Musicians Finger Exercices - Jules Oroz

MagicMusicianFingers.
com
“Purely Fingers” Book One of The Orósz Technique
“The Internal Clock” Book Two of The Orósz Technique
THE DELUXE EDITION
A Professional Preparatory Finger Training Method

For Any Instrument Requiring The Left and Right Hand
Copyright © 2009 MagicMusicianFingers All Rights Reserved You may not copy, reproduce, post or forward this
document in any format. For permissions, contact [email protected]
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TABLE OF CONTENTS
Book One
Lesson 1...........................................Page 11
Lesson 2...........................................Page 28
Lesson 3...........................................Page 34
Lesson 4...........................................Page 40
Lesson 5...........................................Page 46
Lesson 6...........................................Page 52
Lesson 7...........................................Page 59
Lesson 8...........................................Page 66
Lesson 9...........................................Page 71
Lesson 10.........................................Page 77
Lesson 11.........................................Page 82
Lesson 12.........................................Page 87
Lesson 13.........................................Page 93
Lesson 14.........................................Page 99
Lesson 15.........................................Page 105
Book Two
Lesson 1...........................................Page 113
Lesson 2...........................................Page 136
Lesson 3...........................................Page 145
Lesson 4...........................................Page 153
Lesson 5...........................................Page 161
Lesson 6...........................................Page 169
Lesson 7...........................................Page 177
Lesson 8...........................................Page 192
Lesson 9...........................................Page 207
Lesson 10.........................................Page 216
Lesson 11.........................................Page 225
Lesson 12.........................................Page 234
Lesson 13.........................................Page 243
Lesson 14.........................................Page 252
Lesson 15.........................................Page 261
Lesson 16.........................................Page 284
MagicMusicianFingers.com
“Purely Fingers” Book One - Lesson One

Developed by Jules Orósz, Flutist, Clarinetist and Marimbaist
Foreward
“Playing Like a Concert Artist”
We all want to know the secret to get to artist level. The secrets that no one teaches are contained in these lessons.
Music is the ultimate form of communication understood by all living things ( humans, animals and even plants ).
As performers, our goal is to learn our instruments’ technique so well that it becomes an extension of our body. Only when
this transference takes place will we truly express ourselves through music, the real point of performing. Sure, we’ve all
attended concerts only to come away raving about just the performers’ virtuosic technique and the things we probably can’t
do ourselves but did the performer have anything to “say” with the music ?
Was there expression and warmth or did he, she or they give the music a direction ( a point, a story ) or was it simply
Technical Frills ?
One should demand more of your favorite players and idols and of yourself, too, along these lines.
Very few of us ( probably only .00001 % ) have a natural ability for technique. I mean the “effortless” kind that comes with
just a little practice. Most of us have to practice countless hours while we sometimes move forward and sometimes remain
stagnant .
My method for finger technique is designed to be worked on separately from the instrument and the results are unlike
anything you will have experienced before. Although I conceived it for Woodwind players and the training of all ten
fingers, I believe it will dramatically improve finger skills on any instrument that requires the use of both right and left hand
fingers even if all ten are not employed.
My theory behind this is that if you train all ten fingers to have an equally powerful ability then the brain will have been
trained thoroughly and completely with little chance for relapse into “lack of control”.
Daily scale work, exercises and etudes are all designed to help “get you there”. Woodwind players sometimes use
additional exercises specifically designed for the upper register ( we all know the difficulty in playing rapid high note
passages ) as well as trill exercises ( who practices trills ?! )
These can all be great and should be incorporated into your practice regimen but for most of us, are not enough because we
tire ourselves out before we see results. The other draw back ( if you are an emotionally sensitive person ) is that you
become caught up in the musical direction of the whole etude ( as you should ) all of which leaves little concentration left
for technical self observation.
OK, so maybe musical lines don’t bog you down too much. Maybe it’s rhythm that zaps your thinking.
Whatever it is that slows your progress is eliminated with my method. First, we must train the fingers, give them strength
and independence. Each finger must be able to move alone without disturbing the others and without additional helping
movements from the wrist or arms.
My method takes you through 3 variations of 200 target specific exercises over the course of 19 weeks directing
concentration on strength and independence in both the placing and lifting actions of each finger, the coordination to
interact with any finger combination and finally to do so with speed and accuracy. 600 short, focused steps to total virtuosic
finger control . How far have you gotten in the last 19 weeks with your technique with just 20 minutes of practice a day ?
Your success is guaranteed because of two things.
One, the motion specific design of each exercise and Two, the full concentration you will be able to devote to pure finger
motion and not reading music or focusing on embouchure.
It’s all just “Purely Fingers” !
Good Luck with the course and remember that if you need any questions answered, just send me an e-mail.
Yours,
Jules Orósz [email protected]
Symbol Explanations
The lessons have the Left Hand fingers represented by the following “piano fingering” symbols: ! " # $ %
The lessons have the Right Hand fingers represented by the following “piano fingering” symbols: & ' ( ) *
The symbols ||: and :|| will tell you to repeat the finger exercise located in between them over and over.
To begin at the most fundamental level, here are the basic visual examples of how I will represent all of the exercises :
SAMPLE CONCEPT ONE ( left hand ) ||: ! " # $ % :||
( right hand ) ||: & ' ( ) * :||
Sample Concept One instructs that one “Taps” !, the little finger on the left hand, then " or ring finger left hand and
so on with each finger down to %, or the thumb. Then repeat it again over and over until you are comfortable with
the coordination skill. Then you do the same exercise with the right hand alone.
SAMPLE CONCEPT TWO ( left hand ) ||: ! " # $ % :||
( right hand ) ||: & ' ( ) * :||
Sample Concept Two instructs that one “taps” the same fingering sequence as Sample Concept One but this time with both
hands simultaneously. Both Left and Right Hand little fingers tap at the same time, then both ring fingers tap at the same
time, etc.. Each entire sequence, 5-4-3-2-1 is then repeated over and over.
SAMPLE CONCEPT THREE ( left hand ) ||: ! " # $ % :||
( right hand ) ||: & ' ( ) * :||
Sample Concept Three has you fingering with both hands in a particular sequence as indicated by reading through the
sequence left to right.
Left Hand 5 - 4, then Right Hand 5-4, Left and Right Hands together fingers 3, then Left Hand 2, then Right Hand 2, ending
with both hands together fingers 1, the thumbs .
You’ll notice that the fingerings are grouped into two groups of four sixteenth note as values indicated by the double beam
lines. Later in the course, you may assign metronomic values to the exercises so if you set your metronome to MM =
quarter note 60, you would tap the first four finger denominations to each tick of the metronome and then the second four
finger denominations to the next metronome tick. The entire sequence is then repeated over and over.
SAMPLE CONCEPT FOUR ( left hand ) ||: ! " # $ % $ # "
! " # $ % $ # " :||
Sample Concept Four will show multiple lines of fingering sequences to run through, reading left to right and top to bottom,
like reading a book before the sequence repeats. Let’s get started with lesson #1.
LESSON #1
There are Three Distinct Finger Motion Styles that are incorporated into each of my fingering sequence exercises. These
three “styles” are graduated in terms of how the skills have to develop in a building block way. It is these finger motion
styles that actually develop the brain’s ability to control the fingers independently in concert with the fingering sequences.
Practice each exercise three times, first using Finger Motion Style One, then repeat it two times using Finger Motion
Style Two and then repeat it again three times using Finger Motion Style Three.
Sound complicated ? It’s not ! Here they are :
FINGER MOTION STYLE ONE
The First Phase Baseline Skill Builder That Retrains The Brain and Fingers
So That One Finger is Not More Dominant Than The Others.
Motion Style One develops strength and coordination as well as the ability to move each finger directly from the large hinge
( where the finger meets the hand ) without bending the other joints as the fingers go through the exercises. This teaches the
only necessary finger movement....one finger movement per finger motion.
Example, many players when they press down a key on their instrument, first land on the key or tone hole and then let the
first joint ( the small joint near the fingernail ) bend, therefore creating two finger movements per fingering.
Not as many but a few players also bend the finger at the middle joint which creates multiple finger movements per
fingering.
I have occasionally seen students stiffen the third hinge ( knuckle where the finger meets the hand ) only to maneuver the
movement of the finger with the first and second joints. This is very bad technique and will lead nowhere.
At extremely slow tempos, these techniques do not hinder your performance but will absolutely get in the way in faster
passages and eventually will prevent you from playing at high speeds rendering much of the beautiful repertoire
unaccessible.
Here is how Motion Style One is done:
Sitting at a table on a bar stool so your arms can drop down lower than a regular chair would allow, spread your fingers
apart a bit.
Keep your arms and wrists suspended, (not resting on the edge of the table ) and parallel to the table. The palms should face
downward, arch the fingers slightly ( approximately 45 degrees ) and then you are ready to begin the exercise.
All fingers remain up in the air, suspended, except for the fingers in use. Initiate the finger movements from the large hinge
( the large knuckle where the finger meets the hand ) .
Keep each finger slightly arched as if there were a curved metal pin in the finger to not let it lose its shape during the entire
finger motion.. This will stop any unnecessary movements from the other two joints.
In Motion Style One we use LARGE, STRONG MOVEMENTS of each finger so you can actually hear the finger tips
pounding out the exercises on the table top. You should have one finger on the table at all times lifting it when the next one
takes its place. Do so with exacting synchronicity.
At this time, do not consciously try to stop other fingers from empathetic movements, however, it is Very Important not to
let your wrists or arms aid the finger movements. Move The Fingers Only !
If your finger nails are too long and get in the way of the arching of the fingers so as to make you go through the exercises
flat fingered or you hear nothing but nails clicking, you must get rid of them.
File your nails to an appropriate length. It will prove to serve you better when you actually play your instrument. This
method of using Large, Strong Movements seems to vividly “burn” pathways from the brain to the fingers as if to say,
“Here I am all by myself so you can find me and single me out without the other fingers to help locate me.”
It really works !
Remember, speed is not important in this phase so you need to keep the speed slow if you decide to use a metronome.
What is most important In Finger Motion Style One is developing strength and independent coordination along with the
use of the proper finger hinge movements.
FINGER MOTION STYLE TWO
The Second Phase Baseline Skill builder Ingrains The Concept of Minimal Movement
From the Non Playing Fingers For Total Finger Independence Training
It strengthens the “Lifting Motion” of the fingers which is something that very few players EVER think about. One major
benefit of this skill builder is the mental training of preparing for the next fingering....In Advance.
Thinking Ahead !
This concept is so important to every musician and needs to be addressed in order to achieve any solid level of success.
Finger Motion Style Two is probably the most difficult of the three motion styles and is most likely to be cut short due to
mental and physical exhaustion.
I urge you to do these exercises faithfully as the results that you will see coming forth to you are simply, out of this
world !
The skills acquired in both Phase One and Phase Two of the Finger Motion Styles will enable you to achieve success in
Phase Three which will ultimately directly apply to your new finger technique on your instrument.
The set up for Finger Motion Style Two is the same as for Motion Style One with the exception that all fingers remain
ON the table except for the fingers in use. Still keep your arms and wrists suspended and not resting on the edge of the
table.
The arms are parallel to the table and the fingers are arched slightly ( approximately 45 degree angle ) as pictured in above.
Again, you initiate LARGE, FINGER MOVEMENTS from the large hinge ( knuckle where the finger meets the hand )
keeping the fingers arched as if there were a curved metal pin in each one keeping them from bending or “Breaking” at the
first or second joints.
When lifting each finger, try to do so at the exact moment the previous finger lands. Not Before....Not After but in exact
synchronicity.
If you haven’t guessed by now, Speed in Phase Two is Also Irrelevant !
Absolutely do not try these exercises quickly. The elements to be learned are done so at a snail’s pace. If Phase One
doesn’t point this out to you, Phase Two will.
The personality of each finger on both hands will be exhibited in both their natural abilities as well as their natural
challenges or problem areas. As in Phase One, Move Only The Fingers with no help from the wrists or arms.
FINGER MOTION STYLE THREE
The Final Phase of Total Finger Control and Ability Where You Will Refine
Your Finger Control To Include Speed, Accuracy and Lightness of Touch
This Finger Motion Style emulates the actual finger movements on your instrument. Phase One and Two, in their thorough
preparation of the lifting and placing actions of each finger aid in strengthening and creating independence of finger
movements and the “Advanced Thinking Technique” of “In Sync” switching of the lifting and placing motions.
These are the skills needed to refine your technique, at any level.
In Phase Three, we use the same set up as in Phase One with the arms suspended, parallel to the table top, our fingers arched
( curved at approximately a 45 degree angle ) and also suspended in air except for the fingers in use.
But this time, we DO NOT use strong large movements but rather EXTREMELY SMALL AND LIGHT TOUCH
FINGER MOVEMENTS concentrating on moving ONLY the fingers involved and keeping the others very still.
Finger Motion Style Three is where you can now concentrate on controlling the empathetic movements from the
non-tapping fingers.
Finger Motion Style Three is probably the most fun in that we can finally use a metronome and work for speed. It most
closely resembles our finger use on our instruments so we can see the direct transfer of our newly acquired skills.
Remember when applying a metronome to these exercises, you must start slowly then progress to faster speeds one notch at
a time, in small increments, always making sure that your fingers are in COMPLETE CONTROL.
If you reach a speed where one or more fingers are irregular in their accuracy, you must reduce the metronome speed to
where you can resume total control and stay there a little while longer before speeding up again.
Enjoy this phase, then go to your instrument and play some scales and Etudes.
You WILL be blown away at each day’s progress and how your results transfer immediately !
Now here are some instructions as to how the exercises are presented.
Initially, practice the following preliminary concepts for observing how the fingers are to behave during all three styles of
finger motions. It is important to become accustomed to how each one “feels” before starting in on the formal training
course.
Preliminary Concept ( LH ) ||: ! " # $ % $ # " :||
Preliminary Concept ( RH ) ||: & ' ( ) * ) ( ' :||
I have color coded the fingers in Lesson #1 that are being “focused” on in each line of sequences for easier visualization.
Concepts 1A through 1D all have four lines to each exercise. Go through all four lines and end up on the fermata
or hold symbol. ( This is the finger to tap to end the four line exercise after repeating the four line exercises as many times
as needed )
Tips & Observations:
Concept 1A ( LH ) ||: ! " ! " ! " ! " ! " # $ % $ # " Finger 3 likes to move during
the 5-4 repetition. It tends
to travel too high.
! " # " # " # " # " # $ % $ # " Fingers 5 and 2 like to move
during the 4-3 repetition.
! " # $ # $ # $ # $ # $ % $ # " Finger 4 likes to move during

the 3-2 repetition.
! " # $ % $ % $ % $ % $ % $ # " :|| ! It is the easiest to

keep the other
fingers still during
the 2-1 repetition.
Concept 1B ( RH ) ||: & ' & ' & ' & ' & ' ( ) * ) ( '
& ' ( ' ( ' ( ' ( ' ( ) * ) ( '
& ' ( ) ( ) ( ) ( ) ( ) * ) ( '
& ' ( ) * ) * ) * ) * ) * ) ( ' :|| &
Concept 1C ( LH ) ||: % $ % $ % $ % $ % $ # " ! " # $
% $ # $ # $ # $ # $ # " ! " # $
% $ # " # " # " # " # " ! " # $
% $ # " ! " ! " ! " ! " ! " # $ :|| %
Concept 1D ( RH ) ||: * ) * ) * ) * ) * ) ( ' & ' ( )
* ) ( ) ( ) ( ) ( ) ( ' & ' ( )
* ) ( ' ( ' ( ' ( ' ( ' & ' ( )
* ) ( ' & ' & ' & ' & ' & ' ( ) :|| *
“The Mirroring Exercises”
Concept 1E
LH and RH Simultaneously ||: ! " ! " ! " ! " ! " # $ % $ # "
||: & ' & ' & ' & ' & ' ( ) * ) ( '
! " # " # " # " # " # $ % $ # "

& ' ( ' ( ' ( ' ( ' ( ) * ) ( '
! " # $ # $ # $ # $ # $ % $ # "
& ' ( ) ( ) ( ) ( ) ( ) * ) ( '
! " # $ % $ % $ % $ % $ % $ # " :|| !

