEgen as a base for !.,orking throughout ELrrope. He
!^orks frequently \rith Kenny Dreit, 1llad Jones, Ernle l^/ikins, Clark Terry, TeddY
wilson, and rnany other Anerican and Eurooean artisrs.
For the last eight years, Ed has been deeply involved in music education, teaching Jazz oriented Percussion Studies at the Music conserwatory and Jazz Tnstitut
in f4alno, Si./eden. He has his own percrrssion studio in Copentlagen.
Ed has written ard published four books: Ed ThigPn Talking D-!Mt Be our Guest,
with P.ay Bro!''1_r;Rhytlnn Analysis and Basic Co_ordination; and llDst recently The
Sound of Brushes.
Says Max Roach: "Thanks to Ed thigpen for giving us a book with a definite
"
approach tcerards developing the creative aspect of todern di.mring-

The use of ni-re blushes is not new, I have been told

1920's the brushes \,,7erebeccfiring an integral part.f

that as ear]w Fc l-ha

dl. a-r,r*i"'"qri#-t.

It would be jnpossible for a,.ry of trs to develope lrltiout

tie jnffuence of
others. f nould IiJ<e to ackno\41edge soTe of tie rnen who have had the dreel-_
-J.
est inf]uence on nv approach to playing brushes. My t"ti,.i
n""- ff1igp"i,
Jones,
-Denzil Best, Art Blakely. Buddy Rich, t4ax Roach, SheUy lvlame and
Elvin Jones. One cannot help bul be influenced by great arcisis.
Sance.tie efiErgence of "Rock }tusic', which for the nDst palt reguired heal.l'
drumling, the btushes were set aside or fot mcst of the young pf.yur" *no
began playing during this period, have never Lreen used ai afi.'
In 1965 I \rrote a book tltled "Ed thigpen Talking Dnfts,, in which was 1nt.y_ *_o"s of didqranrned brush strokes. it was sugqested that f do
9S"9
a book ?
total ly devored to brush LechniquF.
this book is tlle result, Atl of the strokes incfudeal herein I use. deDen.lina
upon tie irnrsicaf situation- Tt is my sincere hope that ;ft" a;;'.;-;;;;;"
\^'i11 help you in developing effective wire bmsi technique.

z/r+f*-

All rights
reserved,
which include
the right
to reproduce
this book or
port-ions Lhereof ^n anv foIln wl^Jrsoever. For it for]nali
on addiess
r,J Inlqpen/Actlon PeacLron, Bagerslraede 3, 2nd. L.h. --_?
V Copenhaqen. Denna.rk

RECOMMENDED
STUDYAND PRACTICEPROCEDURE

IN THE PAST, THAT MANYSTUDENTS,ADVTTCED

IT HAS BEENMY EXPERIENCE
TI{E WIITTEN TEXT INAS WELL AS BEGINNERS, DO NOT READ THOROUGHI,Y
BOOKS. fHERXFORE,I ASK YOU TO PLEASE
CLUDEDIN MOST]NSTRUCTION
READ THE TEXT IN THIS BOOKSAREFULIY. TIIE SAMEAPPLIES TO TI{E RECORDEDINSTRUCT]ONSAND SOUNDSOF IHE VARIOUSBRUSI{STROKESON THE
CASSETTE. LISTEN THROUGHEACH EXI,MPLEAT ],EAST ONCEWITHOUTTRYING
LOOKAT I'HE ILLUSTRATEDDIASR.AI'IAND TRY TO
TO P],AY ALONOWITH IT.
WITH YOURFINGEE
FOLLOWIT VISUALLYFIRST. NEXT TRACETHE DIAGRAI4
TIPS ONLY. THIS WILL ALLOWYOU TO GET THE FEELINE OF THE STROKEIN
YOUR HANDSFIRST. THT IDEA IS TO TRANSMITTH]S FEELING FROMYOUR
THE BRUSHLIKE THE STICK, SHOUIJD
HANDS THROUG}I
THE BRUSH. REI4E},IBER,
BE TELT AS AN EXTENTIONOF TH8 HAND AI.IDNOT AS A FOREIGNOBJECT.
THAT YOU PRACTICEA],t OF THE STROKESACCOM]T IS A],SO RECOMMENDED
PANYING YOURSEI,FWITH A ST]IADYPULSE ON THE BASS DRUMA]ID HI-HAT.
TINALLY ?RY PTAYING WITH SOMEOF YOURRECORDSOR TAPES TO SEE AND
MIGHT FIT VARIOUSMUSICALSI?UATIONS.
HEARIIOWTHE STROKES

TABIE OF CONTENTS
Page
The Brush
..... . . 2
B r u s h T ec h n i q u e - - - G r i l s f o r P l a y i n g B r u s h e s . . . . . . . . . . . . . . . . . .
3
R a u r n r r Jr 4 u '

... '..

