Ron Spagnardi - Paradiddle Power-1 PDF

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- - - - - - nu Ron SpagnaPdi - - - - - -
Paradiddle Power
Increasing Your Technique
On The Drumset With Paradiddles
by Ron Spagnardi
Design and layout by Scott Bienstock

Cover design by Tom Lyon
©Copyright 1999 Modern Drummer Publications, Inc.

International Copyright Secured
All Rights Reserved
Printed In The USA
Any unauthorized duplication of this book

or its contents is a violation of copyright laws.
PubI ished by
Modern Drummer Publications, Inc.
12 Old Bridge Road
Cedar Grove, NJ 07009 USA
Contents
PAGE
INTRODUCTION 3
SECTION 1: SINGLE PARADIDDLES

Part 1: Snare Drum, Small Tom, Large Tom 4
Part 2: Snare Drum, Two Rack Toms, Large Tom 7
Part 3: Single Paradiddles With Cross-Sticking 10
Part 4: Rock/Funk Patterns 13
Part 5: Rock Fills 20
Part 6: Jazz Fills 23
SECTION 2 : DOUBLE PARADIDDLES

Part 1 : Snare Drum, Small Tom, Large Tom 26
Part 3: Double Paradiddles With Cross-Sticking 32
Part 4: Rock/Shuffle Patterns 35
Part 5: Rock/Shuffle Fi ll s 39
SECTION 3: TRIPLE PARADIDDLES

Part 1 : Snare D rum, Small Tom, Large Tom 45
Part 3: Tri ple Paradidd les W ith Cross-Stickihg 51
Part 4: Rock/Funk Patterns 54
SECTION 4 : ADVANCED CONCEPTS (Single Paradiddles)

Part 3: Single Paradiddles With Cross-Sticking 67
Part 5: Jazz Fill s 72
SECTION 5 : ADVANCED CONCEPTS (Double Paradiddles)

Part 3: Double Paradiddles With Cross-Sticking 79
Part 4: Roc k Fills 81
Part 5: Jazz Fi ll s 84
SE.CTION 6: ADVANCED CONCEPTS (Triple Paradiddles)

Part 3: Trip le Paradiddles With Cross-Sticking 91
Part 4: Rock Fill s 93
Part 5: Jazz Fil ls 96
2 Paradidd le Power========= ======================

Introduction
Paradiddle Power is a study of the many applications of single, double, and trip le
paradiddles around the drumset. The material in this book is designed to increase
your speed and creativity with paradiddle sticking, and mastery of the exercises here
will greatly improve your ability to move around the drumset w ith paradiddle com-
binatis;>ns.
n1e book is divided into six main sections: The first three involve, respectively,
singl e, double, and triple paradiddles in 16th-note and triplet form. Each of these
sections is further divided into six parts. Part 1 uses the paradiddle orchestrated
around three drums: snare drum, small tom, and large tom. In Part 2, a second rack
'tom is added to the drumset configuration. Part 3 explores paradiddles and cross-
sticking. Part 4 of each section deals with the use of single, double, and triple para-
diddles as rock, funk, and shuffle beats with varied bass drum patterns. Paradiddles
as rock fills comprise Part 5, followed by paradiddle combinations as jazz fills in
Part 6.
Sections 4, 5, and 6 of the book explore more advanced concepts: single para-
diddles in triplets, double paradiddl es in 16th notes, and triple paradiddles in
triplets. Be prepared to devote extra time to these advanced sections.
To get the most benefit from Paradiddle Power, adhere to the following rules:
1) Be sure you're tota ll y comfortable with the three basic paradiddle stickings (sin-
gle, double, and trip le) before attempting the individual exercises. 2) Repeat each
exercise fifteen to twenty times before moving on. 3) Practice each pattern slowly at
first, and do not increase the tempo until you've mastered the pattern. Accuracy is
more essential than speed. 4} Though the bass drum is not notated in parts 1, 2, and
3 of each section, be sure to practice all the exercises with the bass drum on beats
1, 2, 3, and 4 of every measure. 5) The use of a metronome or drum machine is rec-
ommended to ensure a steady time flow.
Note: While a good deal of the material offered here may work well in a live
context, musical taste, restraint, and discretion are of the utmost importance. Facility
on the drumset is essential. However, the application of any technica l material must
always be applied in an intelligent, tasteful, and musical manner.
The following key is used throughout the book:

