Saturday, August 26, 2023


Minor item, corralling some similar sticking ideas that have been floating around the site. I noticed that with paradiddle-like stickings, I like inverting them so the double is up front, right after the first accent. These all follow that pattern:   


DISCLAIMER: I don't want to mislead anyone with that BISHOPDIDDLES™© headline— I obviously didn't invent the RLLR-LRRL paradiddle inversion. The George Lawrence Stone estate would be working me over in court right now if I made that claim. My God. Or that RLLRRL sticking. The other two probably exist in some book somewhere*, but I got them from my own usage. 

* - I see now they're in Rudimental Swing Solos, with accents on the double, for some reason. 

So there they are as a single group of patterns. You can see them applied in this cool Reed system

Why do do this? When improvising with them on the drum set, you can hear the natural accents of the sticking, and they affect the way you can move around the drums. That's fine with me, it's natural texture, it's what I want. 

The double and triple paradiddles start with these strong singles, and end weakly with a double. They die at the end. However strongly you play the double, that's the structure of those patterns. 

With my wonderful stickings, the double slipstreams behind the starting accent— naturally a long sound— and the pattern finishes strongly, with singles: diga-diga-POW. If we accent all the leading singles, you can see how the natural momentum goes with each one:

I generally only use the double/triple paradiddle inversions once at a time, but they have some very interesting possibilities, I'll be writing some ways of doing them continuously. 

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