The Grid Book

2 PA RT I A L 3 PA RT I A L 4 PA RT I A L BUZZ DIDDLE FLAM

PARTIAL GRIDDING
by

John Lluvera + Mark Perrett

CONTENTS
05 PREFACE 16 CHAPTER 01: BUZZ
18 2 PARTIAL / ACCENTS DOWN / BUZZ
06 WHAT IS GRIDDING? 19 2 PARTIAL / ACCENTS AROUND / BUZZ
06 PARTIAL GRIDDING 20 3 PARTIAL / ACCENTS DOWN / BUZZ
07 ACCENTS DOWN 21 3 PARTIAL / ACCENTS AROUND / BUZZ
07 ACCENTS AROUND 28 4 PARTIAL / ACCENTS DOWN / BUZZ
07 TWO PARTIAL GRIDDING 29 4 PARTIAL / ACCENTS AROUND / BUZZ
07 THREE PARTIAL GRIDDING
07 FOUR PARTIAL GRIDDING 46 CHAPTER 02: DIDDLE
08 4-2-1 SEQUENCE 48 2 PARTIAL / ACCENTS DOWN / DIDDLE
08 PHRASING 49 2 PARTIAL / ACCENTS AROUND / DIDDLE
50 3 PARTIAL / ACCENTS DOWN / DIDDLE
09 HOW TO USE THIS BOOK 51 3 PARTIAL / ACCENTS AROUND /DIDDLE
09 NAVIGATION 58 4 PARTIAL / ACCENTS DOWN / DIDDLE
10 STUDY HABITS 59 4 PARTIAL / ACCENTS AROUND / DIDDLE
10 BOOK CHAPTERS
10 NOTATION 76 CHAPTER 03: FLAM
10 INTERPRETATION 78 2 PARTIAL / ACCENTS DOWN / FLAM
11 BUZZ EMBELLISHMENT 79 2 PARTIAL / ACCENTS AROUND / FLAM
11 DIDDLE EMBELLISHMENT 80 3 PARTIAL / ACCENTS DOWN / FLAM
11 FLAM EMBELLISHMENT 81 3 PARTIAL / ACCENTS AROUND / FLAM
12 METRONOME USE 88 4 PARTIAL / ACCENTS DOWN / FLAM
12 RHYTHMIC ACCURACY 89 4 PARTIAL / ACCENTS AROUND / FLAM
12 HAND FLOW
13 BODY ENGAGEMENT
12 TEMPO THRESHOLDS

14 A WORD TO THE RUDIMENTAL DRUMMER

14 TO THE ORCHESTRAL DRUMMER
14 TO THE MODERN FIELD DRUMMER
15 THE GRID BOOK GLOSSARY
PREFACE
Thank you for purchasing Partial Gridding. The purpose of this book is to
explain the basic concept of Gridding and acts as an introduction to The Grid
Book Series. This book specifically focuses on “Accents Down” and “Accents
Around” Gridding formats. The rudimental embellishments used in this text
consist of buzz rolls, diddles, and flams. This provides a considerable amount
of rudimental combinations in which to practice.

In recent years, the art of contemporary drumming has become more

involved and it is our aspiration that this book will act as an educational
workbook providing students, teachers, and inquisitive minds a well-defined
understanding of Gridding. If used correctly, this book will substantially
enhance your technical vocabulary.

We believe Gridding is one of the essential ways to practice the art of

percussion. We started The Grid Book Series to nourish an otherwise limited
market of literature on the subject and hope to increase awareness about what
Gridding has to offer to all styles of drumming for years to come.

While providing guidelines for effective study habits, as well as many other
applicable methods of practice, the content of this book is not intended to
provide a standard basis for personal playing technique. How you hold the
sticks, approach the instrument, and interpret rhythms should relate back to
your personal performance style. All of the exercises in this book are applicable
and highly effective across multiple genres of rudimental percussion.
6 PARTIAL GRIDDING WHAT IS GRIDDING?

WHAT IS GRIDDING?

