The double paradiddle is the next pattern from the paradiddle family of drum rudiments that Lionel Duperron teaches you how to play here. With this free drum lesson, you’ll learn how to practice and play the double paradiddle, and how to apply it to the drum set through a couple of drum beats and drum fills.
Taking a look at the sheet music below, you can see that the double paradiddle is usually played as 8th note triplets. The double paradiddle can be played as 16th note triplets as well, and it’s a great pattern to use with triplet based music. The word “paradiddle” in the name of a rudiment, means that that particular pattern has two single strokes (para) followed by one set of doubles (diddle). The word “double” in this case, conveys the existence of two sets of single strokes for each set of double strokes. You can count the double paradiddle as 8th note triplets, as 16th note triplets, or like so: R(dou or par) L(ble or a) R(par) L(a) R(did) R(dle). Due to its sticking pattern, the double paradiddle naturally alternates within itself.
We highly recommend you learn how to play the single paradiddle before going any further with this free drum lesson on the double paradiddle. Knowing how to play the single paradiddle will make it a lot easier for you to learn how to play the double paradiddle.
Exercise #1 is an 8th note triplet half-time drum beat. The double paradiddle is broken up between the hi-hat and the snare drum. The right hand plays on the the hi-hat and the left hand plays on the snare drum. Add the bass drum on count 1 and you’re good to go.
Exercise #2 is another 8th note triplet half-time drum beat. Start by playing the double paradiddle with the left hand on the snare drum, and the right hand on the bow of the ride cymbal. Move the right hand to the hi-hat on the “trip” and on the “let” of count 2. The snare and bass drum patterns are exactly the same as the ones on the previous drum beat.
Exercise #3 is an 8th note triplet drum fill. The double paradiddle is broken up between the snare drum and the floor tom. The floor tom has a very soggy surface to play on, so there is not much rebound to help you in bouncing your doubles. You’ll have to use wrist strokes to get consistent doubles out of a floor tom. You can also use a snap of the fingers to propel the stick into the drumhead with more velocity. This is done after playing the first stroke of the double with a wrist turn.
Exercise #4 is a very cool sounding and melodic 8th note triplet double paradiddle drum fill. Focus on getting consistent sounding doubles from the toms. Practice along with a metronome; relax; keep a good posture and don’t forget to breathe.
Stay on this free drum lesson as long as you want to, and most importantly, as long as you need to. If you’d like to keep on learning more about the paradiddle family of drum rudiments, then go to the free drum lesson on the triple paradiddle next.
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I need more paradiddle with drum fill and video
I need the 40 drum redument
I need a drum video on paradidle, want to play it
I agree totally. Most of the time solo for me is reinrencfeg the track/channel to the mix so I can be more informed about my decisions. In a live environment you usually don’t get the best mic position or the musician may be doing something out of your control. which for those wondering is why you would have something played by itself. Either your fixing a problem, which should never be the whole sound check, or tuning the problem areas out of the speakers. Anyway if you don’t have the time knowing your basic Eq Areas make it so you can produce a good mix fast with the band performing. In the studio you should have the best tracks you can obtain and be able to play them back in context as much as time allows. Joe is spot on and every part of the mix is built together. sometimes I think just siting down and working through one track outside of a mix down can give you insight into what to do when you have the mix pulled together. Thanks for all you post Joe, There is always something to take away no matter one experience level!