R l (start again -> R l rr L r (start again -> L r l l R l r r L r l l R l r r (go to double stroke roll) l l R l r r L r L r l l R l r r L r L r l l R l R l R l r r L r L r l l r r l l For any rest that’s a quarter note or longer, play a double stroke roll so, the first line goes: On each succeeding accent written on the page that’s less than 4 16th notes from the accent tha preceeds it, the paradiddle re-starts from the last accent. Each note represents a single stroke accent –and the first note on the page is the first note of a 16th note paradiddle.
You’re going to ‘diddle’ around the melody by playing it as single stroke accents that will determine your paradiddle-esque sticking pattern. Working with ‘exercise one’ on or about p.38, think of the top line as a melody and ignore the bottom line of quarter notes for now. Stick with me because this is really awkward to describe (at least for me) but it’s not as complicated as it sounds: The paradiddle interpretation is somewhat of a misnomer because it’s not purely a paradiddle sticking. You can explore this interpretation to find some fun stuff –there are many interpretations of this interpretation if you will. One of my favorites is the paradiddle interpretation. 38, depending on what printing of the book you have) and I believe him.
#Ted reed syncopation and rolls drum set tips full#
My teacher claims to be able to replicate the effects of any technique book he’s ever seen with interpretations of this book (especially the full page exercises that start around p. I just got a video camera, so I thought I’d share one of my favorites. Like everyone’s pointed out, TONS of stuff from interpretations of this book.
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