HH: Hi-Hat With Stick
ST: Small (Left Rack) Tom
SD: Snare Drum HH~CVMB
LT: Large Tom ST
SD
BD: Bass Drum LT
HHF: Hi-Hat With Foot BO
CYMB: Ride Cymbal HHF X MT
MT: M edium (Right Rack) Tom
------------------------------------------------------------~ Paradiddle Power 3

SECTION 1: SINGLE PARADIDDLES
RLRR-LRLL
Part 1: Snare Drum, Small Tom, Large Tom
Part 1 utilizes single paradiddles orchestrated among three drums (snare drum, small tom, and large tom).
Start each exercise slowly and do not increase the tempo until the pattern has been mastered . Repeat each
exercise fifteen to twenty times before moving on. Though not notated, the bass drum should be played on 1,
2, 3, and 4 of every measure.
RLRRLRLLR L RRLRLL RLRRLRLLRLRRLRLL
4
11 H JJJJJJJJJJJJJJJJ:ii
RLRRLRLLRLRRLRLL RLRRLRLLR LRR L RL L
~l JJJJJJJJJJJJJJJJ :ii
RLRRLRLLRLRRLR L L RLRRLRLLRLRRLR LL
7 8
II U 11 Cl JJJJJJJJJJJJJJJJ:ii
RLRRLRLLRLRRLRLL RLRRLRLLRLRRLRLL
9 10
II U J333JJJJJ333JJJJ:II II U JJJJJJJ3JJJJJJ33:II
RLRRLRLLRLRRLRLL RL RR LRLLR L RRLRLL
4 Pa radiddle Power ;;;;;;;;;==---------=======================--

~ ~ e JJJJj JJJJJJJJJJJ:II
1 1
~ e JJJ JJJJJ JJJJJJJJ :II
1
~ u JJJJJJJJJJJJJJJ J:II
R LRRL RLLRLRRLRLL RLRRLRLLRLRRLRLL
1
1~ u JJJJJJJJJJJJJJJJ:I I
1
~ e jJJJJJJJjJJJJJJ{ll
2
~ e j JJJJJJJJJJJJJJJ:II
RLRRLRLLRLRR L RLL RLRRLRLLRLRRLRLL
24
II e
26
II e JJJJJJ JJJJJJJJJ{11
JJJJj JJJJJJgJ JJJ:II

27 28
II e II e
29
JJJJJ JJJJJJJJJJ J:II
30
II e II e JJJJJJJJJJJJJJJJ:II
6 Paradiddle Power ===========================;;;;;m=

Part 2: Snare Drum, Two Rack Toms, Large Tom
Part 2 uses single paradiddles orchestrated among four drums {snare drum, two rack toms, and large tom).
Once again, start out slowly, increasing the tempo only after the pattern has been mastered. Be sure to repeat
each pattern fifteen to twenty ti mes before proceeding to the next one.
1
JJ JJJJ JJJJJ 3JJJ J:II
II e JJJ JJJJJJ JJ JJJJ J:II

5
11 u JJJJJJJJJJJJJJJJ :II
II e JJJJJJ JJJJJJJJJJ :II

8
II e JJ JJ JJJJ JJJJJ JJJ:II

1
~ u JJJJJ JJJJJJ JJJJ3:11
RLRRLRLLRLRRLRL L RLRRLRLLRLRRLRLL
===============--==--==========----- Paradiddle Power