& ' ( ) * ) * ) * ) * ) * ) ( ' :|| &
Concept 1 F
LH and RH Simultaneously ||: % $ % $ % $ % $ % $ # " ! " # $
||: * ) * ) * ) * ) * ) ( ' & ' ( )
% $ # $ # $ # $ # $ # " ! " # $
* ) ( ) ( ) ( ) ( ) ( ' & ' ( )
% $ # " # " # " # " # " ! " # $

* ) ( ' ( ' ( ' ( ' ( ' & ' ( )
% $ # " ! " ! " ! " ! " ! " # $ :|| %

* ) ( ' & ' & ' & ' & ' & ' ( ) :|| *
Tips & Observations:
Concept 1 G
LH and RH Simultaneously ||: ! " ! " ! " ! " ! " # $ % $ # "
||: * ) * ) * ) * ) * ) ( ' & ' ( )
! " # " # " # " # " # $ % $ # " The RH 2-3 repetition
* ) ( ) ( ) ( ) ( ) ( ' & ' ( ) can end up getting

ahead the LH 4-3
pattern .
! " # $ # $ # $ # $ # $ % $ # " The LH 3-2 repetition
* ) ( ' ( ' ( ' ( ' ( ' & ' ( ) can end up ahead of
the RH 3-4
! " # $ % $ % $ % $ % $ % $ # " :|| !

* ) ( ' & ' & ' & ' & ' & ' ( ) :|| *
Concept 1 H Tips & Observations:
LH and RH Simultaneously ||: % $ % $ % $ % $ % $ # " ! " # $
||: & ' & ' & ' & ' & ' ( ) * ) ( '
% $ # $ # $ # $ # $ # " ! " # $ Here, the LH 2-3 might lag
& ' ( ' ( ' ( ' ( ' ( ) * ) ( ' behind the RH 4-3.
% $ # " # " # " # " # " ! " # $ Here, the RH 3-2 might
& ' ( ) ( ) ( ) ( ) ( ) * ) ( ' rush ahead of the LH 3-4.
% $ # " ! " ! " ! " ! " ! " # $ :|| %

& ' ( ) * ) * ) * ) * ) * ) ( ' :|| &
A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of each lesson.
Remember Not To Use Your Arms or Wrists When Moving Your Fingers. Fingers Only !
FINGER MOTION STYLE ONE FINGER MOTION STYLE TWO FINGER MOTION STYLE THREE
“Finger Pounding” “Finger Lifting” “Finger Tapping”
- Arms, wrists hands suspended 2" above table - Arms, wrists hands suspended 2" above table - Arms, wrists hands suspended 2" above table
- Fingers arched slightly, palms face down - Fingers arched slightly, palms face down - Fingers arched slightly, palms face down
- All fingers remain in the air except for the - All finger tips remain on the table except - All fingers remain in the air except for the
finger(s) that are moving for the finger(s) in use finger(s) that are moving
- Large, slow movements only from knuckle - Fingers move only from large knuckle where - Small, light movements of the fingers from the
where finger meets the hand ( the hinge ) fingers meet the hand ( the hinge ) hinge
- Finger “pounds” the table audibly - Lift arched fingers as high as possible off the - Concentrate on eliminating empathetic finger
table in large movements to stretch the movements from fingers not in use
- One finger remains on the table at all times muscles
only lifting it when the next finger takes its - Speed can be increased and controlled with a
place - When one finger lands on the table, lift the metronome only in this style
next finger at precisely the same moment
“Purely Fingers” Book One - Lesson Two

LESSON #2
Remember: Stay Slow in Motion Style One and Two and use large, strong movements from the large knuckle hinge,
almost pounding the table using the fingers only - no arms or wrists. In Motion Style Three, use very small and “light
touch” movements, concentrate on minimal movements with no empathetic movements from the other fingers. You may try
for speed but always stay in control. Try first without accents ( all notes equal emphasis ). Add accents to Motion Styles
One and Three only.
A Summary of the Three Finger Motion Styles that you are to follow can be found at the end of the lesson.
The Following Concepts Are in 9/8 Time.
> > >
Concept 2A ( LH ) ||: ! " ! " ! " # $ # $ # $ " % " % " % :||
> > >
Concept 2B ( RH ) ||: & ' & ' & ' ( ) ( ) ( ) ' * ' * ' * :||
> > >
Concept 2C ( LH ) ||: % " % " % " $ # $ # $ # " ! " ! " ! :||
> > >
Concept 2D ( RH ) ||: * ' * ' * ' ) ( ) ( ) ( ' & ' & ' & :||
The Following Concepts Are in 6/8 Time and are done without accents.
Concept 2E ( LH ) ||: ! " # $ " % ! " # $ " % :||
Concept 2F ( RH ) ||: & ' ( ) ' * & ' ( ) ' * :||
Concept 2G ( LH ) ||: % " $ # " ! % " $ # " ! :||
Concept 2H ( RH ) ||: * ' ) ( ' & * ' ) ( ' & :||

For the next concepts, 2I through 2P, you will tap one of the previous patterns with the left hand while tapping
another, but different pattern with the right hand simultaneously. I call this my “mirroring” technique and
requires, obviously, that you have to memorize the patterns separately first before you can combine them together.
This “Mirror Memorization” technique is one of the keys to the success of my method. Add accents only if you can
successfully tap the two hands together.
Concept 2I ||: Left Hand Taps Concept 2A :||

||: Right Hand Taps Concept 2B :||
Concept 2J ||: Left Hand Taps Concept 2C :||

||: Right Hand Taps Concept 2D :||
Concept 2K ||: Left Hand Taps Concept 2A :|| Tips & Observations
||: Right Hand Taps Concept 2D :|| In 2K and in 2L, the fingers in your weaker
hand may move irregularly slower or faster
than the stronger hand.
You need to slow down and concentrate on

Concept 2L ||: Left Hand Taps Concept 2C :|| those fingers that are out of control.
Concept 2M ||: Left Hand Taps Concept 2E :||
||: Right Hand Taps Concept 2F :||
Concept 2N ||: Left Hand Taps Concept 2G :||

||: Right Hand Taps Concept 2H :||
Concept 2O ||: Left Hand Taps Concept 2E :||

Concept 2P ||: Left Hand Taps Concept 2G :||

“Purely Fingers” Book One - Lesson Three

LESSON #3
Do these concepts evenly without accents. Repeat each measure three times and then the entire line 3 times.
3X 3X 3X 3X
Concept 3A ( LH ) ||: ||: ! " :||: # $ :||: " ! :||: # % :|| :|| Tips &
Observations
Remember: These
patterns are all building
3X 3X 3X 3X blocks to achieving
“perfect technique”. Do
Concept 3B ( RH ) ||: ||: & ' :||: ( ) :||: ' & :||: ( * :|| :|| them diligently in the
correct requirements of
each Finger Motion Style
before proceeding to the
next concept exercise.
3X 3X 3X 3X
Concept 3C ( LH ) ||: ||: " ! :||: # % :||: ! " :||: # $ :|| :|| Review the directions of
each style before
practicing in order to get
the most our of your
efforts.
3X 3X 3X 3X
Stay the Course !
Concept 3D ( RH ) ||: ||: ' & :||: ( * :||: & ' :||: ( ) :|| :||
The Following Concepts Are in 4/4 Time and are done without accents.
Concept 3E ( LH ) ||: ! " # $ " ! # % ! " # $ " ! # % :||
Concept 3F ( RH ) ||: & ' ( ) ' & ( * & ' ( ) ' & ( * :||
Concept 3G ( LH ) ||: " ! # % ! " # $ " ! # % ! " # $ :||
Concept 3H ( RH ) ||: ' & ( * & ' ( ) ' & ( * & ' ( ) :||
For the next concepts, 2I through 2P, you will tap one of the previous patterns with the left hand while tapping another, but
different pattern with the right hand simultaneously. I call this my “mirroring” technique and requires, obviously, that you
have to memorize the patterns separately first before you can combine them together.
This “Mirror Memorization” technique is one of the keys to the success of my method.


Concept 3K ||: Left Hand Taps Concept 3A :|| Tips & Observations
||: Right Hand Taps Concept 3D :|| Memorization of Concepts 3A through 3H
will assist you especially in Concepts 3K,
3L, 3O and 3P.
Concept 3L ||: Left Hand Taps Concept 3C :||


||: Right Hand Taps Concept3H :|| Tips & Observations
Try to memorize each hand separately and

then put them together.
“Purely Fingers” Book One - Lesson Four

LESSON #4
The Following Exercises are in 5/4 Time. Tap these evenly with no accents.
Remember to move only the fingers and not the wrists or arms and make sure your movements are large and slow in
Finger Motion Styles One and Two. Only in Motion Style Three do we add lightness of touch with small movements
while disciplining the fingers not in use to be still. You may try for speed in Finger Motion Style Three.
Concept 4A ( LH ) ||: ! " # $ " % " $ # " :||
Concept 4B ( RH ) ||: & ' ( ) ' * ' ) ( ' :||
Concept 4C ( LH ) ||: % " $ # " ! " # $ " :||
Concept 4D ( RH ) ||: * ' ) ( ' & ' ( ) ' :||
The Following Exercises are in 3/4 Time. After tapping each measure three times, repeat the entire
sequence over and over as represented by the large repeat signs.
Remember to move only the fingers, not the wrists or arms. Make sure your movements are large and at slow
tempos in Motion Finger Styles One and Two.
> > >
Concept 4E ( LH ) ||: ||: ! # ! " :||: ! # ! $ :||: ! # ! % :|| :||

3X 3X 3X
> > >
Concept 4F ( RH ) ||: ||: & ( & ' :||: & ( & ) :||: & ( & * :|| :||
3X 3X 3X
> > >
Concept 4G ( LH ) ||: ||: % $ % " :||: % $ % # :||: % $ % ! :|| :||

3X 3X 3X
> > >
Concept 4H ( RH ) ||: ||: * ) * ' :||: * ) * ( :||: * ) * & :|| :||

3X 3X 3X
THE “ MIRRORING” EXERCISE CONCEPTS


Concept 4K ||: Left Hand Taps Concept 4A :||





“Purely Fingers” Book One - Lesson Five

LESSON #5
The Following Exercises Are in 3/4 Time. Remember to move only the fingers, not the wrists or arms. Make sure
your movements are large and at slow tempos in Finger Motion Styles One and Two. Adhere to the requirements of
each Finger Motion Style for the Ultimate Progress to be made !
> > >
For Concepts 5A -
5H, tap first with no
accents then add a
Concept 5A ( LH ) ||: ! " ! # ! " ! $ ! " ! % :|| foot beat in quarter
note values to beat
> > > one and a finger
tapping accent to the
fourth sixteenth
Concept 5B ( RH ) ||: & ' & ( & ' & ) & ' & * :|| note.
This emphasizes the

> > >
rhythm pattern of a
dotted eighth
followed by a
Concept 5C ( LH ) ||: % $ % # % $ % " % $ % ! :|| sixteenth.
> > > Remember, accents

are only added to
Finger Motion
Styles One and
Concept 5D ( RH ) ||: * ) * ( * ) * ' * ) * & :|| Three.
The following Exercises Are in 4/4Time.
> > > >
Concept 5E ( LH ) ||: ! " ! # ! " ! $ ! " ! % ! " ! $ :||
> > > >
Concept 5F ( RH ) ||: & ' & ( & ' & ) & ' & * & ' & ) :||
> > > >
Concept 5G ( LH ) ||: % $ % # % $ % " % $ % ! % $ % " :||

> > > >
Concept 5H ( RH ) ||: * ) * ( * ) * ' * ) * & * ) * ' :||
THE MIRRORING EXERCISE CONCEPTS


Concept 5K ||: Left Hand Taps Concept 5A :||





“Purely Fingers” Book One - Lesson Six

LESSON #6
Lessons 6 - 11 contain exercise concepts utilizing both hands alternating with each other. In Finger Motion Styles
One and Three, make sure each hand always has one finger remaining on the table until the next finger takes its
place. Add accents in Finger Motion Style Three only and only after you have mastered playing them evenly with
minimal empathetic movements from the fingers not in use.
The Following Exercises Are in 5/8 Time and combine both left and right hand fingers.
> 3 > 3 > 3 > 3 > 3 As a Reminder For Lessons 6

Through 15 Please Remember the
Following:
Concept 6A ! " ! " ! " ! " ! "
In Motion Styles One and Three, Only
||: # $ % & ' :|| One Finger on Each Hand Remains
Seated on the Table at all Times Until
the Next Finger on That Hand Takes
Its Place !
> 3 > 3 > 3 > 3 > 3
The open circles ! on the top line
represent the left hand fingers and the
Concept 6B " ( " ( " ( " ( " (
closed circles # represent the right
||: # $ % & ' :|| hand fingers.
> 3 > 3 > 3 > 3 > 3
Concept 6C ( ) ( ) ( ) ( ) ( )
||: # $ % & ' :||
> 3 > 3 > 3 > 3 > 3
Concept 6D ) * ) * ) * ) * ) *
||: # $ % & ' :||
******************************************************
> 3 > 3 > 3 > 3 > 3
Concept 6E ! " ( ) *
||: # $ # $ # $ # $ # $ :||
> 3 > 3 > 3 > 3 > 3
Concept 6F ! " ( ) *
||: $ % $ % $ % $ % $ % :||
> 3 > 3 > 3 > 3 > 3
Concept 6G ! " ( ) *
||: % & % & % & % & % & :||
> 3 > 3 > 3 > 3 > 3
Concept 6H ! " ( ) *
||: & ' & ' & ' & ' & ' :||
******************************************************
> 3 > 3 > 3 > 3 > 3
Concept 6I ! " ! " ! " ! " ! "

||: ' & % $ # :||
> 3 > 3 > 3 > 3 > 3
Concept 6J " ( " ( " ( " ( " (

||: ' & % $ # :||
> 3 > 3 > 3 > 3 > 3
Concept 6K ( ) ( ) ( ) ( ) ( )
||: ' & % $ # :||
> 3 > 3 > 3 > 3 > 3
Concept 6L ) * ) * ) * ) * ) *
||: ' & % $ # :||
******************************************************
> 3 > 3 > 3 > 3 > 3
Concept 6M * ) ( " !
||: # $ # $ # $ # $ # $ :||
> 3 > 3 > 3 > 3 > 3
Concept 6N * ) ( " !
||: $ % $ % $ % $ % $ % :||
> 3 > 3 > 3 > 3 > 3
Concept 6O * ) ( " !
||: % & % & % & % & % & :||
> 3 > 3 > 3 > 3 > 3
Concept 6P * ) ( " !
||: & ' & ' & ' & ' & ' :||
“Purely Fingers” Book One - Lesson Seven