!.............

N o t a t i o n , S y / e e p L, i f t a n d T a p M a r k i n 9 6 . . . . , . . . . . . . . . . . . . . . . . . ,
Brush Strokes for Playing Time---Basj-c Left Hand Stroke.......
Phrasing in Tine (Tempo)
.......7

,
5

R i g h t H a n dP u n c t u a t i o n
.........
8
Righl Hand Pu[ctuation with Left Hand Ba6ic Sweep. ..... . ... . . 9
Left HandFultuati-o[
,...,,.....
10
11
L e f l H a n d P u n t u a t i " o nw i t h R i g h t H a n d R i d e P a t t e r n . . . . . . . . . . . .
Accented rrlet countrr of fir6t beat, using both Righl and
Left Hands.....
.........,,,...".
)-z
R,<i.
T6 f+

LAf+
U.hd

ll-h,i

qv'aah

E \ r ' l1

a i r ^-1-6-

ulirh

Fi dh+

II'h.i

T.h

f ri.lz

c^,,n^\

-q -+-r ^ -L.6i e

L e f t i { a n dH a f f C i r c l e
........,,I5
Right HandHook Stroke
.........
Combination Left Hand Ful1 Cj.rcle wilh Ri-ght ]Iand llook Stroke.
Combinalion Right liand Zorro Stroke - Lefl lland Ful1 Circle ..
C i r c L e s, . . . . , .
,...,............
Basic ilice Rhythm in 3/4
Rigit ano Left Hand Strckes .......
d..6F

+a ^

'rl ^+

.^,,n+tr

ih

16
17
18
19
2C

. . . . . . . . . . .? r

<//

Sixteenth licte Triplet

P u n c t u a t i o n i n 4 , / + i l h " v t h m. . . . . , . . . . . . .

Zz

qiv+aAn+lr

Dlrh^l-,r.+i^h

23

\r^+6

frinl6t

ih

Z/J

D -. r -' +l -L m
--

Stroke for DoubleTime Feeling.....,.

A - L l e r e qL r a p r e f ! n u 1 i " L e. . . . . , .
T i g h t S h u f f l e S n e e p. . . . . . . . .

.,..,.,..

th

qrra6h

l.^

r+in6

24

............,...

25

..,,.....,...,..,.

25

r l t n t J r v e e pa n o r a p s
r f s t r u l x r n i ng r ' - - G u i t a r S t r o k e
'l

.......-......

...,..,....
.....

27
2A

cfF^L6l

)v
Adapting Brushes to Latin

Anerican l.lusic .........

....,....

3\

S i n g l e a n d D o u b L eS t r o k e s ( e x p l a n a t i - o no n e x u c u t i o n ) . . . . . . , . ,

3t

li^+r

qi

hol

l"o,l aFtrcL

C+r-L6

qu^6r

I'v6F^i

-D *. +, F .6-F-h.cl s

c6c

D o u b l eS t r o k e E x e r c i s e s
F l e x a n d M u l t i p l e B o u n c eS t r o k e s

.................. ,4
........
15
..............
)5

lhe Brush
The wire brush i-s constructed with thln wi-res bound together
j-n the 6hape of an opeD far.
Tbere a r e d i f f e r e n t t y p e s o l
q|hich
the
brush
is c o n n e c t e d . B e l o w a r e P l c handles Bade to
four
of
lhe
roany.
ture6 of

Mo6t !0odels are oade so that the wires ca! be retracted j-nto
the handles for protection when not in use. The choice of the
tyle you use. like sticks. is a lersonal- one. I{yself . f prefer
wire'
The sliffer
a-6rultr wltir-tnin and veri flexible wires,
for rudl[enta1 based so1os.
h o w e v e r . c a - nb e u 6 e d : r o s t e f f e c t i v e l y
For a s6fter sound ard wider rar8e of effects, the thin nore flexible wire i best.

t-

Brush Technique
sj-on
i c k s a n d b r u s h e s s h o u l d b e t h o u g h t o l a s . a n e x t e n the
B o t h s t-nliia
that
beingdifference
The one
"-hen in u"e.
6i-iir"
rxhereas' lhe slick rerdains
f
l
e
x
jble'
a
r
e
I
t
u
s
h
t"""-oiJr.t"
or wJoo'
r i g i o " i n c e i t i 6 m a o ef r o n a s i n g l e p i e c e
of the brush afford6 us cther elfects and
The flexibility
Because -of the
sounds which canno! oe naoe i4'ith a stick'
m
uEt be developed
t
e
c
h
n
i
q
u
e
an adciitional
ii"-'"iies
iil'i-ii
brushe6'
the
io get the naxiriuli use from