1
ro~; ~ e JJj j JJJJJJj j JJJJ:ii ~ I' JjJJJJJJJJjJjjJJ :ii
1
RLRRLRLLRLRRLRLL RLRRLALLRLRRLRLL
1
~ u JJJJJJ JJJJ JJJJJ U:il
RLRRLRLLRLRRLRLL RLRRLR L LRLRRLRLL
RLRRLRLLRLRR L RL L RLRRLRLLRLRALRLL
1
~ e JJJJJJJJJJJJJJJ J:ii
1
~ e JJJJJJJJ j JJJJJJU:il
1; e JJ JJJJJJJJ j JJ JJJ :II ~ e JJJJ JJJJ JJJ JJJJ J:ii

RLRRLRLLR L RRLRLL RLRR L RLLRLRRLRLL
8 Paradiddle Power = = = = = = = = = = = = = = = = = = = = = = =
ro~ 1~ u JJJJ JJ33JJJJJJJJ:II
2
2
~ e Jjjj JJJJJJJ JJJJ{ll
2
~ e JJJ JJJJJJJJ JJJJJ:II
RLRRLRLLRLRR L RLL RLRRLRLLRLRRLRLL
2
~ e JJJJJJ JJJ JJJJJJ3:11
2
~ e JJ JJJJ JJJ JJJJJJJ :II
======================== Paradiddle Power !

Part 3: Single Paradiddles With Cross-Sticking
The following thirty exercises involve single paradiddles with cross-sticking (moving from one drum to anoth-
er with one hand crossing over the other). A ll notes requiri ng a cross-sticking move (right hand over left, or
left hand over right) are notated w ith a circled X: ~
In patterns 1 through 13 of Part 3, the left hand crosses over the right to strike the large tom . These exercises
can be quite tricky, so ta ke your time. Practice w ith a metronome or drum machine, and increase the tempo
as your fluency with cross-sticking increases.
JJJ JJj JJJ JJ JJj JJ :II

1 2
II c;
3 4
II c; JJJ JjJJJj JJ JjJJ J:II II e j JJ JJJ JJJ JJ JJJJJ :II
RLRRLRLLRLRRLRLL RLRRL RLLRL RRLRLL
RLRRLRLLRLRRLRLL RLRALRLLRLRR L RLL
7
II e JJ JJJ J]]J JJJJJJ J:II
RLRRLRLLRLRRLRLL RLRRLRLLRLRRLR L L
10
II c; JJJ JJJ JJ JJJ JJJJJ :II
10 Paradiddle Power--========================= ====

In exercises 14 through 17 below, the left hand crosses over the right and moves from the small tom to the
large tom. In patterns 18 through 30, the ri ght hand crosses over the left and moves from the large tom to the
snare dru m, or the large tom to the small tom. The bass drum should be played on beats 1, 2, 3, and 4 of
every measure.
1
~ u JJJJJJJJJJJJJJJJ :ii
11
ST
so ~T II e JJ JJJJ JJJ JJ JJJ J3=11
RLRR L RLLRLRRL R LL RLR RL R L LRLRRLRLL
1
JJJJJJJJJJJJJ~ JJ:II ~ e JJJJJ JJJ JJJ JJJJJ1
1
13
II e
RLR R LRL L R L RR L RL L RLRRLRLLRLRRLRLL
RLRRLR L LRLRRLR L L RLRRLRLLR L RRLRLL
17
II e JJ JJJJJJJJJJJJJJ :II 18
II e jJJJJJJ JJJJ]JJJJ :II