LESSON #7
In Finger Motion Styles One and Three, one finger from each hand should remain on the table until the next finger
takes its place.
> 3 > 3 > 3 > 3 > 3
Concept 7A ! " ! " ! " ! " ! "

||: # $ % & ' :||
> 3 > 3 > 3 > 3 > 3
Concept 7B " ( " ( " ( " ( " (

||: # $ % & ' :||
> 3 > 3 > 3 > 3 > 3
Concept 7C ( ) ( ) ( ) ( ) ( )
||: # $ % & ' :||
> 3 > 3 > 3 > 3 > 3
Concept 7D ) * ) * ) * ) * ) *
||: # $ % & ' :||
******************************************************
> 3 > 3 > 3 > 3 > 3
Concept 7E ! " ( ) *
||: # $ # $ # $ # $ # $ :||
> 3 > 3 > 3 > 3 > 3
Concept 7F ! " ( ) *
||: $ % $ % $ % $ % $ % :||
> 3 > 3 > 3 > 3 > 3
Concept 7G ! " ( ) *
||: % & % & % & % & % & :||
> 3 > 3 > 3 > 3 > 3
Concept 7H ! " ( ) *
||: & ' & ' & ' & ' & ' :||
******************************************************
> 3 > 3 > 3 > 3 > 3
Concept 7I ! " ! " ! " ! " ! "

||: ' & % $ # :||
> 3 > 3 > 3 > 3 > 3
Concept 7J " ( " ( " ( " ( " (

||: ' & % $ # :||
> 3 > 3 > 3 > 3 > 3
Concept 7K ( ) ( ) ( ) ( ) ( )
||: ' & % $ # :||
> 3 > 3 > 3 > 3 > 3
Concept 7L ) * ) * ) * ) * ) *
||: ' & % $ # :||
*******************************************************
> 3 > 3 > 3 > 3 > 3
Concept 7M * ) ( " !
||: # $ # $ # $ # $ # $ :||
> 3 > 3 > 3 > 3 > 3
Concept 7N * ) ( " !
||: $ % $ % $ % $ % $ % :||
> 3 > 3 > 3 > 3 > 3
Concept 7O * ) ( " !
||: % & % & % & % & % & :||
> 3 > 3 > 3 > 3 > 3
Concept 7P * ) ( " !
||: & ' & ' & ' & ' & ' :||
“Purely Fingers” Book One - Lesson Eight

LESSON #8
The ! " # patterns that happen consecutively in one hand are the most difficult to control so do good muscle
movements here in order to promote strength and independence of the fingers.
> > > > >
Concept 8A ! " # ! " # ! " # ! " # ! " #

||: $ % & ' ( :||
> > > > >
Concept 8B " # ) " # ) " # ) " # ) " # )

||: $ % & ' ( :||
> > > > >
Concept 8C # ) * # ) * # ) * # ) * # ) *
||: $ % & ' ( :||
******************************************************
> > > > >
Concept 8D ! " # ) *
||: $ % & $ % & $ % & $ % & $ % & :||
> > > > >
Concept 8E ! " # ) *
||: % & ' % & ' % & ' % & ' % & ' :||
> > > > >
Concept 8F ! " # ) *
||: & ' ( & ' ( & ' ( & ' ( & ' ( :||
************************************************************************
> > > > >
Concept 8G ! " # ! " # ! " # ! " # ! " #

||: ( ' & % $ :||
> > > > >
Concept 8H " # ) " # ) " # ) " # ) " # )

||: ( ' & % $ :||
> > > > >
Concept 8I # ) * # ) * # ) * # ) * # ) *
||: ( ' & % $ :||
**************************************************************************
> > > > >
Concept 8J * ) # " !
||: $ % & $ % & $ % & $ % & $ % & :||
> > > > >
Concept 8K * ) # " !
||: % & ' % & ' % & ' % & ' % & ' :||
> > > > >
Concept 8L * ) # " !
||: & ' ( & ' ( & ' ( & ' ( & ' ( :||
**************************************************************************
“Purely Fingers” Book One - Lesson Nine

LESSON #9
The ! " # patterns that happen consecutively in one hand present the most difficulty here. Make sure your
movements are slow in Styles One and Two so as to promote strength, independence and control.
> > > > >
Concept 9A $ % ! $ % ! $ % ! $ % ! $ % !
||: & ' ( ) * :||
> > > > >
Concept 9B % ! " % ! " % ! " % ! " % ! "

||: & ' ( ) * :||
> > > > >
Concept 9C ! " # ! " # ! " # ! " # ! " #

||: & ' ( ) * :||
************************************************************************************
> > > > >
Concept 9D $ % ! " #
||: & ' ( & ' ( & ' ( & ' ( & ' ( :||
> > > > >
Concept 9E $ % ! " #
||: ' ( ) ' ( ) ' ( ) ' ( ) ' ( ) :||
> > > > >
Concept 9F $ % ! " #
||: ( ) * ( ) * ( ) * ( ) * ( ) * :||
****************************************************************************************
> > > > >
Concept 9G $ % ! $ % ! $ % ! $ % ! $ % !
||: * ) ( ' & :||
> > > > >
Concept 9H % ! " % ! " % ! " % ! " % ! "

||: * ) ( ' &
> > > > >
Concept 9I ! " # ! " # ! " # ! " # ! " #

||: * ) ( ' & :||
****************************************************************************************
> > > > >
Concept 9J # " ! % $
||: & ' ( & ' ( & ' ( & ' ( & ' ( :||
> > > > >
Concept 9K # " ! % $
||: ' ( ) ' ( ) ' ( ) ' ( ) ' ( ) :||
> > > > >
Concept 9L # " ! % $
||: ( ) * ( ) * ( ) * ( ) * ( ) * :||
“Purely Fingers” Book One - Lesson Ten

LESSON #10
The exercises in Lessons 10 and 11 begin to point out just how much the brain is involved and where it slows down
our progress. Take care to do these very slowly and with good concentration.
> > > > >
Concept 10A ! " # ! " # ! " # ! " # ! " #

||: $ % & ' ( :|| Remember: In
Motion Styles One
> > > > > and Three, Only
One Finger on Each
Concept 10B ! " ) ! " ) ! " ) ! " ) ! " ) Hand Remains
Seated on the Table
||: $ % & ' ( :|| at all Times Until
the Next Finger on
> > > > > That Hand Takes Its
Place !
Concept 10C " * ) " * ) " * ) " * ) " * )
||: $ % & ' ( :||
*********************************************************************************
> > > > >
Concept 10D ! " * # )

||: $ % ' $ % ' $ % ' $ % ' $ % ' :||
> > > > >
Concept 10E ! " * # )

||: $ % ( $ % ( $ % ( $ % ( $ % ( :||
> > > > >
Concept 10F ! " * # )

||: % & ( % & ( % & ( % & ( % & ( :||
**********************************************************************************
> > > > >
Concept 10G ! " # ! " # ! " # ! " # ! " #

||: ( ' & % $ :||
> > > > >
Concept 10H ! " ) ! " ) ! " ) ! " ) ! " )

||: ( ' & % $ :||
> > > > >
Concept 10I " * ) " * ) " * ) " * ) " * )

||: ( ' & % $ :||
***********************************************************************************
> > > > >
Concept 10J ) # * " !

||: $ % ' $ % ' $ % ' $ % ' $ % ' :||
> > > > >
Concept 10K ) # * " !

||: $ % ( $ % ( $ % ( $ % ( $ % ( :||
> > > > >
Concept 10L ) # * " !

||: % & ( % & ( % & ( % & ( % & ( :||
“Purely Fingers” Book One - Lesson Eleven

LESSON #11
If you are sensitive to your own learning process you can actually feel the brain stretching and expanding its reach so
that you can become a better technician on your instrument.
> > > > >
Concept 11A ! " # ! " # ! " # ! " # ! " #

||: $ % & ' ( :||
> > > > >
Concept 11B ! " ) ! " ) ! " ) ! " ) ! " )

||: $ % & ' ( :||
> > > > >
Concept 11C " * ) " * ) " * ) " * ) " * )

||: $ % & ' ( :||
*********************************************************************
> > > > >
Concept 11D ! " * # )

||: $ % ' $ % ' $ % ' $ % ' $ % ' :||
> > > > >
Concept 11E ! " * # )

||: $ % ( $ % ( $ % ( $ % ( $ % ( :||
> > > > >
Concept 11F ! " * # )

||: % & ( % & ( % & ( % & ( % & ( :||
**************************************************************************************
> > > > >
Concept 11G ! " # ! " # ! " # ! " # ! " #

||: ( ' & % $ :||
> > > > >
Concept 11H ! " ) ! " ) ! " ) ! " ) ! " )

||: ( ' & % $ :||
> > > > >
Concept 11I " * ) " * ) " * ) " * ) " * )

||: ( ' & % $ :||
******************************************************************************************
> > > > >
Concept 11J ) # * " !

||: $ % ' $ % ' $ % ' $ % ' $ % ' :||
> > > > >
Concept 11K ) # * " !

||: $ % ( $ % ( $ % ( $ % ( $ % ( :||
> > > > >
Concept 11L ) # * " !

||: % & ( % & ( % & ( % & ( % & ( :||
“Purely Fingers” Book One - Lesson Twelve

LESSON #12
Because of the difficulty in Lessons 12 - 15, you will be given two weeks on each lesson before I send you the next one.
Practice these slowly and with great thought. Take small breaks if you become mentally fatigued.
> > > > > >
Concept 12A ! " # ! " #

||: $ % & ' % ( $ % & ' % ( :|| How To Practice
> > > > > > - Learn each hand separately then layer
them together.
- When practicing them together, make

> > > > > > sure the eighth note hand moves
automatically while reciting the sixteenth
Concept 12B " # ) " # ) note pattern out loud until it also becomes
automatic.
||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
> > > > > >
Concept 12C # ) * # ) *
||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
************************************************
> > > > > >
Concept 12D ! # " ) # * ! # " ) # *

||: $ & % $ & % :||
> > > > > >
> > > > > >
Concept 12E ! # " ) # * ! # " ) # *

||: & % ' & % ' :||
> > > > > >
> > > > > >
Concept 12F ! # " ) # * ! # " ) # *

||: % ' ( % ' ( :||
> > > > > >
**************************************************
> > > > > >
Concept 12G ! " # ! " #

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > > > >
Concept 12H " # ) " # )

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > > > >
Concept 12I # ) * # ) *
||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
***************************************************
> > > > > >
Concept 12J * # ) " # ! * # ) " # !

||: $ & % $ & % :||
> > > > > >
> > > > > >
Concept 12K * # ) " # ! * # ) " # !

||: & % ' & % ' :||
> > > > > >
> > > > > >
Concept 12L * # ) " # ! * # ) " # !

||: % ' ( % ' ( :||
> > > > > >
“Purely Fingers” Book One - Lesson Thirteen

LESSON #13
> > > > > >
Concept 13A ! " # ! " #

||: $ % & ' % ( $ % & ' % ( :|| How To Practice
> > > > > > As in Lesson 12, learn each hand
separately before layering them together.
Concentrate !!
> > > > > >
Concept 13B " # ) " # )

||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
> > > > > >
Concept 13C # ) * # ) *
||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
***********************************************
> > > > > >
Concept 13D ! # " ) # * ! # " ) # *

||: $ & % $ & % :||
> > > > > >
> > > > > >
Concept 13E ! # " ) # * ! # " ) # *

||: & % ' & % ' :||
> > > > > >
> > > > > >
Concept 13F ! # " ) # * ! # " ) # *

||: % ' ( % ' ( :||
> > > > > >
************************************************
> > > > > >
Concept 13G ! " # ! " #

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > > > >
Concept 13H " # ) " # )

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > > > >
Concept 13I # ) * # ) *
||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
***********************************************
> > > > > >
Concept 13J * # ) " # ! * # ) " # !

||: $ & % $ & % :||
> > > > > >
> > > > > >
Concept 13K * # ) " # ! * # ) " # !

||: & % ' & % ' :||
> > > > > >
> > > > > >
Concept 13L * # ) " # ! * # ) " # !

||: % ' ( % ' ( :||
> > > > > >
“Purely Fingers” Book One - Lesson Fourteen

LESSON #14
Lessons 14 and 15 push you mentally into another level or degree of coordination. If your brain feels fatigue or
actually hurts when you are working hard on them, then you are progressing to the next level. Persevere !
> > > >

Practice Tips
Concept 14A ! " # ! " # ! " # ! " # By the time you reach Lesson #14, the
||: $ % & ' % ( $ % & ' % ( :|| 5-3-4-2-3-1 and 1-3-2-4-3-5 patterns
should be well ingrained into your
“autopilot” memory.
> > > > > >
It is the repeated three note pattern,
5-4-3-5-4-3 that will need your attentions.
> > > >
As always, practice first with no accents.
These accents are very difficult to do.
Concept 14B " # ) " # ) " # ) " # )
||: $ % & ' % ( $ % & ' % ( :|| Try them only after successfully playing the
pattern in several repetitions comfortably.
> > > > > >
> > > >
Concept 14C # ) * # ) * # ) * # ) *
||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
************************************************
> > > > > >
Concept 14D ! # " ) # * ! # " ) # *

||: $ & % $ & % $ & % $ & % :||
> > > >
> > > > > >
Concept 14E ! # " ) # * ! # " ) # *

||: & % ' & % ' & % ' & % ' :||
> > > >
> > > > > >
Concept 14F ! # " ) # * ! # " ) # *

||: % ' ( % ' ( % ' ( % ' ( :||
> > > >
**************************************************
> > > >
Concept 14G ! " # ! " # ! " # ! " #

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > >
Concept 14H " # ) " # ) " # ) " # )

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > >
Concept 14I # ) * # ) * # ) * # ) *
||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
**************************************************
> > > > > >
Concept 14J * # ) " # ! * # ) " # !

||: $ & % $ & % $ & % $ & % :||
> > > >
> > > > > >
Concept 14K * # ) " # ! * # ) " # !

||: & % ' & % ' & % ' & % ' :||
> > > >
> > > > > >
Concept 14L * # ) " # ! * # ) " # !

||: % ' ( % ' ( % ' ( % ' ( :||
> > > >
“Purely Fingers” Book One - Lesson Fifteen

LESSON #15
CONGRATULATIONS ! You Made it ! If you think Book One of my Method, MagicMusicianFingers, has done a lot
for your strength, speed and your “eye-mind-hand” coordination, you will continue to be amazed when you order Books
Two and Three where you’ll begin to ingrain rhythm and subdivision techniques as well as further deepening your
coordination skills. A special word about Books Two and Three is at the end of this lesson !
Just send me an e-mail and I’ll send you details about Book Two or check back on my web site
http://www.MagicMusicianFingers.com on how to order and greatly improve your internal rhythmical clock.
> > > >

Practice Tips
Concept 15A ! " # ! " # ! " # ! " #
||: $ % & ' % ( $ % & ' % ( :|| As in Lesson #14, your concentration will
probably be more focused on the 3 note
repeating patterns.
> > > > > >
However, full concentration may be
needed on both patterns simultaneously.
> > > >
Persevere ! The benefits that transfer to your
instrument are astounding !
Concept 15B " # ) " # ) " # ) " # )
||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
> > > >
Concept 15C # ) * # ) * # ) * # ) *
||: $ % & ' % ( $ % & ' % ( :||
> > > > > >
**************************************************
> > > > > >
Concept 15D ! # " ) # * ! # " ) # *

||: $ & % $ & % $ & % $ & % :||
> > > >
> > > > > >
Concept 15E ! # " ) # * ! # " ) # *

||: & % ' & % ' & % ' & % ' :||
> > > >
> > > > > >
Concept 15F ! # " ) # * ! # " ) # *

||: % ' ( % ' ( % ' ( % ' ( :||
> > > >
***************************************************
> > > >
Concept 15G ! " # ! " # ! " # ! " #

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > >
Concept 15H " # ) " # ) " # ) " # )

||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
> > > >
Concept 15I # ) * # ) * # ) * # ) *
||: ( % ' & % $ ( % ' & % $ :||
> > > > > >
*****************************************************
> > > > > >
Concept 15J * # ) " # ! * # ) " # !

||: $ & % $ & % $ & % $ & % :||
> > > >
> > > > > >
Concept 15K * # ) " # ! * # ) " # !

||: & % ' & % ' & % ' & % ' :||
> > > >
> > > > > >
Concept 15L * # ) " # ! * # ) " # !