Gridding is a practice method used to help musicians isolate musical demands. More specifically,
Gridding is the interplay between a constant and a variable. In any Gridding exercise, the
constant (such as an accent) remains steady throughout, as the variable (such as a diddle)
revolves through the partials around the constant. This formula is essential to Gridding because
without a constant and a variable, Gridding does not exist. There are many different Gridding
methods (Partial Gridding, Compound Gridding, Independence Gridding, Melodic Gridding,
Etc) but this book specifically focuses on Partial Gridding.

PARTIAL GRIDDING

Partial Gridding is based on the relationship between partial groupings and embellishments.
Groupings are notes grouped together with a beam and are based on how many partials
occur within one beat. For example, two 8th note partials within one beat (1-&) would be
considered a grouping of two, three partials within one beat (1-PO-LET) would be a grouping
of three, four partials within one beat (1-E-&-A) would be a grouping of four, and so on.

TWO PARTIAL THREE PARTIAL FOUR PARTIAL

GROUPING GROUPING GROUPING

Embellishments are musical additions to the overall line of primary notes within a phrase. A check
pattern acts as a foundation to add embellishments like accents, buzz presses, diddles, and
grace notes. The diagram below shows a check pattern in the first measure of each line, then
adds embellishments in the second measure.

ACCENT
EMBELLISHMENT

BUZZ
EMBELLISHMENT

DIDDLE
EMBELLISHMENT

FLAM
EMBELLISHMENT
 7 PARTIAL GRIDDING WHAT IS GRIDDING?

ACCENTS DOWN GRIDDING

In Gridding, something has to stay consistent (constant) and something has shift (variable). The
diagram below illustrates an example of a Gridding exercise where the accent stays constant on
the first partial, and the diddle shifts to the next partial on each measure. This type of Gridding
is called “Accents Down” since the accent stays the same the entire exercise.

ACCENTS AROUND GRIDDING

You can also practice Gridding where the accent is the variable. The diagram below illustrates
an example of a Gridding exercise where the accent shifts each measure, and the diddle stays
on the first partial the entire exercise. This type of Gridding is called “Accents Around” since the
The Grid Book - Vol 1 Book 2

accent shifts through the entire exercise.

TWO PARTIAL, THREE PARTIAL, AND 4 PARTIAL GRIDDING

Technically you can grid an infinite amount of partials, but for the purpose of this book we
included TWO PARTIAL, THREE PARTIAL, and FOUR PARTIAL Gridding exercises per chapter.
The more partials you have, the more partial variations you have as well.

TWO PARTIAL
EXAMPLE

THREE PARTIAL
EXAMPLE

FOUR PARTIAL
EXAMPLE
8 PARTIAL GRIDDING WHAT IS GRIDDING?

4-2-1 SEQUENCE

The 4-2-1 sequence is a practice format that helps you isolate musical demands to develop
great playing dexterity. This format is called “4-2-1” because of how the sequence works. For
every partial variation within a grouping, you will play each variation 4 times, then 2 times, then
1 time. For example, a FOUR PARTIAL GRID has a grouping of 4 partials per beat. Each partial
represents one variation.

PARTIAL VARIATION 1 PARTIAL VARIATION 2 PARTIAL VARIATION 3 PARTIAL VARIATION 4

PHRASING

Within the exercise you want every section to have the same duration. Since the 2’s format is
half the duration of the 4’s, you play through it twice. Since the 1’s format is a quarter of the 4’s,
you play through it four times. Use the diagram below to see how the phrasing works within the
4-2-1 exercise format.

4’s Play each variation 4 times. Play this phrase once.

1 2 3 4 1 2 3 4

1 2 3 4 1 2 3 4

2’s Play each variation 2 times. Play this phrase twice.

1 2 1 2 1 2 1 2

1’s Play each variation 1 time. Play this phrase four times.