Grlps for Playing Brushes

The brushes are :1elc bas1cal1y the safie as the sxicks-.
Either the cc)lvonti-naI 8ri}, or the matcheo Srrp can be useo'
I have found
I use the conventicnal 6iip mosl of the time.
l
e
f
l
h
and
o
f
t
h
e
p
o
s
i
t
l
o
n
sliaht al-teraticns in the
(
T
h
i
s
b
e
r
n
e
n
t
i
oned when
w
i
U
n e c E s s a r y f o ! s o r n es t r o k e s .
c
'
s
A
e
t
t
e
'
)
on the instruction
n"""""t"y

t=
t
t
t

Ride RhythB in Jazz

3i'liln"o.""
li"'li,Bxi':"'*{tl"*i":'gli:r::
-'j"
;r".,iloiril'lnlriSi"ii
enserdble'
up
the
backing
or
"
soloist
""tp"nine
i i*i- r"i
j.s the cor'ect figure or
ri"a" u." been liuch controversy over which
I woufd like to clarify thi6 by
pl-aying a ri.au rtti!n..
r ii"."-io"
-qii"i'-trrif ii-h"pE"as on re"sivie ;rd the interpretatior of that
style by the rousicians PraYrnS.

_the
F c t h o 6 e o f u s b r o u g h t u p q u r i n g t h e s w i n g a n d be-bop erasr
prevalenl
i6
t
n
e
bar
t
on the 2nd and 4th beats or
altered triplet
based
is
the
ouslc
o
r
6rnce the style6 ard rhythmic interpreta!1on
ie.
c_ the triplet.

r! Er{

iritteD:
*

J-7J

tl7 ) 77.r

Jl .l

PIaYed:

-t.

l,[ th ihis i-nterpre tation o f t h e r h Y t h E o f t h e n e l o d y ' t h e a l t e r e d

ythd fits nore
t iplet used on the 2nd a n d 4 t h b e a t s o f t h e r i d e -r h
3
r
.
ie.
neturally.

R:.de rhythn:

J;

,l

r)
.!-

lle lo dy:

Iraditj-onal

or

J;

I
77

Dixieland

r:)
- : -

-l)

6tyle

or dixj-e1and 6ty1e pfayers nake rouch use of

' " i s l ttraditional
in
Fianv of the
interpretation
and sixteenth notes. That is'.their
.i"liifrt
s
y
n
c
opateo' ,,For"
, r-ia!"0 on"this puLse even though the rhyrhm'1s.
s
i
a
noarq nolaleo
t
h
e
t
h
a
t
* J c o @ p a n i @ e n itn i h i s s t y l e y o u w i l I f i n d
rl irdue Y Ir h' ryrt hLmr uw' l f l f i - t b" e" tJl e' Jr =

J
ieelj-ng
- f h i s r n v t h n i s a l s o v e r y e l f e c t i v e f o r S e l t i n g a double-llme
roainr e n p l - a v i n g i n a s f o w b a l l a d t e m p o r w i l h t h e l-e ft hand still
to
left
c i r c l e o r t n e b a s i c l e f t h a n d sweep froro
rininE lhe-full
iight Io Lelt to ri8ht etc.

tT-1 | I

l. t
i
ren playing at a very fasl tempo i
be-bo!t
dixier
rratural ride pattern for sv/in8r
tr'o-+arn

^-

^l.vi

wilr be the
g o s p l e or country-

c+ wl 6c

nd

in any style.

chrrafl p

rhyLhm, [he altered

tripfet

will

generally

J-Je-r l;r J-,1

r I I t
,f,

fj.t

rrrL

r\oLaLIUIIr.!vcepr

'4.P

arq

Malki.ngs

When brushes are desired

is no standard lrotation for brushes.
the word Brushes' Br' or lt.B. is generally. writlen
i..uog"t"n!'
the b6ginniirg of the section 6f the amangement in which lheir
d es i r e d .

There
i"-."
in at
use is

In no6t case6 it i6 up to the drun!0er to decide when the brushes will

provlde the best effect.

gulde I woulct suggeEt that you vj-11 be safe .i4 using lhem when. _ As a i h e B u s i c c a l l s i o r s o f t p l a y i n B , t t p i a n o
' r p i a . n i s s i m o r r re t c .
ever
r
I'forietr
There are tj-me6, however' when they -in be very effective in a
(loud) dynanis iange.
Thj-s ie because of the sounc of the brush
- playlng a strong ride rhythm.
-

It is further suggested that you listen io recordlng6 j-n v/hlch. .