||: % ' ( % ' ( % ' ( % ' ( :||
> > > >
A SPECIAL WORD FROM JULES ABOUT “THE ORÓSZ TECHNIQUE” - BOOKS TWO and THREE
In my thirty years of teaching, the inability to freely express oneself through music because of the lack of finger control runs
probably neck and neck with the lack of an internal rhythmical clock. By that I mean the ability to dissect rhythms and
reproduce them correctly.
Until you have total control in playing rhythms strictly and accurately, you will never be able to break rhythm down and
play with rubato, that wonderful “time stretching” technique while never losing sight of the beat and forward motion of the
musical phrase.
Without this skill, you simply can not even hope to express yourself and keep the composer’s intent in mind. Most of us are
generally satisfied with our own “guessing game” approach to real rhythmical control although deep down we know that it
just doesn’t work.
Book One of my method, which you have now completed, helps you acquire basic finger coordination and control as well as
trains your brain and fingers to cooperate naturally.
Book Two will further deepen that skill plus begin to establish rhythm awareness and the all important “subdivision” skills.
Book Three opens the door to real rhythm understanding so that you can learn to definitively decipher and reproduce
rhythms accurately. No more guessing games. Rhythm is so important to a composition but seldom really focused on
in our studies. It adds style and personality to the music.
As a percussionist first, I had the distinct advantage of learning complex rhythms and ingraining my internal clock ( or
internal metronome ) in which to reproduce rhythms in perfect time before I was introduced to the other elements of playing
wind instruments such as embouchure, breathing, note reading and melody line segregation, all of which dilute the rhythm
learning process to the point of difficult if not impossible.
So I will take you back and cover the path not taken for most instrumentalists to help you become the musician you strive to
become.
Stay the course because after Book One you should follow up with Book Two and then Book Three, in that order.
The three books create a method designed in a well thought out progressive layering structure that allows the learning of
fingering control, coordination and rhythm to happen properly once and for all. My exercises are like a Mozart Symphony,
condensed to represent only those necessary steps to achieve success. They do not contain extra busy work to waste your
time. They get to the point !
I look forward to working with you again and hearing your comments throughout the process.
Sincerely,
Jules
http://www.MagicMusicanFingers.com
[email protected]
www.MagicMusicianFingers.com
“The Internal Clock” - Book Two of The Orósz Technique - Lesson 1
Phase Two of a Professional Preparatory Finger Training Method

That Incorporates a Rhythmical Sub-Division Skill Builder
Copyright © 2009 MagicMusicianFingers The Orósz Technique All Rights Reserved You may not copy, reproduce, post or forward this
Foreward
“Sub Dividing Like a Percussionist”

( The Real Measurement of Time )
Now that you have completed Book One “Purely Fingers”, an awakening and awareness of the personality characteristics of
each finger and how they interact with each other working through concepts that develop strength and coordination, you are
ready to take learning to a deeper level with the incorporation of subdivision ( breaking rhythms down into smaller parts in an
even or uneven distribution ).
In Book Two, “The Internal Clock”, I continue the finger training exercises where Book One left off, which in a logical
progression, untangling tough coordination problems, freeing your brain and fingers so you can perform more naturally.
In this series, however, I extend the training to incorporate sub-division skills to better help you establish your “Internal
Clock”. By practicing the exercises in alternate time signatures using varied foot beats and accents, rhythmical patterns will
shift emphasis creating a solid adoption of the beat and its smaller parts as well as further “busting up” coordination
difficulties. Still practicing away from your instrument, you keep concentration focused and by applying my layering
technique of adding one new element at a time, you’ll yield better results.
Some musicians guess at rhythms with limited success and often without consistency because they don’t really know how to
subdivide making musical compositions impossible to tackle and performing in a group frustrating and even embarrassing.
Musicians need to develop a solid internal clock and the skills to subdivide any rhythm at first glance.
Study Book Two well because it is the predecessor to MagicMusicianFingers Book Three “Ultimate Rhythm” where you
will establish a firm foundation in the understanding and application of “Rhythm” as it is the life force and energy of a
musical composition.
So better get practicing - Your Internal Clock is Ticking !
Good luck with the course and remember that if you need any questions answered, just send me an e-mail.
Yours,
~ Jules
[email protected]
Just so you know, Book Two of my method takes you through 224 target specific exercises over the course of 18 weeks
directing concentration on strength and independence in both the placing and lifting actions of each finger, the coordination to
interact with any finger combination and finally to do so with speed and accuracy. In all, employing my unique Three Finger
Motion Styles, you have 672 short, focused steps to total virtuosic finger control.
Also, by incorporating strategic foot beats and accents, you will begin to establish an internal rhythmical clock which will
enable you to count, subdivide and understand rhythms.
Symbol Explanations
The lessons have the Left Hand fingers represented by the following “piano fingering” symbols: ! " # $ %
The lessons have the Right Hand fingers represented by the following “piano fingering” symbols: & ' ( ) *
The symbols ||: and :|| will tell you to repeat the finger exercise located in between them over and over. To begin at the
most fundamental level, here are the basic visual examples of how I will represent all of the exercises :
SAMPLE CONCEPT ONE ( left hand ) ||: ! " # $ % :||
( right hand ) ||: & ' ( ) * :||
Sample Concept One instructs that one “Taps” !, the little finger on the left hand, then " or ring finger left hand and
so on with each finger down to %, or the thumb. Then repeat it again over and over until you are comfortable with
the coordination skill. Then you do the same exercise with the right hand alone.
SAMPLE CONCEPT TWO ( left hand ) ||: ! " # $ % :||
( right hand ) ||: & ' ( ) * :||
Sample Concept Two instructs that one “taps” the same fingering sequence as Sample Concept One but this time with both
hands simultaneously. Both Left and Right Hand little fingers tap at the same time, then both ring fingers tap at the same
time, etc.. Each entire sequence, 5-4-3-2-1 is then repeated over and over.
SAMPLE CONCEPT THREE ( left hand ) ||: ! " # $ % :||
( right hand ) ||: & ' ( ) * :||
Sample Concept Three has you fingering with both hands in a particular sequence as indicated by reading through the
sequence left to right.
Left Hand 5 - 4, then Right Hand 5-4, Left and Right Hands together fingers 3, then Left Hand 2, then Right Hand 2, ending
with both hands together fingers 1, the thumbs .
You’ll notice that the fingerings are grouped into two groups of four sixteenth note as values indicated by the double beam
lines. Later in the course, you may assign metronomic values to the exercises so if you set your metronome to MM = quarter
note 60, you would tap the first four finger denominations to each tick of the metronome and then the second four finger
denominations to the next metronome tick. The entire sequence is then repeated over and over.
SAMPLE CONCEPT FOUR ( left hand ) ||: ! " # $ % $ # "
! " # $ % $ # " :||
Sample Concept Four will show multiple lines of fingering sequences to run through, reading left to right and top to bottom,
like reading a book before the sequence repeats.
There are Three Distinct Finger Motion Styles that are incorporated into each of my fingering sequence exercises. These
three “styles” are graduated in terms of how the skills have to develop in a building block way. It is these finger motion
styles that actually develop the brain’s ability to control the fingers independently in concert with the fingering sequences.
Practice each exercise three times, first using Finger Motion Style One, then repeat it two times using Finger Motion
Style Two and then repeat it again three times using Finger Motion Style Three.
Sound complicated ? It’s not ! Here they are :
The First Phase Baseline Skill Builder That Retrains The Brain and Fingers
So That One Finger is Not More Dominant Than The Others.
Motion Style One develops strength and coordination as well as the ability to move each finger directly from the large hinge (
where the finger meets the hand ) without bending the other joints as the fingers go through the exercises. This teaches the
only necessary finger movement....one finger movement per finger motion.
Example, many players when they press down a key on their instrument, first land on the key or tone hole and then let the
first joint ( the small joint near the fingernail ) bend, therefore creating two finger movements per fingering.
Not as many but a few players also bend the finger at the middle joint which creates multiple finger movements per fingering.
I have occasionally seen students stiffen the third hinge ( knuckle where the finger meets the hand ) only to maneuver the
movement of the finger with the first and second joints. This is very bad technique and will lead nowhere.
At extremely slow tempos, these techniques do not hinder your performance but will absolutely get in the way in faster
passages and eventually will prevent you from playing at high speeds rendering much of the beautiful repertoire unaccessible.
Here is how Motion Style One is done:
Sitting at a table on a bar stool so your arms can drop down lower than a regular chair would allow, spread your fingers apart
a bit.
Keep your arms and wrists suspended, (not resting on the edge of the table ) and parallel to the table. The palms should face
downward, arch the fingers slightly ( approximately 45 degrees ) and then you are ready to begin the exercise.
All fingers remain up in the air, suspended, except for the fingers in use. Initiate the finger movements from the large hinge
( the large knuckle where the finger meets the hand ) .
Keep each finger slightly arched as if there were a curved metal pin in the finger to not let it lose its shape during the entire
finger motion.. This will stop any unnecessary movements from the other two joints.
In Motion Style One we use LARGE, STRONG MOVEMENTS of each finger so you can actually hear the finger tips
pounding out the exercises on the table top. You should have one finger on the table at all times lifting it when the next one
takes its place. Do so with exacting synchronicity.
At this time, do not consciously try to stop other fingers from empathetic movements, however, it is Very Important not to let
your wrists or arms aid the finger movements. Move The Fingers Only !
If your finger nails are too long and get in the way of the arching of the fingers so as to make you go through the exercises
flat fingered or you hear nothing but nails clicking, you must get rid of them.
File your nails to an appropriate length. It will prove to serve you better when you actually play your instrument. This
method of using Large, Strong Movements seems to vividly “burn” pathways from the brain to the fingers as if to say,
“Here I am all by myself so you can find me and single me out without the other fingers to help locate me.”
It really works !
Remember, speed is not important in this phase so you need to keep the speed slow if you decide to use a metronome.
What is most important In Finger Motion Style One is developing strength and independent coordination along with the
use of the proper finger hinge movements.
FINGER MOTION STYLE TWO
The Second Phase Baseline Skill builder Ingrains The Concept of Minimal Movement
From the Non Playing Fingers For Total Finger Independence Training
It strengthens the “Lifting Motion” of the fingers which is something that very few players EVER think about. One major
benefit of this skill builder is the mental training of preparing for the next fingering....In Advance.
Thinking Ahead !
This concept is so important to every musician and needs to be addressed in order to achieve any solid level of success.
Finger Motion Style Two is probably the most difficult of the three motion styles and is most likely to be cut short due to
mental and physical exhaustion.
I urge you to do these exercises faithfully as the results that you will see coming forth to you are simply, out of this
world !
The skills acquired in both Phase One and Phase Two of the Finger Motion Styles will enable you to achieve success in Phase
Three which will ultimately directly apply to your new finger technique on your instrument.
The set up for Finger Motion Style Two is the same as for Motion Style One with the exception that all fingers remain
ON the table except for the fingers in use. Still keep your arms and wrists suspended and not resting on the edge of the
table.
The arms are parallel to the table and the fingers are arched slightly ( approximately 45 degree angle ) as pictured in above.
Again, you initiate LARGE, FINGER MOVEMENTS from the large hinge ( knuckle where the finger meets the hand )
keeping the fingers arched as if there were a curved metal pin in each one keeping them from bending or “Breaking” at the
first or second joints.
When lifting each finger, try to do so at the exact moment the previous finger lands. Not Before....Not After but in exact
synchronicity.
If you haven’t guessed by now, Speed in Phase Two is Also Irrelevant !
Absolutely do not try these exercises quickly. The elements to be learned are done so at a snail’s pace. If Phase One doesn’t
point this out to you, Phase Two will.
The personality of each finger on both hands will be exhibited in both their natural abilities as well as their natural challenges
or problem areas. As in Phase One, Move Only The Fingers with no help from the wrists or arms.
FINGER MOTION STYLE THREE
The Final Phase of Total Finger Control and Ability Where You Will Refine
Your Finger Control To Include Speed, Accuracy and Lightness of Touch
This Finger Motion Style emulates the actual finger movements on your instrument. Phase One and Two, in their thorough
preparation of the lifting and placing actions of each finger aid in strengthening and creating independence of finger
movements and the “Advanced Thinking Technique” of “In Sync” switching of the lifting and placing motions.
These are the skills needed to refine your technique, at any level.
In Phase Three, we use the same set up as in Phase One with the arms suspended, parallel to the table top, our fingers arched (
curved at approximately a 45 degree angle ) and also suspended in air except for the fingers in use.
But this time, we DO NOT use strong large movements but rather EXTREMELY SMALL AND LIGHT TOUCH
FINGER MOVEMENTS concentrating on moving ONLY the fingers involved and keeping the others very still.
Finger Motion Style Three is where you can now concentrate on controlling the empathetic movements from the
non-tapping fingers.
Finger Motion Style Three is probably the most fun in that we can finally use a metronome and work for speed. It most
closely resembles our finger use on our instruments so we can see the direct transfer of our newly acquired skills.
Remember when applying a metronome to these exercises, you must start slowly then progress to faster speeds one notch at a
time, in small increments, always making sure that your fingers are in COMPLETE CONTROL.
If you reach a speed where one or more fingers are irregular in their accuracy, you must reduce the metronome speed to
where you can resume total control and stay there a little while longer before speeding up again.
Enjoy this phase, then go to your instrument and play some scales and Etudes.
You WILL be blown away at each day’s progress and how your results transfer immediately !
Now here are some instructions as to how the exercises are presented.
Initially, practice the following preliminary concepts for observing how the fingers are to behave during all three styles of
finger motions. It is important to become accustomed to how each one “feels” before starting in on the formal training
course.
Preliminary Concept ( LH ) ||: ! " # $ % $ # " :||
Preliminary Concept ( RH ) ||: & ' ( ) * ) ( ' :||
Instructions For Foot Beat Application.
Start by sitting in a chair so that your entire foot rests flat on the floor. Lift your foot from the ankle while keeping your heel
firmly on the floor and then bring your foot back down to the floor. Pretend that there is an invisible ceiling, a few inches off
the floor and parallel to the floor that your foot strikes when raising up off the floor. Always lift the foot on the “upbeat” and
place it down on the “downbeat”. Make sure the up and down movements are at equal intervals. This will automatically
outline eight note patterns and begin your internal clock training.
Let’s get started with Lesson #1.
LESSON #1
SPECIAL INSTRUCTION: Foot Beat and Accent Applications
Finger Motion Style One: Repeat 3 Times for each concept: (Slow Tempo ) Secure the finger tapping pattern first and
then layer in the foot beat and lastly the accents as your
abilities allow.
Finger Motion Style Two: Repeat 1 or 2 Times for each concept: ( Extremely Slow Tempo ) Concentrate only on the
lifting and placing of the finger switches in each
concept exercise.
Do Not incorporate the foot beats or accents.
Finger Motion Style Three: Repeat 3 Times for each concept: ( Aim For Speed ) Concentrate only on the small, light
movements of the finger switches with minimal
movement from the fingers not in use. Do try to
incorporate foot beats but do not add accents. Work for
speed and lightness of touch.
The Mirrored Exercises: ( Lessons 1 - 6 ): Concentrate only on the synchronized lifting and placing of the finger
switches on each hand simultaneously. It is not necessary to include a foot
beat or accents unless you can easily do so.
Symbols: + - Foot Strikes the Floor
, - Foot Lifts Up and Strikes the Imaginary Ceiling
> - Accent ( Make Finger Tap Louder )
A summary of the Three Finger Motion Styles and Foot Beating Technique that you are to follow can be found at the
end of each lesson.
Beat your foot to a quarter note beat. Repeat each measure two times then repeat the entire line according to the requirements
of each Finger Motion Style.
Example: Concept Sample - In Finger Motion Style One, tap measure one 2 times, then tap measure two 2 times, then repeat
this procedure three times. Try to proceed directly from measure one to measure two without pausing and likewise when
repeating the entire line, do not pause so that you tap continuously with no stopping. The Exercises are written as follows:
||: ! " ! # ! $ ! % :||: ! " ! # ! $ ! % :||