1 1 1 1
9 PARTIAL GRIDDING HOW TO USE THIS BOOK

HOW TO USE THIS BOOK

All exercises in this book are set up using the 4-2-1 sequence. Below is an example of an
Accents Down exercise from Chapter 2: Diddle. The exercise is written on four lines. The “4’s”
are fully written out and fit within four measures. The “2’s” are written within two measures and
repeat once. The “1’s” are also written within two measures, so you only need to repeat this line
once as well to finish the four measure phrase.

NO
4’s REPEAT

REPEAT THIS
2’s LINE ONCE.

REPEAT THIS
1’s LINE ONCE.

NAVIGATION

Each spread in this book has a left and right page. All left page exercises are Accents Down,
and all right page exercises are Accents Around. This allows you to play a variety of demands
within one spread. If you want to isolate a specific grid type, only play the left or right pages
sequentially.

ACCENTS DOWN GRIDDING ACCENTS AROUND GRIDDING

10 PARTIAL GRIDDING HOW TO USE THIS BOOK

STUDY HABITS

We recommend reading all of the information in the front half of this book before playing
the exercises. Once you begin working through the exercises, shift back and forth between
comprehending the text and playing the exercises. This will result in a holistic understanding
the Gridding formula and will provide a stronger mental foundation while you are practicing
the exercises.

BOOK CHAPTERS

This book is set up into three chapters. CHAPTER 1: BUZZ, CHAPTER 2: DIDDLE, and CHAPTER
3: FLAM. Each chapter contains the exact same exercises, but are notated with different
embellishments that are specific to the rudiment focus of that chapter. All chapters include TWO
PARTIAL, THREE PARTIAL, and FOUR PARTIAL Gridding exercises.

NOTATION

For the purpose of this book, conventional music notation such as time signatures, tempo,
and dynamic markings have not been provided. All exercises in this book are assumed to be
in common time, use the “4-2-1” sequence, and should be performed at a variety of tempos
and dynamics. There are also no musical ending notations for any exercise. This allows each
passage to be played continuously from one to the next without stopping. Variations may be
repeated continuously as well.

Not Included In
This Book

INTERPRETATION

This book can be used in so many ways. For you to take full advantage of all this book has
to offer, don’t rush through the exercises. Take your time and use this as an isolation tool to
help you solidify your approach and make decisions on how you want to perform your music.
Dive deep into your personal playing style for a while, but don’t be afraid to try other styles
and interpretations as well. Play these exercises on many different instruments and see how
they feel. Always be a student and keep refining your approach. Even experimenting with
embellishments can give you a wider range of expressiveness as a musician.
11 PARTIAL GRIDDING HOW TO USE THIS BOOK

BUZZ EMBELLISHMENT DETAILS

The first chapter, BUZZ, focuses on buzz presses as they relate to the multiple bounce roll. There
are many different styles in which the multiple bounce roll can be played. The interpretation of
how long or short a single buzz press should be will vary depending on the technical style of
playing. Regardless of the musical genre you choose, maintaining a consistent interpretation
as you play through each passage is highly recommended. This will solidify your approach and
make your playing more dependable. When practicing, understand that the buzz is simply a
timbre change, not a volume change. Also, as you change between accents and taps, don’t
allow the embellishment to change the rhythmic timing. This can be achieved by creating a
steady hand flow in the check pattern throughout the passage.

DIDDLE EMBELLISHMENT DETAILS

The second chapter, DIDDLE, focuses on diddles as they relate to the double stroke roll. A
diddle is performed by playing two consecutive strokes on the same hand. In modern rudimental
literature, diddles are notated using a “tremolo” marking. This doubles the note value creating
two notes in the same space as one. Even when performed at high speed tempos the diddle
remains as two open strokes and never becomes a multiple bounce roll. When practicing the
diddle grid variations, a common tendency is to slur the rhythms. Although slurring the rhythms
can be an intentional variation of technique, for the purpose of this book, the passages are
encouraged to be played rhythmically accurate first. Playing through all diddle grid variations in
this book will isolate the diddle through all partials providing a better understanding of diddle
rudiments.

