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In this, sticks are held and used, both in the "A" and "B" music, as explained in "Rigs o' Marlow" (see p. 55).
Stick-tapping in "B" music is done according to the following diagram: signs, &c., to be read as in diagrams for "Rigs o' Marlow" (see X in music). The beats whereon stick-tappings occur are written in diagram as b. (bar); and h.-b. (half-bar).
In the first bar of "B" music, at half-bar, No. 1, with top end, taps butt of No. 2. In the second bar, at half-bar, No. 2, with top end, taps butt of No. 1. In the third bar, at half-bar, No. 1 taps No. 2 as in first bar. In the fourth bar, No. 1, at the beginning, with the butt, taps No. 2's top end; and at half-bar, No. 1, with top, taps top end of No. 2, thus:—
The steps are the same for all. When tapping is continued (see Notation) for eight bars, then, in the last four, all start on the left foot, and step thus: L.L.R.R.L.L.R.L. Tapping is the same in first and second four bars.
In tapping, of course, odd numbers do as No. 1 in diagram, even numbers as No. 2.
In this the sticks are held throughout by the middle, in the manner explained (see p. 60). In all single-tapping passages, to "A" music, sticks are held slanting upward, like a single-stick, but with the upper arm close to the body. In Column formation, odd numbers—that is, leading file—hold the forearm to rightward; even numbers—right file—hold the forearm across the body, so that the sticks cross between files, ready for tapping. Leading file always taps the other file, which holds the sticks firm.
In the double-tapping, to "B" music, sticks are held in the middle, hand below stick, which is now held straight, parallel with the ground, advanced towards partner, and raised about as high as the neck.

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