In other words, according to my instructions above, what you will do is in Finger Motion Style One and Finger Motion Style
Three, you’ll tap through the following three times. In Finger Motion Style Two, tap through the following one or two
times.
||: ! " ! # ! $ ! % ! " ! # ! $ ! %
! " ! # ! $ ! %! " ! # ! $ ! % :||

When choosing a tempo, make sure that you can comfortably tap the sixteenth note values and stay at this tempo throughout
the entire exercise.
[ Remember to Layer Your Learning ]
Concepts 1A - 1D are in 4/4 and 2/4 time respectively.
Concept 1A:
||: ! " ! # ! $ ! % :||: ! " ! # ! $ ! % :||

+ , + , + , + , + , + ,
Concept 1B:
||: & ' & ( & ) & * :||: & ' & ( & ) & * :||
+ , + , + , + , + , + ,
Concept 1C:
||: % $ % # % " % ! :||: % $ % # % " % ! :||

+ , + , + , + , + , + ,
Concept 1D:
||: * ) * ( * ' * & :||: * ) * ( * ' * & :||

+ , + , + , + , + , + ,
NOTE: Concepts 1E - 1H are in 6/4 and 3/4 time respectively. Beat your foot to the quarter note beat.
Concept 1E:
||: ! " ! # ! $ ! % ! $ ! # :||: ! " ! # ! $ ! % ! $ ! # :||

+ , + , + , + , + , + , + , + , + ,
Concept 1F:
||: & ' & ( & ) & * & ) & ( :||: & ' & ( & ) & * & ) & ( :||
+ , + , + , + , + , + , + , + , + ,
Concept 1G:
||: % $ % # % " % ! % " % # :||: % $ % # % " % ! % " % # :||

+ , + , + , + , + , + , + , + , + ,
Concept 1H :
||: * ) * ( * ' * & * ' * ( :||: * ) * ( * ' * & * ' * ( :||

+ , + , + , + , + , + , + , + , + ,
“THE MIRRORING EXERCISES”
For the next concepts 1I - 1P, you will tap one of the previous patterns with the left hand while tapping another but different
patterns with the right hand simultaneously. I call this my Mirroring Technique” and requires, obviously, that you have to
memorize the patterns separately first before you can combine them together. This gets your concentration off the printed
page and onto your finger technique.
This “Mirroring Memorization Technique” is one of the keys to the success of my method !
Concept 1I: Left Hand Taps Concept 1A

Right Hand Taps Concept 1B
Concept 1J: Left Hand Taps Concept 1C

Right Hand Taps Concept 1D
Concept 1K: Left Hand Taps Concept 1A

Concept 1L: Left Hand Taps Concept 1C

Concept 1M: Left Hand Taps Concept 1E

Right Hand Taps Concept 1F
Concept 1N: Left Hand Taps Concept 1G

Right Hand Taps Concept 1H
Concept 1O: Left Hand Taps Concept 1E
Concept 1P: Left Hand Taps Concept 1G

INSTRUCTIONS FOR FOOT BEATING APPLICATION
Start by sitting in a chair so that your entire foot rests flat on the floor. Lift your foot from the ankle while keeping your heel firmly on the
floor and then bring your foot back down to the floor. Pretend that there is an invisible ceiling, a few inches off the floor and parallel to the
floor that your foot strikes when raising up off the floor. Always lift the foot on the “upbeat” and place it down on the “downbeat”. Make
sure the up and down movements are at equal intervals. This will automatically outline eight note patterns and begin your internal clock
training.

LESSON #2
abilities allow.
concept exercise.
Symbols: ! - Foot Strikes the Floor
" - Foot Lifts Up and Strikes the Imaginary Ceiling
end of each lesson.
||: # $ # % # & # ' :||: # $ # % # & # ' :||

times.
||: # $ # % # & # ' # $ # % # & # '
# $ # % # & # '# $ # % # & # ' :||

Concepts 2A - 2D are in 6/4 and 3/4 respectively.
Concept 2A: ( Please note the location of the accents )
> > > > > > > > >
||: # % # $ # & # $ # ' # $ :||: # % # $ # & # $ # ' # $ :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 2B:
> > > > > > > > >
||: ( ) ( * ( + ( * ( , ( * :||: ( ) ( * ( + ( * ( , ( * :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 2C:
> > > > > > > > >
||: ' % ' & ' $ ' & ' # ' & :||: ' % ' & ' $ ' & ' # ' & :||
! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 2D:
> > > > > > > > >
||: , ) , + , * , + , ( , + :||: , ) , + , * , + , ( , + :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 2E - 2H are in 8/4 and 4/4 respectively.
Concept 2E: Concepts 2E - 2H have more number symbols than can fit on one line, so just perform them like the above
exercises as one continuous line.
> > > > > > > >
||: # % # $ # & # $ # ' # $ # & # $ :||

! " ! " ! " ! " ! " ! " ! " ! "
> > > >
||: # % # $ # & # $ # ' # $ # & # $ :||

! " ! " ! " ! "
Concept 2F:
> > > > > > > >
||: ( ) ( * ( + ( * ( , ( * ( + ( * :||
! " ! " ! " ! " ! " ! " ! " ! "
> > > >
||: ( ) ( * ( + ( * ( , ( * ( + ( * :||
! " ! " ! " ! "
Concept 2G:
> > > > > > > >
||: ' % ' & ' $ ' & ' # ' & ' $ ' & :||
! " ! " ! " ! " ! " ! " ! " ! "
> > > >
||: ' % ' & ' $ ' & ' # ' & ' $ ' & :||
! " ! " ! " ! "
Concept 2H:
> > > > > > > >
||: , ) , + , * , + , ( , + , * , + :||
! " ! " ! " ! " ! " ! " ! " ! "
> > > >
||: , ) , + , * , + , ( , + , * , + :||
! " ! " ! " ! "
For the next Concepts 2I - 2P, you will tap one of the previous patterns with the left hand while tapping another but different
page and onto your finger technique. This “Mirroring Memorization Technique” is one of the keys to the success of my
method !








training.

LESSON #3
abilities allow.
concept exercise.
end of each lesson.
||: # $ # % # & # ' :||: # $ # % # & # ' :||

times.
||: # $ # % # & # ' # $ # % # & # '
# $ # % # & # '# $ # % # & # ' :||

Concept 3A:
> > > > > >
||: $ # $ % $ & $ ' :||: $ # $ % $ & $ ' :||

! " ! " ! " ! " ! " ! "
Concept 3B:
> > > > > >
||: ( ) ( * ( + ( , :||: ( ) ( * ( + ( , :||

! " ! " ! " ! " ! " ! "
Concept 3C:
> > > > > >
||: & ' & % & $ & # :||: & ' & % & $ & # :||
! " ! " ! " ! " ! " ! "
Concept 3D:
> > > > > >
||: + , + * + ( + ) :||: + , + * + ( + ) :||

! " ! " ! " ! " ! " ! "
Concepts 3E - 3H are in 6/4 and 3/4 time respectively.
Concept 3E:
> > > > > > > > >
||: $ # $ % $ & $ ' $ & $ % :||: $ # $ % $ & $ ' $ & $ % :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 3F:
> > > > > > > > >
||: ( ) ( * ( + ( , ( + ( * :||: ( ) ( * ( + ( , ( + ( * :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 3G:
> > > > > > > > >
||: & ' & % & $ & # & $ & % :||: & ' & % & $ & # & $ & % :||
! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 3H:
> > > > > > > > >
||: + , + * + ( + ) + ( + * :||: + , + * + ( + ) + ( + * :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
method !








training.

LESSON #4
abilities allow.
Finger Motion Style Two: Repeat 1 or 2 times for each concept: ( Extremely Slow Tempo ) Concentrate only on the
concept exercise.
Finger Motion Style Three: Repeat 3 times for each concept: ( Aim For Speed ) Concentrate only on the small, light
incorporate foot beats but Do Not add accents.
Work for speed and lightness of touch.
The Mirrored Exercises: ( Lesson 1 - 6 ): Concentrate only on the synchronized lifting and placing of the finger
end of each lesson.
||: # $ # % # & # ' :||: # $ # % # & # ' :||

times.
||: # $ # % # & # ' # $ # % # & # '
# $ # % # & # '# $ # % # & # ' :||

Concept 4A:
> > > > > >
||: % $ % # % & % ' :||: % $ % # % & % ' :||

! " ! " ! " ! " ! " ! "
Concept 4B:
> > > > > >
||: ( ) ( * ( + ( , :||: ( ) ( * ( + ( , :||

! " ! " ! " ! " ! " ! "
Concept 4C:
> > > > > >
||: % & % ' % $ % # :||: % & % ' % $ % # :||

! " ! " ! " ! " ! " ! "
Concept 4D:
> > > > > >
||: ( + ( , ( ) ( * :||: ( + ( , ( ) ( * :||

! " ! " ! " ! " ! " ! "
Concepts 4E - 4H are in 6/4 and 3/4 time respectively.
Concept 4E:
> > > > > > > > >
||: % $ % # % $ % & % ' % & :||: % $ % # % $ % & % ' % & :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 4F:
> > > > > > > > >
||: ( ) ( * ( ) ( + ( , ( + :||: ( ) ( * ( ) ( + ( , ( + :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 4G:
> > > > > > > > >
||: % & % ' % & % $ % # % $ :||: % & % ' % & % $ % # % $ :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 4H:
> > > > > > > > >
||: ( + ( , ( + ( ) ( * ( ) :||: ( + ( , ( + ( ) ( * ( ) :||

! " ! " ! " ! " ! " ! " ! " ! " ! "
method !
Concept 4I Left Hand Taps Concept 4A

Concept 4J Left Hand Taps Concept 4C

Concept 4K Left Hand Taps Concept 4A

Concept 4L Left Hand Taps Concept 4C

Concept 4M Left Hand Taps Concept 4E

Concept 4N Left Hand Taps Concept 4G

Concept 4O Left Hand Taps Concept 4E

Concept 4P Left Hand Taps Concept 4G

training.

LESSON #5
abilities allow.
concept exercise.
end of each lesson.
||: # $ # % # & # ' :||: # $ # % # & # ' :||

times.
||: # $ # % # & # ' # $ # % # & # '
# $ # % # & # '# $ # % # & # ' :||

Concepts 5A - 5H are in 4/4 and 2/4 time respectively.
Concept 5A:
> > > > > >
||: % # % $ % ' % & :||: % # % $ % ' % & :||

! " ! " ! " ! " ! " ! "
Concept 5B:
> > > > > >
||: ( ) ( * ( + ( , :||: ( ) ( * ( + ( , :||

! " ! " ! " ! " ! " ! "
Concept 5C:
> > > > > >
||: % ' % & % # % $ :||: % ' % & % # % $ :||

! " ! " ! " ! " ! " ! "
Concept 5D:
> > > > > >
||: ( + ( , ( ) ( * :||: ( + ( , ( ) ( * :||

! " ! " ! " ! " ! " ! "
Concept 5E:
> > > > > >
||: % # % ' % $ % & :||: % # % ' % $ % & :||

! " ! " ! " ! " ! " ! "
Concept 5F:
> > > > > >
||: ( ) ( + ( * ( , :||: ( ) ( + ( * ( , :||

! " ! " ! " ! " ! " ! "
Concept 5G:
> > > > > >
||: % ' % # % & % $ :||: % ' % # % & % $ :||

! " ! " ! " ! " ! " ! "
Concept 5H:
> > > > > >
||: ( + ( ) ( , ( * :||: ( + ( ) ( , ( * :||

! " ! " ! " ! " ! " ! "
method !








training.

LESSON #6
abilities allow.
concept exercise.
end of each lesson.
||: # $ # % # & # ' :||: # $ # % # & # ' :||

times.
||: # $ # % # & # ' # $ # % # & # '
# $ # % # & # '# $ # % # & # ' :||

a
a
Concepts 6A - 6H are in 4/4 and 2/4 time respectively.
Concept 6A:
> > > > > >
||: % $ % ' % # % & :||: % $ % ' % # % & :||

! " ! " ! " ! " ! " ! "
Concept 6B:
> > > > > >
||: ( ) ( * ( + ( , :||: ( ) ( * ( + ( , :||

! " ! " ! " ! " ! " ! "
Concept 6C:
> > > > > >
||: % & % # % ' % $ :||: % & % # % ' % $ :||

! " ! " ! " ! " ! " ! "
Concept 6D:
> > > > > >
||: ( , ( + ( * ( ) :||: ( , ( + ( * ( ) :||

! " ! " ! " ! " ! " ! "
Concept 6E:
> > > > > >
||: % $ % ' % & % # :||: % $ % ' % & % # :||

! " ! " ! " ! " ! " ! "
Concept 6F:
> > > > > >
||: ( ) ( * ( , ( + :||: ( ) ( * ( , ( + :||

! " ! " ! " ! " ! " ! "
a
Concept 6G:
> > > > > >
||: % & % # % $ % ' :||: % & % # % $ % ' :||

! " ! " ! " ! " ! " ! "
Concept 6H:
> > > > > >
||: ( , ( + ( ) ( * :||: ( , ( + ( ) ( * :||

! " ! " ! " ! " ! " ! "
method !








training.