FLAM EMBELLISHMENT DETAILS

The third chapter, FLAM, focuses on grace notes as they relate to flams. A flam occurs when an
unaccented grace note, also known as an “acciaccatura”, is played slightly before a primary
note. Grace note timing is open for interpretation, so try playing a variety of open flams to
closed flams for a well rounded approach. Do not, however, change the grace note timing within
an exercise. From beginning to end, the grace note should stay consistent regardless of stroke
type or rhythmic value. Keep your grace notes low and work to maintain a rhythmically accurate
check pattern throughout. Grace notes should never change the rhythm of the primary notes.
12 PARTIAL GRIDDING HOW TO USE THIS BOOK

METRONOME USE

Actively engaging the use of a metronome in practice sessions is an essential tool for creating
consistency in both timing and hand flow. Listening is a key attribute in effective metronome use.
When playing through the grid variations, listen to where the grid aligns itself with the quarter
note and be sure to place your playing perfectly in sync with the beat. Most new metronomes
also have the ability to sound subdivisions along with downbeats. If this option is available to
you it is strongly recommended to use this tool as the subdivisions will help strengthen your
sense of time. This is especially important for passages which do not have an accent on the
downbeat. When practicing with a metronome it is best start with a slow tempo. As you work
through your practice sessions, slowly increase the speed as you become comfortable with
each tempo. This will allow a steady progression of technique giving your hands time to grow
and avoid bad habits. The most important thing to remember when working with a metronome
is to use it!

RHYTHMIC ACCURACY

Rhythmic accuracy is an important attribute when striving to achieve a steady tempo. It is

important to know that the metronome provides time, however, if the notes are not played
rhythmically accurate the overall tempo may suffer. For the purposes of this book it is
recommended to play the passages as rhythmically accurate as possible. This means that the
space between the macro beat and micro beat remain evenly subdivided throughout.

TREMOLO
MARKING

MACRO BEAT MICRO BEAT

(Constant) (Subdivisions)

HAND FLOW

When playing through each passage be sure to keep an even space between partials. This
is especially important when changing from an accent to a tap or a tap to an accent. These
situations tend to interrupt the flow of the hands. Hand Flow is the motion of the hands while
playing. Keeping a consistent hand flow maintains the spacing between partials and prevents
that space from opening and closing which distorts the sound and feel of each grid. A
distortion in hand motion directly relates to a distortion in rhythmic accuracy. Therefore the
hand motion for each grid should be broken down per beat.
13 PARTIAL GRIDDING HOW TO USE THIS BOOK

BODY ENGAGEMENT

Body engagement is the concept of combining yourself with your instrument. In the marching
arena this is commonly known as marking time. However, any form of keeping pulse with your
body, such as tapping your foot or nodding your head, will act as an inner metronome and
allow for a better understanding of where the beat stands as it relates to the grid. While
practicing, keep in mind that a quarter note is a quarter note regardless of the time signature.
This means that different grids will have different relationships to the downbeat. Take the time
to find where the downbeat lines up with the music for each Gridding exercise. Using this
method and finding a groove with your body will improve your internal tempo.

TEMPO THRESHOLDS

One of the best ways to develop a strong approach is by using “Tempo Thresholds”. This
means starting at a very slow tempo, doing multiple repetitions, and slowly raising the tempo
over time as you practice. The goal is to reach a new “MAX TEMPO” each practice session.
The diagram below shows an example of how Tempo Thresholds Work.

TEMPO THRESHOLDS

STEP 1 SET THE MET

STEP 2 PLAY THE REPS (Until you are comfortable at that tempo)

STEP 3 RAISE THE TEMPO (2-5 BPM)

STEP 4 PLAY THE REPS (Until you are comfortable at that tempo)

STEP 5 RAISE THE TEMPO (2-5 BPM)

STEP 6 PLAY THE REPS (Until you are comfortable at that tempo)

* Follow this process to practice the Tempo Threshold method. Remember quality is key. Once you reach a
tempo where you no longer play with quality, write it down as your new Max Tempo. Start every new practice
session slightly slower than your current Max Tempo and work your way up to a new Max Tempo.
14 PARTIAL GRIDDING A WORD TO THE RUDIMENTAL DRUMMER

A WORD TO THE RUDIMENTAL DRUMMER.

