A brief set of exercises illustrating the similarity of alternating triplets and paradiddle inversions. We want connections between things that seem different, even when there's a seeming hard mathematical difference, like between a triplet and a 16th note. We're looking for fine expressive control of rhythm, within a groove-music context.
Both measures of each exercise have the same sticking, with a different rhythm. 1-4 are the basic exercises, 5-8 are a little more involved, but are not essential to the basic concept.
Play the exercises with and without the drags. You could take this a little further and try to find some in-between versions of each thing— as long as the accents are steady, you have some room to play with everything in between. For example, you can take the 16th note measures in Brazilian direction by squashing them into the space of a triplet, so the # and a counts line up with the first and last triplet partials. In fact this is an excellent way to learn to do those Brazilian “tripteenths”, in some very useful stickings.
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