RLRR L RL L RLRRLRLL RLRRLRLLRLRRLRLL
1
~ u jJJ JJJ JJJJJJJJJJ :II
2
~ u JJ JJJJJJJJJJJJJl11
'
RLRRLRLLRLRRLRL L R LR R LRLLRLR R LRL L
~&~/,; e j JJJj JJJJJJJJJJ3:11
2
; e J?JJJ]j]JJJJJJJJ:il
RLRALRL L RLRRLRLL RLRRLRLLRLRRLRLL
2
~ e JJJJJJJJ JJJJJJJ 111
A L R A L A L L A L-A A L R L L RLRRLRLLRLRRLRLL
3
~ ll jjJJJjjjffljJJJt11
RLRALRLLRLRRLRLL RLRRLRLLRLRRLRLL
12 Paradiddle Power ========================--

Part 4: Rock/Funk Patterns With Single Paradiddles
The exercises on the following seven pages are a study in the use of single paradiddles as rock or funk pat-
terns. Note that the right hand is played on closed hi-hat, while the left hand moves from the hi-hat to the
snare drum on 2 and 4. Be sure you' ve developed a good feel for the hand part before adding the varied bass
drum rhythms. The ten patterns below use basic 8th-note bass drum patterns.
Note: Each exercise also has an optional open hi-hat in certa in sections of the pattern. The open hi-hat
"barks" add color, but they also tend to make the coordination just a bit more comp lex. Be certain you' re
totally comfortable with the basic pattern before attempting to add the optional open/closed hi-hat.
0 0 > >
2 ijjjBj Jj:jJJj=Jj=j
rn f f f f :II
RLRRLRLLRLRRLRLL RLRRLRLLR L RRLRLL
3
4
II(!
g===
CT t
0
n ~n J
0 >
gp >
~===
J JJ
CT t :II
RLAR L RL L RLRR L RLL RLRRLRLLRLRRLALL
5
II e
0 0 > >
=JJJjJ~j~~Jj~
f - :: ~ - J~J
7
8
II U :: :ii
i i
RLRRLRLLRLRRLRLL RLRALRLLRLRRLRLL
0 O> >
10
II U ::
n JJJ
f=== ~Jn ::~J -J===
- ::
J ~J
:: :i i
i i i
RLRRLRLLRLRRLRLL RLRALRLLRLRR L RLL
M ore rhythm ically interesting and complex bass drum figures are incorporated here and on the following
page (patterns 11 through 30).
0 0 > :>
12
11
f===
e=
nJjJ~JJJ~JJ==
~n :II
- = = -=·
'f 'f 1
RLRRLR L LR L RRLRLL R L RRLRL L RLR R LA L L
> 00 >
13
II e=
f===
n JJJ~~ ~ Jn J==
J~ J
~ = - = :II
14
I I
> >
~ ·J itiJJ
0 0
15
11 e
J ~J -=
=
ji=== j~JJ
· = =i::
J:II
I 1 j
RLRRLALLRLRALRLL ALRALRLLR L RR L ALL
0 O> >
17
11 e=
J~ JJ :==;
fnJ-=· ~~ J-=·
J==
~n :II
1 1
R L RRLRLLALRRLRLL R L RRLRLLRLRRLR L L
RLRRLR L LR L RRLRLL RLRR L RLLRLRRLRLL

> > 00
:~ e ~===JJ
HH 21
~ J~ =.~JJJJ~t;JJJ
11 =i = :II
~ i
> 00 > 0 O> >-
f===JJJ iJJJJJ~JJ~~n ~==Jn -JJ~J~nv==j ~J