TO THE ORCHESTRAL DRUMMER

The most common interpretation for a sustain in orchestral notation is the multiple bounce or
buzz roll. A buzz roll can create a sustained sound for all pitched and non-pitched membrane
percussion instruments. When playing, the orchestral drummer must pay attention to how long
or short the sustain lasts on each partial within a buzz interpretation. There are numerous ways
to play a buzz roll and the amount of sustain per note is solely up to the player.

Consistent control of both hand flow and various buzz roll interpretations through the grids will
help even the most advanced players create subtle nuances in their performance. Gridding
will create a well rounded understanding of rudiments and how they relate to different playing
situations. This allows each player to become more well rounded in the hands and can translate
what is learned from Gridding, such as partial isolation, into other percussion instruments.

Common orchestral rudiments such as the ruff and same hand flams can easily be applied
to the grid variations. It may not be considered Gridding, but can help in focusing in on the
orchestral drumming approach.

TO THE MODERN FIELD DRUMMER

Due to the growing demand on the visual aspect of the marching arts, it is imperative that
body engagement is implemented into your practice agenda. Understand that there is no
substitute for marching and playing. Try to march as much as you can while practicing these
grid variations. This will develop more control of the sticks on the move, and allow more
confidence in your marching percussion performance. In the event that you are unable to
march and play, the mark time or other forms of body engagement will help keep a driving
pulse.
15 PARTIAL GRIDDING GRIDBOOK GLOSSARY

GRIDBOOK GLOSSARY

ACCIACCATURA - An unaccented grace note tied to a primary note in which the embellishment
does not disrupt the rhythmic integrity or timing value.

ACCURACY - A strict adherence to achieving exactness while playing with a metronome;

playing precise, as opposed to approximate.

ARTICULATION - A clear and distinct pronunciation of a passage, note, or value.

CONSISTENCY - The repetitive condition of maintaining an even hand flow and retaining a
solid form of movement.

DEXTERITY - Skillful and agile use of the hands or body.

FLOW - The consistent technique used in movement and motion throughout a passage or
excerpt.

MACRO BEAT - The constant within any musical phrase. Most commonly seen on the downbeat
or accented patterns.

MICRO BEAT - The smallest subdivision of a beat.

MULTIPLE BOUNCE ROLL - Sustained notes with an unmeasured amount of rebounds per
hand.

PARTIAL - Any individual note within a grouping of notes.

SLUR - An unclear or abnormal enunciation which causes a distortion of the timing in between
notes.

TIMBRE - The distinct tone or color of a sound produced by playing an instrument.

TREMOLO - A musical marking that splits the value of a note in half.

CH: 01
BUZZ
18 PARTIAL GRIDDING 2 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1
19 PARTIAL GRIDDING 2 PARTIAL / ACCENTS AROUND / BUZZ

1.2

2.2
20 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1

3.1
21 PARTIAL GRIDDING 3 PARTIAL / ACCENTS AROUND
Chapter/4: BUZZ
3 Partial
Chapter
Chapter 4:
4: 3
3 Partial
Partial

1.2

2.2

3.2

21
21
21
22 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / BUZZ

4.1

5.1

6.1
23 The Grid
PARTIAL
Book - Vol GRIDDING
1 Book 2 3 PARTIAL / ACCENTS AROUND / BUZZ
The
The Grid
Grid Book
Book -- Vol
Vol 1
1 Book
Book 2
2

4.2

5.2

6.2

22
22
24 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / BUZZ

7.1

8.1

9.1
25 PARTIAL GRIDDING 3 PARTIAL / ACCENTS AROUND
Chapter/4: BUZZ
3 Partial
Chapter
Chapter 4:
4: 3
3 Partial
Partial