LESSON #7
abilities allow.
concept exercise.
end of each lesson.
In measure one, beat your foot to a quarter note and in measure two, beat your foot to a half note. Repeat each measure two
times then repeat the entire line according to the requirements of each Finger Motion Style.
a
> 3 > 3 > 3 > 3 > 3 > 3 > 3 3 > 3 3 > 3 3
6/4 ||: # $ # $ # $ # $ # $ # $ :||: 3/2 # $ # $ # $ # $ # $ # $ :||

% & ' ( & ) % & ' ( & )
! ! ! ! ! ! ! " ! " ! "
times.
> 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3
6/4 ||: # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $
% & ' ( & ) % & ' ( & )
! ! ! ! ! ! ! ! ! ! ! !
a
> 3 3 > 3 3 > 3 3 > 3 3 > 3 3 > 3 3
3/2 # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ :||
% & ' ( & ) % & ' ( & )
! " ! " ! " ! " ! " ! "
When choosing a tempo, make sure that you can comfortably tap the groups of six in one beat and stay at this tempo
throughout the entire exercise.
In Concepts 7A - 7P, measure one is in 6/4 time and measure two is in 3/2 time. You must mentally change the meaning of
your foot beat. In 6/4 time, the eighth note triplet takes up one full beat. In 3/2 time, eighth note triplets take only half of a
beat each, therefore, you tap one triplet when the foot goes down and one triplet when the foot comes up. Make the quarter
note beat in measure one equal to the half note beat in measure two. Therefore the triplets in measure two are twice as fast as
in measure one.
Concept 7 A: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: # $ # $ # $ # $ # $ # $ :||
% & ' ( & )
! ! ! ! ! !
Concept 7 A: Measure Two - half note equals one beat

a
a
> 3 3 > 3 3 > 3 3
||: # $ # $ # $ # $ # $ # $ :||
% & ' ( & )
! " ! " ! "
Concept 7 B: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: $ * $ * $ * $ * $ * $ * :||
% & ' ( & )
! ! ! ! ! !
a
Concept 7 B: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 > 3
||: $ * $ * $ * $ * $ * $ * :||
% & ' ( & )
! " ! " ! "
Concept 7 C: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: * + * + * + * + * + * + :||
% & ' ( & )
! ! ! ! ! !
Concept 7 C: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: * + * + * + * + * + * + :||
% & ' ( & )
! " ! " ! "
a
Concept 7 D: Measure One - quarter note equals one beat
c
> 3 > 3 > 3 > 3 > 3 > 3
||: + , + , + , + , + , + , :||
% & ' ( & )
! ! ! ! ! !
Concept 7 D: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: + , + , + , + , + , + , :||
% & ' ( & )
! " ! " ! "
Concept 7 E: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: # * $ + * , :||
% ' % ' % ' % ' % ' % '
! ! ! ! ! !
a
Concept 7 E: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: # * $ + * , :||
% ' % ' % ' % ' % ' % '
! " ! " ! "
Concept 7 F: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: # * $ + * , :||
' & ' & ' & ' & ' & ' &
! ! ! ! ! !
Concept 7 F: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: # * $ + * , :||
' & ' & ' & ' & ' & ' &
! " ! " ! "
a
Concept 7 G: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: # * $ + * , :||
& ( & ( & ( & ( & ( & (
! ! ! ! ! !
Concept 7 G: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: # * $ + * , :||
& ( & ( & ( & ( & ( & (
! " ! " ! "
Concept 7 H: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: # * $ + * , :||
( ) ( ) ( ) ( ) ( ) ( )
! ! ! ! ! !
a
Concept 7 H: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: # * $ + * , :||
( ) ( ) ( ) ( ) ( ) ( )
! " ! " ! "
Concept 7 I: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: # $ # $ # $ # $ # $ # $ :||
) & ( ' & %
! ! ! ! ! !
Concept 7 I: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: # $ # $ # $ # $ # $ # $ :||
) & ( ' & %
! " ! " ! "
a
Concept 7 J: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: $ * $ * $ * $ * $ * $ * :||
) & ( ' & %
! ! ! ! ! !
Concept 7 J: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: $ * $ * $ * $ * $ * $ * :||
) & ( ' & %
! " ! " ! "
Concept 7 K: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: * + * + * + * + * + * + :||
) & ( ' & %
! ! ! ! ! !
a
Concept 7 K: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: * + * + * + * + * + * + :||
) & ( ' & %
! " ! " ! "
Concept 7 L: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: + , + , + , + , + , + , :||
) & ( ' & %
! ! ! ! ! !
Concept 7 L: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: + , + , + , + , + , + , :||
) & ( ' & %
! " ! " ! "
a
Concept 7 M: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: , * + $ * # :||
% ' % ' % ' % ' % ' % '
! ! ! ! ! !
Concept 7 M: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: , * + $ * # :||
% ' % ' % ' % ' % ' % '
! " ! " ! "
Concept 7 N: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: , * + $ * # :||
' & ' & ' & ' & ' & ' &
! ! ! ! ! !
a
Concept 7 N: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: , * + $ * # :||
' & ' & ' & ' & ' & ' &
! " ! " ! "
Concept 7 O: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: , * + $ * # :||
& ( & ( & ( & ( & ( & (
! ! ! ! ! !
Concept 7 O: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: , * + $ * # :||
& ( & ( & ( & ( & ( & (
! " ! " ! "
a
Concept 7 P: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: , * + $ * # :||
( ) ( ) ( ) ( ) ( ) ( )
! ! ! ! ! !
Concept 7 P: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: , * + $ * # :||
( ) ( ) ( ) ( ) ( ) ( )
! " ! " ! "
training.

LESSON #8
abilities allow.
concept exercise.
end of each lesson.
In measure one, beat your foot to a quarter note and in measure two, beat your foot to a half note. Repeat each measure two
times then repeat the entire line according to the requirements of each Finger Motion Style.
a
> 3 > 3 > 3 > 3 > 3 > 3 > 3 3 > 3 3 > 3 3
6/4 ||: # $ # $ # $ # $ # $ # $ :||: 3/2 # $ # $ # $ # $ # $ # $ :||

% & ' ( & ) % & ' ( & )
! ! ! ! ! ! ! " ! " ! "
times.
> 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3 > 3
6/4 ||: # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $
% & ' ( & ) % & ' ( & )
! ! ! ! ! ! ! ! ! ! ! !
a
> 3 3 > 3 3 > 3 3 > 3 3 > 3 3 > 3 3
3/2 # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ # $ :||
% & ' ( & ) % & ' ( & )
! " ! " ! " ! " ! " ! "
When choosing a tempo, make sure that you can comfortably tap the groups of six in one beat and stay at this tempo
throughout the entire exercise.
In Concepts 8A - 8P, measure one is in 6/4 time and measure two is in 3/2 time. You must mentally change the meaning of
your foot beat. In 6/4 time, the eighth note triplet takes up one full beat. In 3/2 time, eighth note triplets take only half of a
beat each, therefore, you tap one triplet when the foot goes down and one triplet when the foot comes up. Make the quarter
note beat in measure one equal to the half note beat in measure two. Therefore the triplets in measure two are twice as fast as
in measure one.
Concept 8 A: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: * + * + * + * + * + * + :||
) & ( ' & %
! ! ! ! ! !
Concept 8 A: Measure Two - half note equals one beat

a
a
> 3 3 > 3 3 > 3 3
||: * + * + * + * + * + * + :||
) & ( ' & %
! " ! " ! "
Concept 8 B: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: + , + , + , + , + , + , :||
) & ( ' & %
! ! ! ! ! !
a
Concept 8 B: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 > 3
||: + , + , + , + , + , + , :||
) & ( ' & %
! " ! " ! "
Concept 8 C: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: , $ , $ , $ , $ , $ , $ :||
) & ( ' & %
! ! ! ! ! !
Concept 8 C: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: , $ , $ , $ , $ , $ , $ :||
) & ( ' & %
! " ! " ! "
a
Concept 8 D: Measure One - quarter note equals one beat
c
> 3 > 3 > 3 > 3 > 3 > 3
||: $ # $ # $ # $ # $ # $ # :||
) & ( ' & %
! ! ! ! ! !
Concept 8 D: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: $ # $ # $ # $ # $ # $ # :||
) & ( ' & %
! " ! " ! "
Concept 8 E: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: * , + $ , # :||
) ( ) ( ) ( ) ( ) ( ) (
! ! ! ! ! !
a
Concept 8 E: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: * , + $ , # :||
) ( ) ( ) ( ) ( ) ( ) (
! " ! " ! "
Concept 8 F: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: * , + $ , # :||
( & ( & ( & ( & ( & ( &
! ! ! ! ! !
Concept 8 F: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: * , + $ , # :||
( & ( & ( & ( & ( & ( &
! " ! " ! "
a
Concept 8 G: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: * , + $ , # :||
& ' & ' & ' & ' & ' & '
! ! ! ! ! !
Concept 8 G: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: * , + $ , # :||
& ' & ' & ' & ' & ' & '
! " ! " ! "
Concept 8 H: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: * , + $ , # :||
' % ' % ' % ' % ' % ' %
! ! ! ! ! !
a
Concept 8 H: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: * , + $ , # :||
' % ' % ' % ' % ' % ' %
! " ! " ! "
Concept 8 I: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: * + * + * + * + * + * + :||
% & ' ( & )
! ! ! ! ! !
Concept 8 I: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: * + * + * + * + * + * + :||
% & ' ( & )
! " ! " ! "
a
Concept 8 J: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: + , + , + , + , + , + , :||
% & ' ( & )
! ! ! ! ! !
Concept 8 J: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: + , + , + , + , + , + , :||
% & ' ( & )
! " ! " ! "
Concept 8 K: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: , $ , $ , $ , $ , $ , $ :||
% & ' ( & )
! ! ! ! ! !
a
Concept 8 K: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: , $ , $ , $ , $ , $ , $ :||
% & ' ( & )
! " ! " ! "
Concept 8 L: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: $ # $ # $ # $ # $ # $ # :||
% & ' ( & )
! ! ! ! ! !
Concept 8 L: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: $ # $ # $ # $ # $ # $ # :||
% & ' ( & )
! " ! " ! "
a
Concept 8 M: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: # , $ + , * :||
) ( ) ( ) ( ) ( ) ( ) (
! ! ! ! ! !
Concept 8 M: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: # , $ + , * :||
) ( ) ( ) ( ) ( ) ( ) (
! " ! " ! "
Concept 8 N: Measure One - quarter note equals one beat
> 3 > 3 > 3 > 3 > 3 > 3
||: # , $ + , * :||
( & ( & ( & ( & ( & ( &
! ! ! ! ! !
a
Concept 8 N: Measure Two - half note equals one beat
a
> 3 3 > 3 3 > 3 3
||: # , $ + , * :||
( & ( & ( & ( & ( & ( &
! " ! " ! "
Concept 8 O: Measure One - quarter note equals one beat

a
> 3 > 3 > 3 > 3 > 3 > 3
||: # , $ + , * :||
& ' & ' & ' & ' & ' & '
! ! ! ! ! !
Concept 8 O: Measure Two - half note equals one beat
> 3 3 > 3 3 > 3 3
||: # , $ + , * :||
& ' & ' & ' & ' & ' & '
! " ! " ! "
a
Concept 8 P: Measure One - quarter note equals one beat
a
> 3 > 3 > 3 > 3 > 3 > 3
||: # , $ + , * :||
' % ' % ' % ' % ' % ' %
! ! ! ! ! !
Concept 8 P: Measure Two - half note equals one beat

a
> 3 3 > 3 3 > 3 3
||: # , $ + , * :||
' % ' % ' % ' % ' % ' %
! " ! " ! "
training.

LESSON #9
abilities allow.
concept exercise.
end of each lesson.
In Lessons 9 - 14, I require that you practice each concept with two different foot beats. First, you will tap the exercise while
beating your foot to a quarter note beat. This means that you will tap four 16th notes per foot beat ( two when your foot
strikes the floor and two while your foot lifts and strikes the ceiling - making sure that the taps are evenly distributed ).
Repeat this measure two times. Next, you will tap the same exercise while beating your foot to an eighth note beat. This
means that you will tap two 16th notes per foot beat ( one when you foot strikes the floor and one when your foot lifts and
strikes the ceiling - again making sure that your taps are evenly spaced ). Repeat this measure two times. When you feel
comfortable tapping the exercise with the different foot beats then proceed to repeat the entire exercise without stopping.
The exercises are written as follows:
> > > > >
5/4 ||: # $ % # $ % # $ % # $ % # $ % :||

& ' ( ) *
In other words, according to my instructions above, what you will do in Finger Motion Style One and Finger Motion Style
Three, you will tap through the following 3 times. In Finger Motion Style Two, tap through the following one or two times.
> > > > > > > > > >
5/4 ||: # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ %
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > > > > > >
10/8 # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
In Concepts 9A - 9L, you must change your foot beat. First, you tap the exercise in 5/4 time until comfortable. Then, you
tap it in 10/8 by changing your foot beat from a quarter note to an eighth note. Unlike Lessons 7 and 8, your foot beat in
Lessons 9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady
and even. Follow the foot beat instructions from the sample on the previous page.
Concept 9A:
> > > > >
||: # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) *
Concept 9B:
> > > > >
||: % + $ % + $ % + $ % + $ % +$ :||
& ' ( ) *
Concept 9C:
> > > > >
||: $ , + $ , + $ , + $ , + $ , + :||
& ' ( ) *
Concept 9D:
> > > > >
||: # % $ + , :||
& ( ' & ( ' & ( ' & ( ' & ( '
Concept 9E:
> > > > >
||: # % $ + , :||
' ) ( ' ) ( ' ) ( ' ) ( ' ) (
Concept 9F:
> > > > >
||: # % $ + , :||
( * ) ( * ) ( * ) ( * ) ( * )
Concept 9G:
> > > > >
||: # $ % # $ % # $ % # $ % # $ % :||
* ) ( ' &
Concept 9H:
> > > > >
||: % + $ % + $ % + $ % + $ % + $ :||
* ) ( ' &
Concept 9I:
> > > > >
||: $ , + $ , + $ , + $ , + $ , + :||
* ) ( ' &
Concept 9J:
> > > > >
||: , + $ % # :||
& ( ' & ( ' & ( ' & ( ' & ( '
Concept 9K:
> > > > >
||: , + $ % # :||
' ) ( ' ) ( ' ) ( ' ) ( ' ) (
Concept 9L:
> > > > >
||: , + $ % # :||
( * ) ( * ) ( * ) ( * ) ( * )
sure the up and down movements are at equal intervals.

LESSON #10
abilities allow.
concept exercise.
end of each lesson.
beating your foot to a half note beat. This means that you will tap four 8th notes per foot beat ( two when your foot strikes the
floor and two while your foot lifts and strikes the ceiling - making sure that the taps are evenly distributed ). Repeat this
measure two times. Next, you will tap the same exercise while beating your foot to a quarter note beat. This means that you
will tap two 8th notes per foot beat ( one when you foot strikes the floor and one when your foot lifts and strikes the ceiling -
again making sure that your taps are evenly spaced ). Repeat this measure two times. When you feel comfortable tapping the
exercise with the different foot beats then proceed to repeat the entire exercise without stopping.
> > > > >
5/2 ||: # $ % # $ % # $ % # $ % # $ % :||

& ' ( ) *
> > > > > > > > > >
5/2 ||: # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ %
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > > > > > >
10/4 # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
tap it in 10/4 by changing your foot beat from a half note to a quarter note. Unlike Lessons 7 and 8, your foot beat in Lessons
9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even.
Follow the foot beat instructions from the sample on the previous page.
Concept 10 A:
> > > > >
||: + $ , + $ , + $ , + $ , + $ , :||
* ) ( ' &
Concept 10 B:
> > > > >
||: , % $ , % $ , % $ , % $ , % $ :||
* ) ( ' &
Concept 10 C:
> > > > >
||: $ # % $ # % $ # % $ # % $ # % :||
* ) ( ' &
Concept 10 D:
> > > > >
||: + , $ % # :||
* ( ) * ( ) * ( ) * ( ) * ( )
Concept 10 E:
> > > > >
||: + , $ % # :||
) ' ( ) ' ( ) ' ( ) ' ( ) ' (
Concept 10 F:
> > > > >
||: + , $ % # :||
( & ' ( & ' ( & ' ( & ' ( & '
Concept 10 G:
> > > > >
||: + $ , + $ , + $ , + $ , + $ , :||
& ' ( ) *
Concept 10 H:
> > > > >
||: , % $ , % $ , % $ , % $ , % $ :||
& ' ( ) *
Concept 10 I:
> > > > >
||: $ # % $ # % $ # % $ # % $ # % :||
& ' ( ) *
Concept 10 J:
> > > > >
||: # % $ , + :||
* ( ) * ( ) * ( ) * ( ) * ( )
Concept 10 K:
> > > > >
||: # % $ , + :||
) ' ( ) ' ( ) ' ( ) ' ( ) ' (
Concept 10 L:
> > > > >
||: # % $ , + :||
( & ' ( & ' ( & ' ( & ' ( & '

LESSON #11
abilities allow.
concept exercise.
end of each lesson.
beating your foot to an eighth note beat. This means that you will tap four 32nd notes per foot beat ( two when your foot
Repeat this measure two times. Next, you will tap the same exercise while beating your foot to a sixteenth note beat. This
means that you will tap two 32nd notes per foot beat ( one when you foot strikes the floor and one when your foot lifts and
> > > > >
5/8 ||: # $ % # $ % # $ % # $ % # $ % :||