:= :=. ~- := :ii
23
11 e = =~ i
= -=· :II 24
II U =
i J i
RLRRLR L LRLRRLRLL RLRRLRLLRLRRLALL
25
II U :=
0 O>
f==nJ -JJJ~~nJ==J
=~ - :=~J :i i
;·
>
i
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26
· ~=
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in J~p -=·J==~n:ii
> 00
==i
>-
~
R LRR LRL LRL RRLRLL RLRRLRLLRLRRLRLL
::>- 0 0 >- > ::>- 0 0
27
11 e
J==J~
t;Jn~nJJ==J~J
~ = =. =i - = :II
28
11
J===J~J ~n1n~1;nJ
e = =· ~ ~ = :II
i ~ i i J i
RLRRLRLLRLRRLRLL RLRRLRLLRLRRLRL L
::>- 0 0 > O> O>
29
II U
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:=. =i=: ~ - ~n
.........J
:= . :ii
i ~
7i e :==
.--~~ £ £j £ ti
JJ J~ ~ j~ ~ j~~==
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j
R L RRLRLLRLRRLRLL RLRRLRLLRLRRLRLL
In the next twenty exercises, note the addition of two "ghost notes" (notated withi n parentheses) on the sec-
ond and fourth 16th-note grouping. Here again, the left hand moves from hi-hat to snare drum on the second
and fourth 16th-note grouping for the accented afterbeats and the additional ghost notes. For optim um effect,
all ghost notes should be played softl y, balanced by a strong accent on 2 and 4 and a firm bass drum.
The open hi-hat adds flavor, but don't attempt to add it unti l you've mastered the basic pattern .
:~=
1 1 e=~=ool=J.J.=J·f=! l=JJ=111
2
II e
AL A A L AL L A LA AL AL L A L A A L AL L A LA AL AL L
3 4
AL A A LAL L A LA AL AL L AL A A LAL L AL A AL AL L
5 6
II c; II e
AL A AL AL L R LR AL AL L AL A A L AL L AL AR L AL L
7 8
II e II e
AL A AL RL L A LR A L AL L AL AR L RL L AL RR L RL L
9 10
II e
R LA R L AL L A LA R L AL L
'--------' ~-~ ~-----' _
.__ __,
AL RA L AL L A LA R L AL L
16 Paradiddle Power ---------------------------------------------------------------

12
R LR R L RL L R LR R L RL L R LR R L RL L R LR R L RL L
13 14
R L R R L RL L R LR R L RL L R LR R L RL L R LA R L RL L
15 16
II e II e
R LR R L RL L R LR R L AL L R LR R L RL L R LR R L RL L
17 18
II e II e
AL RR LAL L R L R R LAL L R LR R L RL L R LA R L AL L
19 20
=--==-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=--==--==-=---= Paradiddle Power 1 ·

Along w ith the ghost notes applied on the previous two pages, we now add more ghost notes on the "e" of
the first and third 16th-note groupings. The single-paradiddle sti cking now allows the left hand to remain on
the snare drum throughout. Again, ghost notes need to be much softer than the accents on 2 and 4. Also note
the placement of the open hi-hat, and add it after you've mastered the basic hand/foot coordination.
Basic 8th-note bass drum rhythms are utilized below, while more complex bass drum patterns follow on page 19.
2
II e
R LR R L RL L R LR R L RL L AL RA L AL L AL A AL RL L
3 4
II e
R LR R L RL L R LR R L RL L AL RR L AL L A LR R L RL L
5 6
II e II e
R LR R L RL L R LR R L RL L AL A AL AL L A LA AL AL L
7 8
II e
R LR R L RL L R LA AL AL L AL A AL AL L A LA AL AL L
9 10
II e II e
AL A A L AL L R L A R L AL L A L A A L AL L AL AR L AL L
18 Paradiddle Power---=============================
R LR R L RL L R LR R L RL L R LR R L RL L R L R R L RL L
R LR R L RL L R LR R L RL L R LR R L RL L R LR R l AL L
R LR R LAL L R LR R L RL L R L R R L RL L R LR R L RL L
19 20
=========================--- Paradiddle Power 1

