The double paradiddle is the combination of single and double stroke, much like the single paradiddle. It goes like this: R L R L R R L R L R L L.
The double, in a double paradiddle, comes from doubling the single stroke. So, while in the basic single paradiddle, you have a single stroke followed by a double stroke, in the basic double paradiddle you get two single strokes followed by a double stroke.
While the
single paradiddle is usually played as 16th notes, the double paradiddle is played a lot as 8th and 16th note triplets. Hence, although not being the most important of rudiments, it is a lot of fun to play and enables all sort of possible combinations around the drum kit, just like the single paradiddle.
Both Jared and Dave wrote 5 exercises for this lesson. The 10 lick picks are divided in two sections, one for beats and another for fills. Also, as you move along these exercises they will get more challenging. With that said, don’t forget to start each exercise slowly, especially when you are learning the sticking. Don’t get discouraged if you can’t get them right away, just take your time and most important of all have fun.
In this exercise, you basically take the double paradiddle and alternate it between the ride and hi-hat. Bass drum hits are on the 1 and the let of 1. As for the snare, hit it on 3.
This lick is basically played on the snare and hi-hat. The second double paradiddle, however, is distributed between the snare and rack toms. Jared plays the double strokes on the hats using wrist strokes while the doubles on the snare are bounced. As the speed increases, he uses more bounces than wrists.
This lick is a two bar pattern. You use the same basic snare and hi-hat pattern, incorporating the toms once again. In the first bar, Jared does a pick up to the accent in the snare on the high tom. In the second bar he does the pick up as well as move around the toms, while playing the bass drum with the mid and low tom. You should watch the dynamics of your hits on the snare. Only the hits on 3 of both bars are accents, while the remaining snare hits are very quiet. These ghost notes will make the beat sound more interesting.
If the bass drum is giving you problems, while playing it with the toms, leave it out at first and add it later. Also, this beat is a little busy, so you wouldn’t necessarily want to play this the whole way through a song. Hence, you can play the first bar as the main pattern and add in the second bar half way through it.
Double paradiddle patterns involving toms, is actually one of Jared’s favorite things to do with this rudiment.
There is very little happening with the right hand, which is playing half-note triplets on the ride. The double paradiddle is being split between the leg operating the bass drum pedal and the hand playing the snare drum. You could instead play the ride pattern on the hi-hat.
This is a challenging pattern, but will help you attain a greater level of independence between your hands and your leading leg.
On the 2, you play the doubles on the snare. The singles are on the ride and hi-hat. Double bass is played at the same time as all of the hi-hat and ride
hits.
When played slower, the double bass pattern can be played with a single pedal if you want. Try moving the double stroke to the toms, for different ideas.
Play half a beat of just kick drum and hi-hat, with snare drum on 2, and incorporate the double paradiddle as
16th note triplets, starting at 3.
If you are having problems playing the bass drum on the last 16th note triplet on beat 3, just leave it out.
This lick is played as a 16th note triplet fill. For each beat, you play accents on the RR and LL on both the crash cymbal and hi-hat, like this – RlRlrr LrLrll RlRlrr LrLrll – and the doubles on the snare.
The first and third triplets, on the first and third beat of the bar are played
on the hi-hat and crash cymbal respectively, while the double paradiddle is played between the toms.
This fill is played between three toms, snare drum and double pedal, which is playing 8th note triplets. It is a very cool pattern to practice and a good fill for heavy-metal music.
Now, for players that don’t have a double bass pedal, instead of playing 8th note triplets, you can play quarter note triplets with a single bass pedal. This variation is a very good one, making it sound almost better than the original with double bass, since this one is less busy.
Instead of starting this fill with singles, the double paradiddle is inverted, so we start with the double strokes on the snare, while the singles are played on the toms.
This fill is a bit weird because you are starting where you usually end the double paradiddle, so it will take a bit to get used to it. You end this pattern with the left hand, which is perfect, since this way you can crash with the right hand and kick drum right into the beat again.
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