& ' ( ) *
> > > > > > > > > >
5/8 ||: # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ %
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > > > > > >
10/16 # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
tap it in 10/16 by changing your foot beat from an eighth note to a sixteenth note. Unlike Lessons 7 and 8, your foot beat in
Concept 11 A:
> > > > >
||: # + % # + % # + % # + % # + % :||
& ' ( ) *
Concept 11 B:
> > > > >
||: # , % # , % # , % # , % # , % :||
& ' ( ) *
Concept 11 C:
> > > > >
||: % , $ % , $ % , $ % , $ % , $ :||
& ' ( ) *
Concept 11 D:
> > > > >
||: # % $ + , :||
& ) ' & ) ' & ) ' & ) ' & ) '
Concept 11 E:
> > > > >
||: # % $ + , :||
& * ' & * ' & * ' & * ' & * '
Concept 11 F:
> > > > >
||: # % $ + , :||
' * ( ' * ( ' * ( ' * ( ' * (
Concept 11 G:
> > > > >
||: # + % # + % # + % # + % # + % :||
* ) ( ' &
Concept 11 H:
> > > > >
||: # , % # , % # , % # , % # , % :||
* ) ( ' &
Concept 11 I:
> > > > >
||: % , $ % , $ % , $ % , $ % , $ :||
* ) ( ' &
Concept 11 J:
> > > > >
||: , + $ % # :||
& ) ' & ) ' & ) ' & ) ' & ) '
Concept 11 K:
> > > > >
||: , + $ % # :||
& * ' & * ' & * ' & * ' & * '
Concept 11 L:
> > > > >
||: , + $ % # :||
' * ( ' * ( ' * ( ' * ( ' * (

LESSON #12
abilities allow.
concept exercise.
end of each lesson.
A > > > > > > > > >
6/4 ||: # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ %
& ' ( ) ' * & ' (
! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > > > > >
# $ % # $ % # $ % 12/8 # $ % # $ % # $ % # $ % # $ % # $ %
) ' * & ' ( ) ' *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > >

a
# $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) ' *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 12 A:
> > > > > >
||: # $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) ' *
Concept 12 B:
> > > > > >
||: # + % # + % # + % # + % # + % # + % :||
& ' ( ) ' *
Concept 12 C:
a
> > > > > >
||: % + , % + , % + , % + , % + , % + , :||
& ' ( ) ' *
Concept 12 D:
> > > > > >
||: # , % $ , + :||
& ) ( & ) ( & ) ( & ) ( & ) ( & ) (
Concept 12 E:
> > > > > >
||: # , % $ , + :||
& * ( & * ( & * ( & * ( & * ( & * (
Concept 12 F:
a
> > > > > >
a
||: # , % $ , + :||
( * ' ( * ' ( * ' ( * ' ( * ' ( * '
Concept 12 G:
> > > > > >

a
||: # $ % # $ % # $ % # $ % # $ % # $ % :||
* ' ) ( ' &
Concept 12 H:
> > > > > >
||: # + % # + % # + % # + % # + % # + % :||
* ' ) ( ' &
Concept 12 I:
a
> > > > > >
||: % + , % + , % + , % + , % + , % + , :||
* ' ) ( ' &
Concept 12 J:
a
> > > > > >
a
||: + , $ % , # :||
& ) ( & ) ( & ) ( & ) ( & ) ( & ) (
Concept 12 K:
a
> > > > > >

a
||: + , $ % , # :||
& * ( & * ( & * ( & * ( & * ( & * (
Concept 12 L:
a
> > > > > >
a
||: + , $ % , # :||
( * ' ( * ' ( * ' ( * ' ( * ' ( * '

LESSON #13
abilities allow.
concept exercise.
end of each lesson.
> > > > >
5/4 ||: # $ % # $ % # $ % # $ % # $ % :||

& ' ( ) *
> > > > > > > > > >
5/4 ||: # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ %
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > > > > > >
10/8 # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) * & ' ( ) *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
Concept 13A:
> > > > >
||: + % , + % , + % , + % , + % , :||
* ) ( ' &
Concept 13B:
> > > > >
||: + # , + # , + # , + # , + # , :||
* ) ( ' &
Concept 13C:
> > > > >
||: , # $ , # $ , # $ , # $ , # $ :||
* ) ( ' &
Concept 13D:
> > > > >
||: + , $ % # :||
* ' ) * ' ) * ' ) * ' ) * ' )
Concept 13E:
> > > > >
||: + , $ % # :||
* & ) * & ) * & ) * & ) * & )
Concept 13F:
> > > > >
||: + , $ % # :||
) & ( ) & ( ) & ( ) & ( ) & (
Concept 13G:
> > > > >
||: + % , + % , + % , + % , + % , :||
& ' ( ) *
Concept 13H:
> > > > >
||: + # , + # , + # , + # , + # , :||
& ' ( ) *
Concept 13I:
> > > > >
||: , # $ , # $ , # $ , # $ , # $ :||
& ' ( ) *
Concept 13J:
> > > > >
||: # % $ , + :||
* ' ) * ' ) * ' ) * ' ) * ' )
Concept 13K:
> > > > >
||: # % $ , + :||
* & ) * & ) * & ) * & ) * & )
Concept 13L:
> > > > >
||: # % $ , + :||
) & ( ) & ( ) & ( ) & ( ) & (

LESSON #14
abilities allow.
concept exercise.
end of each lesson.
beating your foot to a half note beat. This means that you will tap four 8th notes per foot beat ( two when your foot strikes the
floor and two while your foot lifts and strikes the ceiling - making sure that the taps are evenly distributed ). Repeat this
measure two times. Next, you will tap the same exercise while beating your foot to a quarter note beat. This means that you
will tap two 8th notes per foot beat ( one when you foot strikes the floor and one when your foot lifts and strikes the ceiling -
again making sure that your taps are evenly spaced ). Repeat this measure two times. When you feel comfortable tapping the
exercise with the different foot beats then proceed to repeat the entire exercise without stopping.
A > > > > > > > > >
6/2 ||: # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ % # $ %
& ' ( ) ' * & ' (
! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > > > > >
# $ % # $ % # $ % 12/4 # $ % # $ % # $ % # $ % # $ % # $ %
) ' * & ' ( ) ' *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
> > > > > >

a
# $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) ' *
! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! " ! "
tap it in 12/4 by changing your foot beat from a half note to a quarter note. Unlike Lessons 7 and 8, your foot beat in Lessons
9 - 14 doubles in speed but your finger tapping stays at the same tempo. Make sure that your tapping stays steady and even.
Follow the foot beat instructions from the sample on the previous page.
Concept 14 A:
> > > > > >
||: # $ % # $ % # $ % # $ % # $ % # $ % :||
& ' ( ) ' *
Concept 14 B:
> > > > > >
||: # + % # + % # + % # + % # + % # + % :||
& ' ( ) ' *
Concept 14 C:
a
> > > > > >
||: % + , % + , % + , % + , % + , % + , :||
& ' ( ) ' *
Concept 14 D:
> > > > > >
||: # , % $ , + :||
& ) ( & ) ( & ) ( & ) ( & ) ( & ) (
Concept 14E:
> > > > > >
||: # , % $ , + :||
& * ( & * ( & * ( & * ( & * ( & * (
Concept 14 F:
a
> > > > > >
a
||: # , % $ , + :||
( * ' ( * ' ( * ' ( * ' ( * ' ( * '
Concept 14 G:
> > > > > >

a
||: # $ % # $ % # $ % # $ % # $ % # $ % :||
* ' ) ( ' &
Concept 14 H:
> > > > > >
||: # + % # + % # + % # + % # + % # + % :||
* ' ) ( ' &
Concept 14 I:
a
> > > > > >
||: % + , % + , % + , % + , % + , % + , :||
* ' ) ( ' &
Concept 14 J:
a
> > > > > >
a
||: + , $ % , # :||
& ) ( & ) ( & ) ( & ) ( & ) ( & ) (
Concept 14 K:
a
> > > > > >

a
||: + , $ % , # :||
& * ( & * ( & * ( & * ( & * ( & * (
Concept 14 L:
a
> > > > > >
a
||: + , $ % , # :||
( * ' ( * ' ( * ' ( * ' ( * ' ( * '

LESSON #15
Finger Motion Style One: (Slow Tempo ) Tap finger patterns using ONLY Finger Motion Style One.
Secure the finger tapping pattern first and then layer in the foot beat and lastly the accents
as your abilities allow.
The finger tapping patterns in Lessons 15 and 16 are very difficult. My goal in these lessons is to begin the transition into
Book Three - “Ultimate Rhythm” so there is less emphasis on finger style and more focus on beat shifting. Practice each
concept with Finger Motion Style One ONLY and direct most of your concentration to the changing foot beat and how it
affects the “feel” of the patterns.
The three foot beats to be used goes as follows:
Three Varied Foot Beats With Accents:
#1 - Use an Eighth Note Beat ( repeat 3 times for each concept )
#2 - Use a Quarter Note Beat ( repeat 3 times for each concept )
#3 - Use a Dotted Quarter Note Beat ( repeat 3 times for each concept )
> - Accent ( Make Finger Tap Louder But Not The Foot Beat )
A summary of Finger Motion Style One and Foot Beating Technique that you are to follow can be found at the end of
the lesson.
In Lessons 15 and 16, I require that you practice each concept with three different foot beats. First, you will tap the exercise
while beating your foot to a eighth note beat. Next you will tap once again while beating your foot to a quarter note. Lastly
you will use a dotted quarter note for your foot beat. Each concept is one measure in length. Repeat 3 times for each varied
foot beat so that makes a minimum of nine measures per concept. You will probably tap each concept more than nine times
because you may first practice tapping the finger patterns without your foot beat and accents until you have them secured.
Remember to finger tap in Finger Motion Style One Only. The shifting foot beats and varied meters are the most important
elements here. Notice that the accents in the finger pattern change in order to comply with the required foot beats. The
three samples below indicate the foot beats, accents, meter and counting you are to apply to each concept exercise.
1 2 3 4 5 6
> > > > > >
1) 6/8 # $ % & $ ' Beat foot to an eighth note beat.

! " ! " ! " ! " ! " ! " Both lines in 6/8 time
6/8 ( ) * + ) , ( ) * + ) , Accents every eighth note
Repeat this 3 times
1
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
1 + 2 + 3 +
> > >
a
2) 3/4 # $ % & $ ' Beat foot to a quarter note beat.
a ! " ! " ! " One line is in 3/4 time
6/8 ( ) * + ) , ( ) * + ) , One line is in 6/8 time
Accents every quarter note
1 > > > Repeat this 3 times
1 + 2 + 3 + 4 + 5 + 6 +
1 2 3 4 5 6
> >
3) 6/8 # $ % & $ ' Beat foot to a dotted quarter note beat.

! " ! " Both lines in 6/8 time,
6/8 ( ) * + ) , ( ) * + ) , Accents every dotted quarter note
Repeat this 3 times. ( Notice that the
ax > > down and up movements of the foot
1 + 2 + 3 + 4 + 5 + 6 + along with the tapped eighth note
line creates a 2 against 3 pattern )
In Concepts 15 A - 15 L, you must change your foot beat. First you tap the exercise in 6/8 time using an eighth note beat.
Next, you will change your foot beat to a quarter note which means that the eighth notes you tap are in 3/4 time and the
sixteenth notes tapped remain in 6/8 time but abide by the accents of the 3/4 time. (The exercises takes on a duel
personality ).
When in two different time signatures, you will need to count out loud in 3/4 time while finger tapping and foot beating, then
repeat the exercise while counting in 6/8. Observe the two meters happening simultaneously.
It is nearly impossible to think the counting in both time signatures simultaneously. Lastly, you will tap using a dotted
quarter note foot beat in 6/8 time.
Make sure your tapping stays steady and even. Follow the samples on the previous page.
Concept 15A-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: # $ % & $ ' :||
! " ! " ! " ! " ! " ! " Eighth Note Foot Beat
6/8 ||: ( ) * + ) , ( ) * + ) , :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15A-Two
1 + 2 + 3 +
> > >
a
3/4 ||: # $ % & $ ' :||
! " ! " ! " Quarter Note Foot Beat
6/8 ||: ( ) * + ) , ( ) * + ) , :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15A-Three
1 2 3 4 5 6
> >
a
6/8 ||: # $ % & $ ' :||
! " ! " Dotted Quarter Note Foot Beat
6/8 ||: ( ) * + ) , ( ) * + ) , :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15B-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: % & $ ' # $ :||
6/8 ||: * + ) , ( ) * + ) , ( ) :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15B-Two
1 + 2 + 3 +
> > >
a
3/4 ||: % & $ ' # $ :||
6/8 ||: * + ) , ( ) * + ) , ( ) :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15B-Three
1 2 3 4 5 6
> >
a
6/8 ||: % & $ ' # $ :||
6/8 ||: * + ) , ( ) * + ) , ( ) :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15C-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: $ ' # $ % & :||
6/8 ||: ) , ( ) * + ) , ( ) * + :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15C-Two
1 + 2 + 3 +
> > >
a
3/4 ||: $ ' # $ % & :||
6/8 ||: ) , ( ) * + ) , ( ) * + :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15C-Three
a
1 2 3 4 5 6
> >
6/8 ||: $ ' # $ % & :||

6/8 ||: ) , ( ) * + ) , ( ) * + :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15D-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
sa
6/8 ||: # $ % & $ ' # $ % & $ ' :||
6/8 ||: ( ) * + ) , :||
a
> > > > > >
1 2 3 4 5 6
Concept 15D-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: # $ % & $ ' # $ % & $ ' :||
3/4 ||: ( ) * + ) , :||
a
> > >
1 + 2 + 3 +
Concept 15D-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: # $ % & $ ' # $ % & $ ' :||
6/8 ||: ( ) * + ) , :||
a
> >
1 2 3 4 5 6
Concept 15E-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: % & $ ' # $ % & $ ' # $ :||
6/8 ||: * + ) , ( ) :||
a
> > > > > >
1 2 3 4 5 6
Concept 15E-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: % & $ ' # $ % & $ ' # $ :||
3/4 ||: * + ) , ( ) :||
a
> > >
1 + 2 + 3 +
Concept 15E-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: % & $ ' # $ % & $ ' # $ :||
6/8 ||: * + ) , ( ) :||
a
> >
1 2 3 4 5 6
Concept 15F-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: $ ' # $ % & $ ' # $ % & :||
6/8 ||: ) , ( ) * + :||
a
> > > > > >
1 2 3 4 5 6
Concept 15F-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: $ ' # $ % & $ ' # $ % & :||
3/4 ||: ) , ( ) * + :||
a
> > >
1 + 2 + 3 +
Concept 15F-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: $ ' # $ % & $ ' # $ % & :||
6/8 ||: ) , ( ) * + :||
a
> >
1 2 3 4 5 6
Concept 15G-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: # $ % & $ ' :||
6/8 ||: , ) + * ) ( , ) + * ) ( :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15G-Two
1 + 2 + 3 +
> > >
a
3/4 ||: # $ % & $ ' :||
6/8 ||: , ) + * ) ( , ) + * ) ( :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15G-Three
1 2 3 4 5 6
> >
a
6/8 ||: # $ % & $ ' :||
6/8 ||: , ) + * ) ( , ) + * ) ( :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15H-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: % & $ ' # $ :||
6/8 ||: + * ) ( , ) + * ) ( , ) :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15H-Two
1 + 2 + 3 +
> > >
a
3/4 ||: % & $ ' # $ :||
6/8 ||: + * ) ( , ) + * ) ( , ) :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15H-Three
1 2 3 4 5 6
> >
a
6/8 ||: % & $ ' # $ :||
6/8 ||: + * ) ( , ) + * ) ( , ) :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15I-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: $ ' # $ % & :||
6/8 ||: ) ( , ) + * ) ( , ) + * :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15I-Two
1 + 2 + 3 +
> > >
a
3/4 ||: $ ' # $ % & :||
6/8 ||: ) ( , ) + * ) ( , ) + * :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15I-Three
1 2 3 4 5 6
> >
a
6/8 ||: $ ' # $ % & :||
6/8 ||: ) ( , ) + * ) ( , ) + * :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 15J-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
sa
6/8 ||: ' $ & % $ # ' $ & % $ # :||
6/8 ||: ( ) * + ) , :||
a
> > > > > >
1 2 3 4 5 6
Concept 15J-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: ' $ & % $ # ' $ & % $ # :||
3/4 ||: ( ) * + ) , :||
a
> > >
1 + 2 + 3 +
Concept 15J-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: ' $ & % $ # ' $ & % $ # :||
6/8 ||: ( ) * + ) , :||
a
> >
1 2 3 4 5 6
Concept 15K-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: & % $ # ' $ & % $ # ' $ :||
6/8 ||: * + ) , ( ) :||
a
> > > > > >
1 2 3 4 5 6
Concept 15K-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: & % $ # ' $ & % $ # ' $ :||
3/4 ||: * + ) , ( ) :||
a
> > >
1 + 2 + 3 +
Concept 15K-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: & % $ # ' $ & % $ # ' $ :||
6/8 ||: * + ) , ( ) :||
a
> >
1 2 3 4 5 6
Concept 15L-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: $ # ' $ & % $ # ' $ & % :||
6/8 ||: ) , ( ) * + :||
a
> > > > > >
1 2 3 4 5 6
Concept 15L-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: $ # ' $ & % $ # ' $ & % :||
3/4 ||: ) , ( ) * + :||
a
> > >
1 + 2 + 3 +
Concept 15L-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: $ # ' $ & % $ # ' $ & % :||
6/8 ||: ) , ( ) * + :||
a
> >
1 2 3 4 5 6
“Finger Pounding”
- Arms, wrists hands suspended 2" above table
- Fingers arched slightly, palms face down
- All fingers remain in the air except for the