Part 5: Rock Fills With Single Paradiddles
The following three pages demonstrate the use of single paradiddles as rock fills. Each fill bar is preceded by
three bars of a basic rock beat. The right hand part can be played on the hi-hat or ride cymbal.
The fills in patterns 1 through 5 below use single-paradiddle sticking around three drums (snare drum, small
tom, and large tom). Repeat each exercise fifteen to twenty times before moving on, and practice all patterns
at varied tempos from slow to fast.
> >
HH.liiM_
1 ___...~=J=~J"'- " ±. ._. . _~- ~"'t- -'J~2----r-3-----r-+IJ--+--
J J+-+--
J J- j-
Jf---f-
J J J- J--JJ+--+-
J .· 11
~ ===('==r====;=·=~==Ej=:;=:i=~==1==,=·{=====i={===:=:==L=R::R:L==R==L=L==:==L=R==R==L=R==L=L:::::
11
_______,J -+--no
J
2 2 3
R L R R LR L L R L R R L R L L
IJJJJJJJJJJJJJ JJJ:I I
3 2 3
II e
RLRR LRL L RL RRLR L L
4 2 3
R LRR LRL LR LRR LRL L
IJJJJJJJJJ JJJJJJJ:II
5 2 3
II e
RLRR LRL LR LRR LRL L
20 Paradiddle Power-============================--
The fills in patterns 6 through 10 below utilize paradiddle stick ing around four drums (snare drum, two rack
toms, and large tom).
R LRR LRLLR LRRLR LL
,R L R R L R L L R L R R L R L L
R LRRLRLLR LRR LRLL
RLRR LRL LRLRRLR L L
R LRR LR LLR LAALR L L

The fills in patterns 11 through 15 below utilize single paradiddles and cross-sti cki ng.
R LRR LR L LR LAR LR L L
R LR R L AL L R L AR L A L L
R LAALR L LR LRR LR LL
ALRR LRL LR LRR LRL L
11 e I y.
R LRRLR LLRLRALRL L
22 Paradiddle Power=====================~
Part 6: '1azz Fills With Single Paradiddles
The next three pages demonstrate the use of single paradiddles as jazz fi lls. Each fi ll bar is now preceded by
three bars of the jazz ride cymbal beat, with the bass drum on all four counts and the hi-hat on 2 and 4.
All fi lls in patterns 1 through 5 below use single-paradiddle sticking around three drums (snare d rum, small
tom, and large tom). Once again, repeat each exercise and practice at different tempos.
Note: Be sure to omit the third partial of the fourth triplet during the third repeat of the jazz cymbal beat (*).
This gives the right hand sufficient time to move to the appropriate drum for the start of the fill bar.
> 3 > 3 *
~iM~..--.~~~---'~~~~_.__-+-~2-----+-~~3~-+--+--,,..._.......,_.--w------w-.,.__-+--.~""""'""'-~,__._,._--..-+11
1
LT
~~F ~~--.~--~-f'"--__11---___.~~~"'--~~-'-~~~~~~~~~~~~~~_._.
ALAALAL LALAALAL L
:>3 > 3
2 2
•
• A L A AL ALL A L A AL ALL
3 2 3
•
ALAALAL LALAALAL L
4 2 3
ALAALAL LALRR LAL L
5 2 3
•
R LAALAL LALAR LR L L
==============================-= Paradiddle Power

The fills in patterns 6 through 10 below utilize single-paradiddle sticking around four drums (snare drum, two
rack toms, and large tom).
2 3
RLRR LRL LR LRRLR L L
7 2 3
• •
• R LRRLR LLRLRRLR L L
8 2 3
•
ALAALR L LALRR LRL L
9 2 3
Al RR LRL LR LRR LRL L
10 2 3
R LRRLAL LRLRRLR LL
24 Paradiddle Power============================= =
The fills in patterns 11 through 15 below utilize single paradiddl es and cross-sticking.
11 2 3
CYM ~~~~~,.--,....~~~*""-'~...--~~-.-~~--.---+----+--t--+--+--t--+--i---..--t--t--1----1r--+---t---r.
~b MT -.-r-""'7r~~~-'-~~~~,__+--:--ir--+---c~----1f---+-----+--+---+-iel---f--+--+---L-+-~f-ie+-t-+--:-H
BD~~...........--~-..--~--~---~+----=---+-___.'--'-----l--..~---------__,___,..____...____.___--.~-------tt1
HHF
RLRR LRL LR LRRl R l l
:::>- 3 :::>- 3
12 2
~ LRRLRL LRl RRl R l L
13 2 3
RLRR LRL LR LRR l RL L
:::>- 3 :::>- 3
14 3
R l RRLR l LRLRRLR l L
15 2 3
RLRRLR L LR LRR LRl L
===;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;==============;;;;;;;;;;;;;;;;;;==;;;;;;;; Paradiddle Power 2!i

