A flashy two-handed technique that creates a 2 Forward/1 Back Tear combo. Using both hands, release the record with one hand, pause it halfway through the sound with the opposite hand and then pull back with the hand you started with. Looks like you are doggy paddling the record.

These can be great finishers to a routine or set of scratches. Scratch immediately after turning the power off to the platter, without using the start/stop button. Creates a “slowing down” effect. Can also be done by putting increasingly harder pressure against the platter until it stops.

By using the very beginning of a sound, you can create a sharp/staccato scratch. Start at the dead space between two sounds. It’s easier to identify this space if you’ve put some kind of label/marker on your record. Push the record forward and backward but always return to the dead space. Can achieve the same sound as a “slice” scratch.

This is another foundational scratch that will help you learn more difficult scratch patterns. Try to keep everything from your wrist up completely still and only move the record by opening and closing your hand. Once you feel comfortable with that, try adding in those hand movements with larger arm movements to create more intricacies and variations.

This first tear combo will set you off on creating your own. The goal is to achieve a faderless OG flair by making 1 record movement forward and two, short, record movements back. Creates 3 notes or triplets. Can also be reversed to 2 Forward, 1 Back for a different lick in the sound.

Clover Tears are essentially faderless 1 click flairs. The object is to cut the sound in half by pausing the record with your hand quickly. 2 tears forward, 2 tears backward. This gives a more rounded/legato sound than the 1 click flair but achieves the same number of notes.

Probably one of the very first scratches to use the crossfader. Starting with the crossfader closed, open and close the crossfader to a certain rhythm/pattern while consistently moving the record back and forth also in time with the beat. Effectively “transforms” the sound into something else.