Ecken diagonal tauschen SW-NO - Kanten diagonal tauschen NO moving corners diagonal SW-NE - moving edges diagonal NE

F' L' U · L U L' U' · L F · L' U' L U · L F' L' F (17) BobBurton PLL 21

(F R U') (R' U' R U) (R' F') (R U R' U') (R' F R F') (17)

L' B' L · F'' · L' B L · U² · (F'' U )³ (14,19)

la ba li fo la bi li co (fo ci )³

R B R' · F² · R B' R' · U² · (F² U' )³ (14,19)

ri bi ra fo ri ba ra co ( fo ca )³

F R U' · R' U' R U · R' F' · R U R' U' · R' F R F' (17) BobBurton PLL 21 mirrored

F' L F L' U' L' U · L² · U L' U' L' B L B' · U' (16,17)

( x' U' ) · L U r' U' L' U · L² · U L' U' r' U L U' · ( y L' ) (16,17)

( z U'' ) R U R' U' R y R U L' U L U R' · U' (14,15) StefanPochmann V-Perm

y U' F (R U' R') F z' (R U') y (R' U' R) U² F' r² (14,16) Dennis Nilsson

y (L²' U L² U L²' U') F' U' F L² F' U F (13,17) Dennis Nilsson

(r') U Rw U' R'w Dw - (f u') U R'F'R'F R² U'(u) R'² (13,15)

Rw² D' Rw² U' R'w² - (r u') R U R U'(r') D² - (r) U R'U' (13,17)

L' U' L F² R' D R U R² D' R² U' F² (13,17) Ron van Bruchem

y² x' (U r U' r' d) z y' (U R' F') (R' F R² U') y R² (13,14) Dennis Nilsson

R B U' B' R D B' L' B' L B² D' R² (13,15)

R B U' (B' R D) B' (L' B' L) B² (D' R²) (13,15) Chris Hardwick

(r') R² Fw R'² U'R U R B'- (f') R'U F U'R' (13,15)

R B U' B' R D B' L' B' L B² D' R'' (13,15) Loic Fremont

B' (R' U R (F' S')) (R' (D E)) (R U R') z x ((L² M²) (D E) R²) (13,15) Peter Jansen

y R U R' B² R U' R' U' B² U B² U B² (13,17) Ron van Bruchem

y' x' (U' R' U L² U' R U) x (U² L² U L² U L² U) (14,19) Dennis Nilsson

F R' F' R U R U' · R'' · U' R U R B' R' B · U (16,17)

fi ra fa ri ci ri ca ro ca ri ci ri ba ra bi ci

( x' U ) · R' U' l U R U' · R'' · U' R U l U' R' U · ( y' R ) (16,17)

( z' U² ) L' U' L U L' y' L' U' R U' R' U' L · U (14,15) StefanPochmann V-Perm

( fua co ) la ca li ci la cua la ca ri ca ra ca li ci

F R U' R' U' R U R' F' R U R' U' R' F R F' (17)

F (R U') R' U' R (U R') F' R (U R') U' (R' F) (R F') (17)

F R U' R' U' R U R' F' R U R' U' l' U R U' (x') (17) Dan Harris

F R U' R' F D R' (y x) R' U' R (z) R² (y) L' d² (13,15) Dan Harris

R'² U' R² U' R'² Dw - R U R'(u) R² - (f r) U R'U' (13,17)

F R U' R' U' R U R'- F' R U R' U'- R' F R F' (17)

F (R U') (R' F) (D R') y x (R' U' R) z (R² F' U²) (13,15) Peter Jansen

(R U R' U) L' U² R U² L U² (R' U) (L' U L U') (16) Richard Patterson

y² F R U' R' F D R' B' R' B R² D' F² (13,15) Ron van Bruchem

F (R U') (R' F) (D R') [u] [r] (R' U' R) [f] (R²' F' U²) (13,15) Ross Palmer

[r'] [f'] (U' R' F R U') ([f'] B) (U R U' R' U²) (([f'] B') (U²))

F R U' R' F D R' B' R' B R² D' F²

(R² U' R² U' R² d) (R U R') y R² z x (U R' U') (13,17) Dennis Nilsson

		This sequence is my personal favorite, because it is combined allover by 4-combinations. Two of them merge inthe 'middle', although the logic of the four 4-groups isclear:					Diese Folge ist mein persönlicher Favorit, weil sie sich aus lauter 4er-Kombinationen zusammensetzt. Zwei davon verschmelzen in der 'Mitte' zu einem Doppelzug, nichts desto trotz ist die Logik der vier 4er-Gruppeneinleuchtend:
		The profit of this sequence is that it runs mainly through the right hand, after sufficient training. Another aspect is that two in their way elementary sequences are nearly similar. I should have used pink for signing - but the 4-groups are more important.					Das Schöne dabei, wenn man die Folge beherrscht, läuft sie auch überwiegend durch die rechte Hand, die linke leistet Hilfestellung. Ein weiterer Aspekt ist, daß sie aus zwei in der Art identischen elementaren Kombinationen zusammen gesetzt ist. Daher müßte bei meiner Kennzeichnung eigentlich violett verwendet werden - doch für mcih stehen hier die Vierergruppen im Vordergrund.
		12/20/2007					20.12.2007