Thj.s
druroroeii use brushes in various muslcal seitlngs.
different
your
own
tasle.
will help you to ievelop
Sweep, Li ft

a n d Tap Slgns

The dark shadow represents the general

a r e a t o be played on the drun head.
means thal the
An amovr polntj.ng rigilt,
brush sweep starts on ihe leit hand side
of drum and sweeps to the ri8ht.
neans ihat lhe
.An arrcw pointing lefl'
b r u s h s \ y e e ps c a r t s r n t h e r i g h L n a n u s i : e
of drwo head and sweeps lo the left

'-=?

s*--------7
I

\-------

i.n

",a''.n

"tFf"

c-rrnf. ^n feft

hand

side of drum head and sweep !o rj"ght

pass the "2rr or vjhichever count is
rnarked, to the next count, i.e. nlet 1".

to left
n-FLa;

^r "lat,r cnl)-: ,nd bru6h back

pass 't4" or whichever count is
+^

h6v+

-^rln+

bru6h to next
Brokeu line means to !!!l
beat or count roark in the direction
of
the arrorv.
circle neans that
Dark filled
i6 tapped (tick sound).

the beat

E
1

F,

63

.ql'rl

: ; r l a H i3E* .
rs *i:P

J
gli

ir aH?ra$
?Fi
ol

>6

:g

I$

is ig
!i . ia
l ! - f tI ;
i; ' e:
-i >t

JO

35.-',,

co

:E!i. P8!

irt:".flst
;?;!i ;H:
ei ; " 1 " 'ni.E
lil;;

'o orr-l

rl'< o

:el
'
E E e ;f ;f+E9 5
s
"E, I1 iE
r9 h:F
5 " lt

isl E;; ;$ '!;AiiE;

I;l !; ! : ;::;i ;:r

E.q o^
.q.d E

"s{l[! :*$i :::1fi3t;

S E o 'rl

:3 1 ! . 3 E : . : . e i i . ' - ."

.rl -g o

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. = l ! t r E . EH3t t t Xi i l

- ' | ; i 5 f f f ; : 'i 3 3 ' 3 B t E

: i E; n : - l : i ! ; B [ " *
o''
, 3S6 :i-*;

L a . uE o !

egE

t: i i, fa' ::Ef. s; iai :;"l :i*s:.s3

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Both hand6 Dake circl

1n couuter notlon

\-a''

't-.1

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Note:
One cEll also

ac cent

i! the ci.lcle on the

2 aad 4 courts by adal1!g a Ll.ttle press[re
ard slithtly
acclerate
the noverert on these
couDts.

LO

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Sixteenth

Note Tri-plet

Punctuation

The Sixteenth Note Triplet is used quite often as a variation t'- ir-e
for puirctuation. Reriemberthat it cones .n the c'-ur-:
altered triplet
t
t
a
n
t
r
,
of
an-trlp--1el, to be precise. Start the g4 ccunt rith ti'.e
left hanc.
-c'

.J

) t J

t--t-t

J )))

r)

4/4
c o u n tri.p

-t-

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I
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$.ght Shuffle Sweep.

.:'"ff
"*TurJffi

Left Hand

1.

aocet!{'

1e'

Rj.aht Hand

2'7

to@

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_3

-"Struludng" (cuitar

Stroke )

When rvorking wl"th a rhythm glitar phying a atrai-ght four

beats to the bar, or j.f you have no ggj-tar and vlsh to 8et
a LIghl 4/4 rhyttu0 guitar feeling' thls stroke 16 very effective conbined u"ith the left herd full circle.

Sluo ,o

I
1

Left

\ l

rap @ of
first bar

hald full

cicle

&!"e
The count ? bru6h area becoEes the count nl( area on alternate
neasu!es.

29

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rfu

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lll

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Adalting

Brushes to Laiin-Anerican

l"lusic

"":?";:!:i::iii
earri.er'
Asnentioned
ii:iiiili*iii :t"*##ii-;
-llii.3%1"'l;i},i*1"
"i'""n,r,

:$:ii"l;iltr:;:,i:.1*r:;:llr*-;r'
"nli*""'
"":::;":if,
:";rll"lo:,:::;:':l'1i*:::
u:;,::*l*lF"liii"

- the snare drun.

lxa,nple:

