The Percussion Circle – Issue #4: All Paradiddle Issue!

May 25, 2021July 29, 2023 James Christian

Paradiddles abound in issue #4! Scroll down to read.

This is our summer issue, and it’s all about the paradiddles! As always, the music and articles are free to print and copy. (If you missed previous issues, you can read them here.)

In this issue, every article contains exercises—all centered around the paradiddle family—that can be played individually or as an entire drum line. If you practice diligently, you’ll find that these doing a great job of building your coordination and chops. These would be great for your entire section to practice during the summer.

Be sure to share this issue with students, percussion teachers, and anyone you know who might find it helpful. Enjoy!

Here is issue #4 of The Percussion Circle:

How to Play Marching Tenor Drums, Part 2 of 7: Around Patterns

March 6, 2018July 29, 2023 James Christian2 Comments

In part 1, we started with general movement principles, and we now come to basic around patterns with standard drum rudiments. This is the material I usually show first-time players on day one (exercises included below).

If you have been playing tenors for any length of time, these patterns should Read more “How to Play Marching Tenor Drums, Part 2 of 7: Around Patterns”

Multi-Tenors Exercise: Paradiddle Pretzel

January 12, 2017 James Christian

*Click on the image to enlarge or click here to download in PDF format.*

Here is a fun exercise that will put your arms in a pretzel. I won’t claim that this exercise is the most essential (or even the most logical) exercise ever, but it covers a lot of paradiddle patterns around the tenors—and it’s just plain fun to play. Some of the patterns are easier, and some of them are harder. There is a continual contrast between standard patterns and not-so-standard patterns that makes the overall flow tricky to navigate. Have fun with “Paradiddle Pretzel”!

Multi-Tenors Exercise: Shifting Paradiddles

November 25, 2016November 25, 2016 James Christian

To view the exercise, click on the image to enlarge or click here to download in PDF format.

This entire week, we have been looking at different approaches to the “Shifting Paradiddles” exercise for various percussion instruments. We have previously looked at applications for snare drum, keyboard percussion, bass drum splits, and timpani. Our final instrument is the multi-tenors for marching percussion.

Before attempting this on tenors, it would be a good idea to review the snare drum exercise. This variation utilizes three drums. On the surface, it is pretty straight forward. The main thing that distinguishes this exercise from the snare drum version is that the accents are played as crossovers. The first two patterns—paradiddles and inverted paradiddles—are fairly simple to play as crossovers. However, the last two patterns—mills and alternating quads—are considerably more difficult.

As with all such patterns, make sure you bring out the accents, and keep the non-accents softer and closer to the drum. Contrast between accents and non-accents is of utmost importance in this exercise. Simply changing drums is not the same thing as an accent! It’s easy for tenor players to get lazy on accents and simply allow the momentum of moving from drum to drum to create a quasi-accent. When you play the accents with crossovers, make sure you are still bringing out the accents.

On the final four measures, play each pattern slowly at first until you feel comfortable with the quick movements involved in each crossover. On every double, be careful not to drop the second note. Strive for absolute smoothness in your 16th notes. Once you get everything down smoothly, every two measures should theoretically sound identical to the first two measures.

I hope you have enjoyed the exercises this week. Let us know what you think in the comments section. Do you like having an exercise that all sections can play together? Or would you prefer to see more specialized exercises for each instrument? Were these exercises a good challenge? Too easy? Too hard? Did you play through any of them with your percussion friends? Do you have any helpful tips to share?

Thank you for your feedback. We want to hear from you!

Timpani Exercise: Shifting Paradiddles

November 24, 2016November 22, 2016 James Christian

Click on the images to enlarge the exercise or click here to download in PDF format.

Throughout this week we have been looking at the “Shifting Paradiddles” exercise adapted for different percussion instruments. So far, we have looked at applications for snare drum, keyboard percussion, and bass drums.

Today’s variation for timpani may be the most challenging variation of them all due to its pedaling difficulties. The exercise utilizes three drums. It can be played along with the keyboard variation as it cycles through all 12 keys. As the key changes every two measures, the three drums are tuned to the root major triad.

The exercise falls into three sections, each ending with a quarter note…

Measures 1-8: The singles check pattern is on the highest drum, while the paradiddle variations are on the lowest two drums.

Measures 9-16: The singles check pattern is on the lowest drum, while the paradiddle variations are on the highest two drums.

Measures 17-24: The singles check pattern is on the middle drum, while the paradiddle variations are on the highest and lowest drums.

During the check pattern, you will have to pedal the other two drums—and during the paradiddle variations, you will have to pedal the other drum. Throughout each 8-measure section, each drum will progressively be tuned a half step higher. On the final measure, the quarter note should glissando smoothly into the next 8-measure section. For the final note of the exercise, you may want to utilize a downward gliss on repeats and use no gliss the final time through.

Of course, this exercise will be much easier if you have gauges on your timpani. If you do not, you can still achieve it with careful practice. Take it slowly and use a keyboard or pitch pipe to check yourself on every pitch change. Once you get all of the transitions down smoothly, this will be a pretty impressive exercise.

Bass Drum Splitting Exercise: Shifting Paradiddles

November 23, 2016November 22, 2016 James Christian

To view the exercise, click on the image to enlarge or click here to download in PDF format.

So far this week, we have had exercises for snare drum and keyboard percussion. They have all been variations on the “Shifting (P.I.M.A.) Paradiddles” exercise. Today we come to the bass drum variation. (It can be played by as few as two people or expanded to work for any size line.) The acronym in the title—P.I.M.A.—stands for:

Paradiddle — Inverted paradiddle — Mill — Alternating quad

Of course, a standard paradiddle has the sticking RLRR LRLL. An inverted paradiddle is like starting on the second note of a paradiddle: LRRL RLLR. A mill (think “single flammed mill” without the flams) is like starting on the third note: RRLR LLRL. Finally, an alternating quad is like starting on the fourth note: RLRL LRLR. (Of course, this final set is like a quadruple grouping of singles, simply alternating the starting note. Hence its name.)

In this variation, two players go back and forth between a basic 16th note check pattern and then split these different P.I.M.A. patterns. The first time through is all on the right hand. On the repeat, it should be played off the left hand. The best way to practice is with a metronome. Take it slowly, carefully subdivide the 16th notes, and focus on playing the rhythms smoothly with an absolutely steady pulse.

Tomorrow we will feature a variation on this exercise for timpani!

Snare Exercise: Shifting Paradiddles

November 21, 2016November 22, 2016 James Christian

Click on the image to enlarge or click here to download in PDF Format.

Throughout the week, we will feature exercises for different percussion instruments. Here is our first exercise for snare drum. It utilizes paradiddles and three paradiddle variations—inverted paradiddles, single mills, and alternating quads. These last three rudiments have been around for a while, but they have never quite gained the same popularity as their grandfather, the single paradiddle. Nonetheless, they are all quite versatile, and they make for a fun exercise.

As you play this exercise, pay careful attention to distinguish between your accent and tap volumes. As the tempo increases, the more difficult it is to bring out the accents, especially on the alternating quad.

A fun variation on this exercise is to play it with zero accents. Make it sound as smooth as possible. As you get it faster and faster, it should sound like a smooth roll.

Check back here regularly. We will look at different applications of this exercise on various percussion instruments throughout the week!