7.2

8.2

9.2

23
23
23
26 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / BUZZ

10.1

11.1

12.1
27 The Grid
PARTIAL
Book - VolGRIDDING
1 Book 2 3 PARTIAL / ACCENTS AROUND / BUZZ
The
The Grid
Grid Book
Book -- Vol
Vol 1
1 Book
Book 2
2

10.2

11.2

12.2

24
24
24
28 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1

3.1

4.1
The Grid Book - Vol 1 Book 2
29 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

2.2

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12
12
12
12
30 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1

3.1

4.1
 Chapter 4: 4 Partial
31 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
Chapter 4: 4 Partial
Chapter 4: 4 Partial

Chapter 4: 4 Partial

1.2

2.2

3.2

4.2

13
13
13
13
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1.1

2.1

3.1

4.1
The Grid Book - Vol 1 Book 2
33 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

2.2

3.2

4.2

14
14
14
14
34 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1

3.1

4.1
 Chapter 4: 4 Partial
35 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
Chapter 4: 4 Partial
Chapter 4: 4 Partial

Chapter 4: 4 Partial

1.2

2.2

3.2

4.2

15
15
15
15
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1.1

2.1

3.1

4.1
The Grid Book - Vol 1 Book 2
37 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

2.2

3.2

4.2

16
16
16
16
38 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1

3.1

4.1
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39 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
Chapter 4: 4 Partial
Chapter 4: 4 Partial

Chapter 4: 4 Partial

1.2

2.2

3.2

4.2

17
17
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17
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1.1

2.1

3.1

4.1
The Grid Book - Vol 1 Book 2
41 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

2.2

3.2

4.2

18
18
18
18
42 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / BUZZ

1.1

2.1

3.1

4.1
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43 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
Chapter 4: 4 Partial
Chapter 4: 4 Partial

Chapter 4: 4 Partial

1.2

2.2

3.2

4.2

19
19
19
19
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1.1

2.1

3.1

4.1
The Grid Book - Vol 1 Book 2
45 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / BUZZ
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

2.2

3.2

4.2

20
20
20
20
CH: 02
DIDDLE
48 PARTIAL GRIDDING 2 PARTIAL / ACCENTS DOWN / DIDDLE

1.1

2.1
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1.2

2.2
50 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / DIDDLE

1.1

2.1

3.1
51 PARTIAL GRIDDING 3 PARTIAL / ACCENTS AROUND / DIDDLE
Chapter 5: 3 Partial
Chapter
Chapter 5:
5: 3
3 Partial
Partial

1.2

2.2

3.2

251
251
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4.1

5.1

6.1
53 PARTIAL
The Grid Book - VolGRIDDING
1 Book 2 3 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2

4.2

5.2

6.2

252
252
54 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / DIDDLE

7.1

8.1

9.1
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Chapter 5: 3 Partial
Chapter
Chapter 5:
5: 3
3 Partial
Partial

7.2

8.2

9.2

253
253
253
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10.1

11.1

12.1
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The Grid Book - VolGRIDDING
1 Book 2 3 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2

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254
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1.1

2.1

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4.1
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59 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

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242
242
242
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8.1
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61 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
Chapter 5: 4 Partial
Chapter 5: 4 Partial

Chapter 5: 4 Partial

5.2

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243
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9.1

10.1

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63 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

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65 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
Chapter 5: 4 Partial
Chapter 5: 4 Partial

Chapter 5: 4 Partial

13.2

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245
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67 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2
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69 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
Chapter 5: 4 Partial
Chapter 5: 4 Partial

Chapter 5: 4 Partial

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71 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2
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The Grid Book - Vol 1 Book 2

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32.1
 Chapter 5: 4 Partial
73 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
Chapter 5: 4 Partial
Chapter 5: 4 Partial

Chapter 5: 4 Partial

29.2

30.2

31.2

32.2

249
249
249
249
74 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / DIDDLE

33.1

34.1

35.1

36.1
 The Grid Book - Vol 1 Book 2
75 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / DIDDLE
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