SECTION 2: DOUBLE PARADIDDLES
RLRLRR-LRLRLL
In Part 1 of this section, we'll utilize double paradiddles in 8th-note triplets orchestrated among three drums
(snare drum, small tom, and large tom). Practice the double paradiddle just on the snare drum at first, until
you're comfortable with the sticking. As usual, be sure to begin each exercise slowly and maintain a steady,
even tempo. Once again, the bass drum should be played on 1, 2, 3, and 4 of every measure.
3 3 3 3
2
II U mmmm : 11
R L R L R R L R L R L L R L R L R R L R L R l L
3 3 3 3
mmmm :
3 3 3 3
3
II c mmmm: 11
4
II C
R L R L R R L R L R L L
11
5
II e
3
mmmJTI:
3 3 3
R L R L RR L R L R L L
11
6
II e mrnmm:
3 3 3
3
11
mmmm: mrnmm:
3 3 3 3 3 3 3 3
7 8
II U
11 II e 11
R L R L R R L R L R L L R L R L R R L R L R L L
9
II e mrnmm:
3 3 3 3
11
10
II U mmmm:
3 3 3
3
11
26 Paradiddle Power ----------------==------------=--=--===---------------=

m .en m .en m .en mill :
3 3 3 3 3 3 3 3
!f 1~
12
{l :11 II e 11
R L R L AA L R L R L L R L R L R R L R L A L L
3 3 3 3 3 3 3 3
mmm.rn:~ 1~ummmm: 1 1
13 1
II e
R L R L AA L R L A L L R L R L A R L R L R L L
3 3 3 3 3 3 3 3
15
II e mmmm:1
R L A L R A L R L R L L
16
II e mmmm:11
R L R L R A L A L A L L
3 3 3 3
mmmm:1
3 3 3 3
17
II e
18
II e mmmm:1
R L R L RR L A L R L L R L R L R A L A L R L L
3 3 3 3 3 3 3 3
19
II e mmmm:1 2
;emmmm :1
A L A L RR L R L R L L R L R L RR L R L A L L
3
3 3 3
22
II e mmmm:11
~ (! ro mm m:1
3 3 3
2
3 3 3 3
26
II e mmWW:1
mmm.JJ"J :11
3 3 3 3 3 3 3 3
27
II e
28
II e mmmW:11
3 3 3 3
2
~" m mmm:11
30
II e
Part 2: Snare Drum, Tvvo Rack Toms, Large Tom
Part 2 uses double paradiddles orchestrated among four drums (snare drum, two rack toms, and large tom).
Again, practice each exercise slowly and methodica lly, and do not move on to the next exercise unti l the
previous one has been mastered. In exercises 1 through 10, we begin with j ust the snare drum and two rack
toms.
3 3 3 3 3 3 3 3
~i~......-
111 -e _...IJJ~-..1----fJJ~·.....__,CJJ~;~FJJ~:ll £JJ .Q] £JJ m =II
2
II e
R LR LR R LR LR L L R L R L R R LR L R L L
m m mm :11 mm mm :11
3 3 3 3 3 3 3 3
3 4
II B II e
R L R L RR L R L R L L R LR LR R L R L R L L
3 3 3 3
mm m m =11
3 3 3 3
5
II e
R LR LR R LR LR L L
6
II e mmmw=11
R L R L R R LR L R L L
m.mmm:
3 3 3 3 3 3 3 3
7 8
II e mm.mm:ll II e 11
R LR L RR LR L R L L R LR L RR L R L R L L
3 3 3 3 3 3 3 3
9 10
II e mm.mm :11 II e mmmm:11