Frn^rrn

f^f

tW
I
r

ff
a t

one can also sinulate the souociol the scraller "t qill:"":Ltt:l*

- iFa..n:
:ti::'l;:;i,;iig:q'i!!;hil"riill:l"i'*"1"i;,
tn" group. Follorving are a fev exercises to r
i"r'itt
rhythmic sound e f fects.
your fj-nger tips
slowly at first.

o3'iflt3"'xiln
1"1:l:'#f,
e";1"'l?1"il:'.3;3;;"lni3"
Brush Si'/eep[xerc i6e s
for Sa.nbaor Bossa ltrova

/:\

accent

"onerr

accent

a cc e n t

'l)

Notated Brush sweePPatterns

rn
-

o )ln

4/4

z/4

t-t-t-t

>'--'---a a t

t-t-t-l

d ] . t . l t r d t t . l

-.+
t/
S-

o ). j : J
.

o ) J,l>

o l l , J -. f 7 )

)r!

a,

ll,J--J-J ) J)111
t _ J

33

Si-ngle and Double Strokes

For practicing single

is quite applicable.

ard crouble strokes, the idea of the up-slroke

r.+ha,
+f,h
Cne should try to play olf the drum head, c^ +^ cn6.lz
quick
do$,n-up motions with
io!'m into it.
This is obtaj"ned by rnakin8
n'i v^+
n^ih+
f^F
the hand or hands, using the !rr16t as the h , + r ' F . l
T
h
e
the hand. This is conmanly knorc as wrist a c t i o n .
result should
be a clear crisp tick sound from the drum.

Flat
;his
?''1
,+

s o u n d i s m c s t o i t e n u s e c r f o r - hm
a k j - n ge c c e n t s o r S e t t l n g
6
c^rrrn

brush flat
Tro

SlaD Sound

f^l

h6.

r-,vi

hd

F] v+L'

and ncre ccl'rn into

l. r,inr

ov.-.i

cl rb

i e

6ht,i

tice

rh6

c.ho

,,rdinorrc

uJ

hrci.

h^r'ov.F

oc +- -a ^! '^ 'f ir -6 -: -

hr^.+i.a
r'^)r

ir

Lehi

ihat

a heavier

!raJrrr6

the drum-head.

ercises lvith their related stickings should help

rhan aoequate technlque. It is basically a good
rf

nc.i

^i

+haea

d6r'61-hirr

+^

! L rq

nF..ti.a

you normalfy

FYr^r6

r'l l

prac-

with siicks.

circle wi.ll inciicate

The u6e of the open square aJld the dot or filled
\rhich hand 1s to be useci respectively.
T h e o p e n square cl for the ri8ht
hand and the dot a or fllled
circle for the left hand.
Jlex anc l:ultiple

Bounce Slrokes

i.4ren playing fa6t Couble strokes or multlple bounces, that is three or

m o r e b c u n c e G( b e a t s ) v i t h e a c h h a r 1 d , t h e n t h e l l E
or vibration of the
vire brush ls very useful.
The stroke is executed wlth a quick dot!'nwardwrist action witbout the
What happens 1s that
instead of
up-iurn as wiih the single strdkes.
turning the wrist up after the lnitial- downmotion, you tighten or
squeeze mole on the brush handle and follow the vibrations of the wiles
d o w n } r a r dw i t h t h e h a n d . W i t h p r a c t i c e o n e c a n b e g i n t o c o n t r o l t h e
.f the wri_st.
It i6 al5o advj"able for the druro-set player to practice all exercises
a steady 4/4 pulse lvith the bass-drum adding the hl-hat
while naintaining
on the znd. and 4th beats of each neasure. Try the salle exerciEes u6ing
the hl-hat on each pulse beat.

34

\r(

Bouace strokes

Flex and Multiple

bounce strokes (three or nore

hen playinA fast double or nuftiple
the natural flex or vl"bratj-ons
use
of
naking
ha:rd),
beats'wiih
6ach
^f the w-ire brush is necessary.
=he 'rFlex Stroke" is executed w'ith a quick downward wrist action ldoveas is' ','rith the sin8le and double 6t!okes'
roent w'ithout the up-turn'
hat happens is that instead of-turning lhe wrist u! again after-the
novenent r you tiShten or squeeze nore on the brush handle and
owowar-dof the wires domward with the hand.
iollo!.r the vibrations
'ith practice you car control the anoult o-f bounces, getting twot
-ohree', four or nore bounce with each single novenent of the hand'

Bounce Exercise s

MuLtiple

I
Z
o.tr
c l a

(t;p
-j-

- lzL
t

E : o

z ftA'
a

4
O

art
1

i
- LLt
a

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a
a

an

-t-

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a
o

I
\4
o

!
a

4
a

a,a
o

atL

t:*r-)'!

37