Paradiddle Application

TrickRoll

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From the practice room this week:

Basic three over four application of the Paradiddle.

What to do with the hi-hat in bar 2? Keep it on 2 & 4, or use the 'let' of 1, 3, and 'trip' of 4 (the "2,4,and 6" of a six over 4 feel). Or whatever works in the moment.

Once comfortable with the figure, you can displace it for more fun.


3v4 Paradiddle [Swing]_5 1.20.02 PM.png
 

Toast Tee

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That's a cool phrase. So you're going back to that swing pattern after each paradiddle, or "tripadiddle"?
I haven't put it on the kit, or pad yet, but I can already see wanting to go over the paradiddle pt over, and over to get a feel for the accents.
Would you recommend that at a very slow tempo, or just keep playing as written?
Either way there will be 3 R in a row, so I guess I could loop the paradiddle bar. What would you recommend? Or better yet, how did you practice/learn it?
 

TrickRoll

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It was only written like this to establish the context ("in a jazz swing" feel) and to show the basic variation.

I suggest practicing it a number of ways:

Four bar phrases with three bars of time followed by the figure.
Four bar phrases with two bars of time and two bars of the figure
Displacing the figure by quarter notes.
Displacing the figure by eighth notes.
Reverse the sticking.
Apply it to other time signatures.
Incorporate the toms.
Apply it to other time feels.
Try other accents

In regards to your question about how I practiced/learned it, I have to admit it came out while I was improvising. I've often played around with the three paradiddle figure, but what was new for me was using the bass drum on the beginning of each figure. The "pull" of the the three against the four reminded me of when Ron Carter did similar things with Miles. It's like the time has suddently shifted into another gear

It was also a reminder that the basic rudiments are an everlasting well to draw upon. LOL.
 

Toast Tee

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It was only written like this to establish the context ("in a jazz swing" feel) and to show the basic variation.

I suggest practicing it a number of ways:

Four bar phrases with three bars of time followed by the figure.
Four bar phrases with two bars of time and two bars of the figure
Displacing the figure by quarter notes.
Displacing the figure by eighth notes.
Reverse the sticking.
Apply it to other time signatures.
Incorporate the toms.
Apply it to other time feels.
Try other accents

In regards to your question about how I practiced/learned it, I have to admit it came out while I was improvising. I've often played around with the three paradiddle figure, but what was new for me was using the bass drum on the beginning of each figure. The "pull" of the the three against the four reminded me of when Ron Carter did similar things with Miles. It's like the time has suddently shifted into another gear

It was also a reminder that the basic rudiments are an everlasting well to draw upon. LOL.
Yeah, that's why I started recording my practice sessions. I'll come up with some really cool/musical phrases, but would forget em the next day. The 3 over 4 can work so many ways too. Often times due to where the accent is places (pretty much dotted), it gives a feel of speeding up, or going from 16th to trips. You're also right about those rudiments. So many uses! Something simple, like changing stickings, and accents on paradiddles, can keep me busy (flam tap 3 over 4, and on.......)
Anyway, I'll have transcribe a 6 stroke roll modulation I started playing with the other day. I had a fairly fast tempo, but spred the roll through several bars to give it a slowing down effect. It works well musically, but I don't record my click, so it may take a bit, as I had to be in the right tempo range for me to start feeling it.
 

TrickRoll

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Playing the drums is a wonderful adventure. It's humbling to realize how much we can realize using the thebasic stickings we learned at the beginning of the journey.
 

Toast Tee

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Playing the drums is a wonderful adventure. It's humbling to realize how much we can realize using the thebasic stickings we learned at the beginning of the journey.
You're not kidding. I half assed it when I should have been paying attention. I just played tunes off the radio. I had lessons from true legends, and didn't "get it" until the last few years (I don't really have it, but I became proficient with my technique, rudiments etc)
I was just up at the GC, and met a true natural jazz type cat. He had enough technique, but his feel, sence of time, especially odd flawed me.
It got me to go back to my days in college. I had a great professor Warren Smith (he's been working since late 50's.
The exact opposite of something like "Whiplash" I realized everything has it's place (if I made any sense at all)

Master....nothing wrong with that!
 

multijd

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You're not kidding. I half assed it when I should have been paying attention. I just played tunes off the radio. I had lessons from true legends, and didn't "get it" until the last few years (I don't really have it, but I became proficient with my technique, rudiments etc)
I was just up at the GC, and met a true natural jazz type cat. He had enough technique, but his feel, sence of time, especially odd flawed me.
It got me to go back to my days in college. I had a great professor Warren Smith (he's been working since late 50's.
The exact opposite of something like "Whiplash" I realized everything has it's place (if I made any sense at all)

Master....nothing wrong with that!
Warren Smith is true master!
 

multijd

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He sure is. One of the coolest people I've had the pleasure of knowing!
Do you know him?
I heard him play live once and talked to him. He played the finest example of freetime swing Ive heard live. I also know some of the recordings he is on including Max Roach’s M’Boom.
 

Toast Tee

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I heard him play live once and talked to him. He played the finest example of freetime swing Ive heard live. I also know some of the recordings he is on including Max Roach’s M’Boom.
Hell yeah. That's awesome!
I got to know him pretty well over a 6 year period.
I didn't even know at the time I was studying w/him, but besides all the jazz work, he was Janis Joplins music director, or something I'd never picture him doing.
He's played with Purdie, and countless others. One of the finest men I've met, studied for, and played with.
 


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