33.2

34.2

35.2

36.2

250
250
250
250
CH: 03
FLAM
78 PARTIAL GRIDDING 2 PARTIAL / ACCENTS DOWN / FLAM

1.1

2.1
79 PARTIAL GRIDDING 2 PARTIAL / ACCENTS AROUND / FLAM

1.2

2.2
80 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / FLAM

1.1

2.1

3.1
81 PARTIAL GRIDDING 3 PARTIAL / ACCENTS AROUND / FLAM
Chapter 6: 3 Partial
Chapter 6: 3 Partial

1.2

2.2

3.2

481
481
82 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / FLAM

4.1

5.1

6.1
83The Grid
PARTIAL GRIDDING
Book - Vol 1 Book 2
3 PARTIAL / ACCENTS AROUND / FLAM
The
The Grid
Grid Book
Book -- Vol
Vol 1
1 Book
Book 2
2

4.2

5.2

6.2

482
482
482
84 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / FLAM

7.1

8.1

9.1
85 PARTIAL GRIDDING 3 PARTIAL / ACCENTS AROUND
Chapter /
6: FLAM
3 Partial
Chapter 6: 3 Partial

7.2

8.2

9.2

483
483
86 PARTIAL GRIDDING 3 PARTIAL / ACCENTS DOWN / FLAM

10.1

11.1

12.1
87The GridPARTIAL
Book - Vol 1GRIDDING
Book 2 3 PARTIAL / ACCENTS AROUND / FLAM
The Grid Book - Vol 1 Book 2

10.2

11.2

12.2

484
484
88 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

1.1

2.1

3.1

4.1
The Grid Book - Vol 1 Book 2
89 PARTIAL GRIDDING
The Grid Book - Vol 1 Book 2
4 PARTIAL / ACCENTS AROUND / FLAM

The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

1.2

2.2

3.2

4.2

472
472
472
472
90 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

5.1

6.1

7.1

8.1
 Chapter 6: 4 Partial
91 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
Chapter 6: 4 Partial
Chapter 6: 4 Partial

Chapter 6: 4 Partial

5.2

6.2

7.2

8.2

473
473
473
473
92 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

9.1

10.1

11.1

12.1
The Grid Book - Vol 1 Book 2
93 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

9.2

10.2

11.2

12.2

474
474
474
474
94 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

13.1

14.1

15.1

16.1
 Chapter 6: 4 Partial
95 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
Chapter 6: 4 Partial
Chapter 6: 4 Partial

Chapter 6: 4 Partial

13.2

14.2

15.2

16.2

475
475
475
475
96 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

17.1

18.1

19.1

20.1
The Grid Book - Vol 1 Book 2
97 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

17.2

18.2

19.2

20.2

476
476
476
476
98 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

21.1

22.1

23.1

24.1
 Chapter 6: 4 Partial
99 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
Chapter 6: 4 Partial
Chapter 6: 4 Partial

Chapter 6: 4 Partial

21.2

22.2

23.2

24.2

477
477
477
477
100 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

25.1

26.1

27.1

28.1
The Grid Book - Vol 1 Book 2
101 PARTIAL GRIDDING
The Grid Book - Vol 1 Book 2
4 PARTIAL / ACCENTS AROUND / FLAM

The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

25.2

26.2

27.2

28.2

478
478
478
478
102 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

29.1

30.1

31.1

32.1
 Chapter 6: 4 Partial
103 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
Chapter 6: 4 Partial
Chapter 6: 4 Partial

Chapter 6: 4 Partial

29.2

30.2

31.2

32.2

479
479
479
479
104 PARTIAL GRIDDING 4 PARTIAL / ACCENTS DOWN / FLAM

33.1

34.1

35.1

36.1
The Grid Book - Vol 1 Book 2
105 PARTIAL GRIDDING 4 PARTIAL / ACCENTS AROUND / FLAM
The Grid Book - Vol 1 Book 2
The Grid Book - Vol 1 Book 2

The Grid Book - Vol 1 Book 2

33.2

34.2

35.2

36.2

480
480
480
480