finger(s) that are moving
- Large, slow movements only from knuckle

where finger meets the hand ( the hinge )
- Finger “pounds” the table audibly
- One finger remains on the table at all times

only lifting it when the next finger takes its
place

LESSON #16
Finger Motion Style One: (Slow Tempo ) Tap finger patterns using ONLY Finger Motion Style One.
Secure the finger tapping pattern first and then layer in the foot beat and lastly the accents
as your abilities allow.
The finger tapping patterns in Lesson 16 are very difficult. My goal in this lesson is to begin the transition into Book Three -
“Ultimate Rhythm” so there is less emphasis on finger style and more focus on beat shifting. Practice each concept with
Finger Motion Style One ONLY and direct most of your concentration to the changing foot beat and how it
affects the “feel” of the patterns.
The three foot beats to be used goes as follows:
Three Varied Foot Beats With Accents:
#1 - Use an Eighth Note Beat ( repeat 3 times for each concept )
#2 - Use a Quarter Note Beat ( repeat 3 times for each concept )
#3 - Use a Dotted Quarter Note Beat ( repeat 3 times for each concept )
> - Accent ( Make Finger Tap Louder But Not The Foot Beat )
A summary of Finger Motion Style One and Foot Beating Technique that you are to follow can be found at the end of
the lesson.
In Lesson 16, I require that you practice each concept with three different foot beats. First, you will tap the exercise while
beating your foot to a eighth note beat. Next you will tap once again while beating your foot to a quarter note. Lastly you
will use a dotted quarter note for your foot beat. Each concept is one measure in length. Repeat 3 times for each varied foot
beat so that makes a minimum of nine measures per concept. You will probably tap each concept more than nine times
because you may first practice tapping the finger patterns without your foot beat and accents until you have them secured.
Remember to finger tap in Finger Motion Style One Only. The shifting foot beats and varied meters are the most important
elements here. Notice that the accents in the finger pattern change in order to comply with the required foot beats. The
three samples below indicate the foot beats, accents, meter and counting you are to apply to each concept exercise.
1 2 3 4 5 6
> > > > > >
1) 6/8 # $ % & $ ' Beat foot to an eighth note beat.

! " ! " ! " ! " ! " ! " Both lines in 6/8 time
6/8 ( ) * + ) , ( ) * + ) , Accents every eighth note
Repeat this 3 times
1
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
1 + 2 + 3 +
> > >
a
2) 3/4 # $ % & $ ' Beat foot to a quarter note beat.
a ! " ! " ! " One line is in 3/4 time
6/8 ( ) * + ) , ( ) * + ) , One line is in 6/8 time
Accents every quarter note
1 > > > Repeat this 3 times
1 + 2 + 3 + 4 + 5 + 6 +
1 2 3 4 5 6
> >
3) 6/8 # $ % & $ ' Beat foot to a dotted quarter note beat.

! " ! " Both lines in 6/8 time,
6/8 ( ) * + ) , ( ) * + ) , Accents every dotted quarter note
Repeat this 3 times. ( Notice that the
ax > > down and up movements of the foot
1 + 2 + 3 + 4 + 5 + 6 + along with the tapped eighth note
line creates a 2 against 3 pattern )
In Concepts 16 A - 16 L, you must change your foot beat. First you tap the exercise in 6/8 time using an eighth note beat.
Next, you will change your foot beat to a quarter note which means that the eighth notes you tap are in 3/4 time and the
sixteenth notes tapped remain in 6/8 time but abide by the accents of the 3/4 time. (The exercises takes on a duel
personality ).
When in two different time signatures, you will need to count out loud in 3/4 time while finger tapping and foot beating, then
repeat the exercise while counting in 6/8. Observe the two meters happening simultaneously.
It is nearly impossible to think the counting in both time signatures simultaneously. Lastly, you will tap using a dotted
quarter note foot beat in 6/8 time.
Make sure your tapping stays steady and even. Follow the samples on the previous page.
Concept 16A-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: ' $ & % $ # :||
6/8 ||: , ) + * ) ( , ) + * ) ( :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16A-Two
1 + 2 + 3 +
> > >
a
3/4 ||: ' $ & % $ # :||
6/8 ||: , ) + * ) ( , ) + * ) ( :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16A-Three
1 2 3 4 5 6
> >
a
6/8 ||: ' $ & % $ # :||
6/8 ||: , ) + * ) ( , ) + * ) ( :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16B-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: & % $ # ' $ :||
6/8 ||: + * ) ( , ) + * ) ( , ) :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16B-Two
1 + 2 + 3 +
> > >
a
3/4 ||: & % $ # ' $ :||
6/8 ||: + * ) ( , ) + * ) ( , ) :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16B-Three
1 2 3 4 5 6
> >
a
6/8 ||: & % $ # ' $ :||
6/8 ||: + * ) ( , ) + * ) ( , ) :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16C-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: $ # ' $ & % :||
6/8 ||: ) ( , ) + * ) ( , ) + * :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16C-Two
1 + 2 + 3 +
> > >
a
3/4 ||: $ # ' $ & % :||
6/8 ||: ) ( , ) + * ) ( , ) + * :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16C-Three
a
1 2 3 4 5 6
> >
6/8 ||: $ # ' $ & % :||

6/8 ||: ) ( , ) + * ) ( , ) + * :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16D-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
sa
6/8 ||: ' $ & % $ # ' $ & % $ # :||
6/8 ||: , ) + * ) ( :||
a
> > > > > >
1 2 3 4 5 6
Concept 16D-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: ' $ & % $ # ' $ & % $ # :||
3/4 ||: , ) + * ) ( :||
a
> > >
1 + 2 + 3 +
Concept 16D-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: ' $ & % $ # ' $ & % $ # :||
6/8 ||: , ) + * ) ( :||
a
> >
1 2 3 4 5 6
Concept 16E-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: & % $ # ' $ & % $ # ' $ :||
6/8 ||: + * ) ( , ) :||
a
> > > > > >
1 2 3 4 5 6
Concept 16E-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: & % $ # ' $ & % $ # ' $ :||
3/4 ||: + * ) ( , ) :||
a
> > >
1 + 2 + 3 +
Concept 16E-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: & % $ # ' $ & % $ # ' $ :||
6/8 ||: + * ) ( , ) :||
a
> >
1 2 3 4 5 6
Concept 16F-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: $ # ' $ & % $ # ' $ & % :||
6/8 ||: ) ( , ) + * :||
a
> > > > > >
1 2 3 4 5 6
Concept 16F-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: $ # ' $ & % $ # ' $ & % :||
3/4 ||: ) ( , ) + * :||
a
> > >
1 + 2 + 3 +
Concept 16F-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: $ # ' $ & % $ # ' $ & % :||
6/8 ||: ) ( , ) + * :||
a
> >
1 2 3 4 5 6
Concept 16G-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: ' $ & % $ # :||
6/8 ||: ( ) * + ) , ( ) * + ) , :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16G-Two
1 + 2 + 3 +
> > >
a
3/4 ||: ' $ & % $ # :||
6/8 ||: ( ) * + ) , ( ) * + ) , :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16G-Three
1 2 3 4 5 6
> >
a
6/8 ||: ' $ & % $ # :||
6/8 ||: ( ) * + ) , ( ) * + ) , :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16H-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: & % $ # ' $ :||
6/8 ||: * + ) , ( ) * + ) , ( ) :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16H-Two
1 + 2 + 3 +
> > >
a
3/4 ||: & % $ # ' $ :||
6/8 ||: * + ) , ( ) * + ) , ( ) :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16H-Three
1 2 3 4 5 6
> >
a
6/8 ||: & % $ # ' $ :||
6/8 ||: * + ) , ( ) * + ) , ( ) :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16I-One
1 2 3 4 5 6
> > > > > >
a
6/8 ||: $ # ' $ & % :||
6/8 ||: ) , ( ) * + ) , ( ) * + :||
a
> > > > > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16I-Two
1 + 2 + 3 +
> > >
a
3/4 ||: $ # ' $ & % :||
6/8 ||: ) , ( ) * + ) , ( ) * + :||
a
> > >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16I-Three
1 2 3 4 5 6
> >
a
6/8 ||: $ # ' $ & % :||
6/8 ||: ) , ( ) * + ) , ( ) * + :||
a
> >
1 + 2 + 3 + 4 + 5 + 6 +
Concept 16J-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
sa
6/8 ||: # $ % & $ ' # $ % & $ ' :||
6/8 ||: , ) + * ) ( :||
a
> > > > > >
1 2 3 4 5 6
Concept 16J-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: # $ % & $ ' # $ % & $ ' :||
3/4 ||: , ) + * ) ( :||
a
> > >
1 + 2 + 3 +
Concept 16J-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: # $ % & $ ' # $ % & $ ' :||
6/8 ||: , ) + * ) ( :||
a
> >
1 2 3 4 5 6
Concept 16K-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: % & $ ' # $ % & $ ' # $ :||
6/8 ||: + * ) ( , ) :||
a
> > > > > >
1 2 3 4 5 6
Concept 16K-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: % & $ ' # $ % & $ ' # $ :||
3/4 ||: + * ) ( , ) :||
a
> > >
1 + 2 + 3 +
Concept 16K-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: % & $ ' # $ % & $ ' # $ :||
6/8 ||: + * ) ( , ) :||
a
> >
1 2 3 4 5 6
Concept 16L-One
1 + 2 + 3 + 4 + 5 + 6 +
> > > > > >
a
6/8 ||: $ ' # $ % & $ ' # $ % & :||
6/8 ||: ) ( , ) + * :||
a
> > > > > >
1 2 3 4 5 6
Concept 16L-Two
1 + 2 + 3 + 4 + 5 + 6 +
> > >
a
6/8 ||: $ ' # $ % & $ ' # $ % & :||
3/4 ||: ) ( , ) + * :||
a
> > >
1 + 2 + 3 +
Concept 16L-Three
1 + 2 + 3 + 4 + 5 + 6 +
> >
a
6/8 ||: $ ' # $ % & $ ' # $ % & :||
6/8 ||: ) ( , ) + * :||
a
> >
1 2 3 4 5 6
“Finger Pounding”
- Arms, wrists hands suspended 2" above table
- Fingers arched slightly, palms face down
- All fingers remain in the air except for the

finger(s) that are moving
- Large, slow movements only from knuckle

where finger meets the hand ( the hinge )
- Finger “pounds” the table audibly
- One finger remains on the table at all times

only lifting it when the next finger takes its
place

Musicians Finger Exercices - Jules Oroz

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MagicMusicianFingers.

THE DELUXE EDITION

A Professional Preparatory Finger Training Method

ANY ATTEMPT TO DO SO WILL BE IN VIOLATION OF INTERNATIONAL COPYRIGHT LAWS. THIS

A Professional Preparatory Finger Training Method

“Playing Like a Concert Artist”

It’s all just “Purely Fingers” !

Jules Orósz [email protected]

SAMPLE CONCEPT ONE ( left hand ) ||: ! " # $ % :||

( right hand ) ||: & ' ( ) * :||

SAMPLE CONCEPT TWO ( left hand ) ||: ! " # $ % :||

( right hand ) ||: & ' ( ) * :||

( right hand ) ||: & ' ( ) * :||

SAMPLE CONCEPT FOUR ( left hand ) ||: ! " # $ % $ # "

! " # $ % $ # " :||

Sound complicated ? It’s not ! Here they are :

FINGER MOTION STYLE ONE

Here is how Motion Style One is done:

FINGER MOTION STYLE TWO

If you haven’t guessed by now, Speed in Phase Two is Also Irrelevant !

Preliminary Concept ( LH ) ||: ! " # $ % $ # " :||

Preliminary Concept ( RH ) ||: & ' ( ) * ) ( ' :||

during the 4-3 repetition.

! " # $ # $ # $ # $ # $ % $ # " Finger 4 likes to move during

! " # $ % $ % $ % $ % $ % $ # " :|| ! It is the easiest to

& ' ( ' ( ' ( ' ( ' ( ) * ) ( '

& ' ( ) ( ) ( ) ( ) ( ) * ) ( '

& ' ( ) * ) * ) * ) * ) * ) ( ' :|| &

Concept 1C ( LH ) ||: % $ % $ % $ % $ % $ # " ! " # $

% $ # " # " # " # " # " ! " # $

% $ # " ! " ! " ! " ! " ! " # $ :|| %

* ) ( ) ( ) ( ) ( ) ( ' & ' ( )

* ) ( ' ( ' ( ' ( ' ( ' & ' ( )

! " # " # " # " # " # $ % $ # "

! " # $ % $ % $ % $ % $ % $ # " :|| !

% $ # " # " # " # " # " ! " # $

% $ # " ! " ! " ! " ! " ! " # $ :|| %

! " # " # " # " # " # $ % $ # " The RH 2-3 repetition

* ) ( ) ( ) ( ) ( ) ( ' & ' ( ) can end up getting

! " # $ # $ # $ # $ # $ % $ # " The LH 3-2 repetition

! " # $ % $ % $ % $ % $ % $ # " :|| !

% $ # $ # $ # $ # $ # " ! " # $ Here, the LH 2-3 might lag

& ' ( ) ( ) ( ) ( ) ( ) * ) ( ' rush ahead of the LH 3-4.

% $ # " ! " ! " ! " ! " ! " # $ :|| %

A Professional Preparatory Finger Training Method

The Following Concepts Are in 9/8 Time.

> > >

Concept 2A ( LH ) ||: ! " ! " ! " # $ # $ # $ " % " % " % :||

> > >

> > >

Concept 2C ( LH ) ||: % " % " % " $ # $ # $ # " ! " ! " ! :||

Concept 2E ( LH ) ||: ! " # $ " % ! " # $ " % :||

Concept 2F ( RH ) ||: & ' ( ) ' * & ' ( ) ' * :||

Concept 2G ( LH ) ||: % " $ # " ! % " $ # " ! :||

Concept 2H ( RH ) ||: * ' ) ( ' & * ' ) ( ' & :||

Concept 2I ||: Left Hand Taps Concept 2A :||

Concept 2J ||: Left Hand Taps Concept 2C :||

You need to slow down and concentrate on

Concept 2N ||: Left Hand Taps Concept 2G :||

Concept 2O ||: Left Hand Taps Concept 2E :||