If You Want to BLAZE Paradiddles on The Drum Set, This is For You

10 Advanced 32nd Note Paradiddle Exercises - Volume 1

Table of Contents

What This Is

OK, I know the title of this article is a bit of a mouthful, but I think it explains what we’re doing here. These ten exercises combine single paradiddles, double paradiddles and paradiddle-diddles in different ways to make up full measures as 32nd notes. Every exercise starts with a right and ends with a left so you can play each exercise continuously or go from one exercise to the next without stopping.

Take Note

A couple of things to note. First, every paradiddle type is represented in “both directions,” meaning sometimes they start with a right hand and sometimes they start with a left. I believe in that kind of balance when working on technique. Second, all of the double paradiddles are one accent only (the accent is only on the first note of every double paradiddle). It’s just a preference I have but you may find you like them this way too.

How To Practice

I recommend working these out on a practice pad or snare drum first. Your goal is 76 to 100 bpms and beyond. When you are in command of the patterns, start messing around on the drum kit. The most common way to apply these to the kit is to use the snare as “home base” and play the accented notes anywhere….toms, snare, cymbals simultaneously with a bass drum, etc. Get creative and see what kind of cool melodies you can create with the accented notes.

Here’s The PDF & Final Thoughts

There’s just a little bit more to say about this, but before that, let me give you the PDF so you can print it out and take it into the practice room: 10-advanced-32nd-note-paradiddle-exercises-vol-1

A couple of ideas: make sure that the ghost notes are much much quieter than the accented notes. This is a common mistake I notice when people try to play this kind of stuff. There needs to big a big volume spread between ghosted and accented.

You should also mess around with your own inventions based on this concept. Surely the 10 exercises I came up with are but a small subset of all of the possibilites.

Please use these as a springboard for your own ideas. You can put a bass drum note or two in here and there, change the metrics to triplets, or connect these ideas to some hand/foot patterns that you like. Whatever it is, let your own creativity take you to new places so that you wind up sounding like YOU.

Have fun and let me know how it goes.

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