R L R L RR L R L R L L R L R LR R L R L R L L
The large tom is now incorporated in exercises 12 through 30.
mmmm : mmmm:
3 3 3 3 3
3 3 3
11 12
ST
so~ II e 11 II e 11
R L R L RA L AL AL L AL AL R R L R L R L L
3
3 3 3
mmmm~ 1
13 14
II e II e
R L A L R R L R L R L L R L R L R A L R L R L L
mmmm : mmmm:
3 3 3 3 3 3 3 3
15 16
II e 11 II e 11
R L R L R A L AL AL L R L R L R R L R L A L L
mmmm : mmmm:
3 3
3 3 3 3 3 3
17 18
II e 11 II e 11
R L R L R R L A L R L L R L R L R A L R L R L L
mmmm:
3 3
3 3 3 3 3 3
19 20
II e 11 II e JTI ffl ill JTI :II
R L R L RA L R L R L L A L A L RA L R L R L L
3 3 3 3
22
II e mmmm:ll
R L R L RR LR L R L L R L R LR R L R L R L L
3 3 3 3
23
II e mmmm:ll R L R LR R L R L R L L
3 3 3 3
ill m ffi JTI :II

25 26
II e II e
R LR L R R LR LR L L R L R L R A LA LA L L
3 3 3 3 3 3 3 3
27
II e mmmm:11 28
II e mmmm :1
R L R L AA LA LR L L AL AL AA L AL AL L
3 3 3 3 3 3 3 3
29
II e m.mmm:ll 30
II e mmmm:1
AL R LR A LA LA L L A LA LR A L R L A L L
--=------------------------=--=--=--------------------;;;;;;;;;;;;: Paradiddle Power 3

Part 3: Double Paradiddle With Cross-Sticking
The following thirty exercises use double paradiddles with cross-sticking. All notes requiring a cross-sticking
move (right hand over left, or left hand over right) are notated with a circled X: igJ
In patterns 1 through 11 , the left hand crosses over the right to strike the large tom. All of these exercises use
either three drums (snare drum, small tom, and large tom) or four drums (snare drum, two rack toms, and
large tom). Take your time with these cross-sticking patterns.
3 3
3 3 3 3 3 3
ST
so~
1
II e rnmmm:11
2
II e rnmmm:ll
3
3 3 3
3
II e mmmm:11 4
II e .J]J ill J J~ m :II

3 3 3 3 3
3 3 3
5
II e mmmm :l
6
II e mrnmm:11
3 3 3 3 3
3 3 3
7
II e rnmmm :11 8
II U mmmm:1
3 3 3 3 3
3 3 3
9
II e mmmm:ll 10
II e mmrnm:1
R L R L RR L R L R L L R L R L RR L R L R L L
32 Paradiddle Power---============================;;;;;;;;;;
In exerci ses 12 through 17, the left hand crosses over the right, moving from the small tom to the large tom.
Patterns 18 through 30 begin on the large tom. Here the right hand crosses over the left, moving from the
large tom to the snare drum, and from the large tom to the small tom.
3 3 3 3 3 3 3 3
11
mmmm :ll
12
II U mmmm:ll
R L R L R R L R L R L L R L R L RR L R L R L L
3 3 3 3 3 3 3 3
13
II e mmmm:ll 14
II e mmmm :ll
R L R L RR L R L R L L R L R L R R L R L R L L
3 3 3 3 3 3 3 3
15
II U mmmrn :11 16
II e mmmm :ll
R L R L R R L R L R L L R L R L AR L A L R L L
17
II e
3
mmmm:ll
3 3 3
18
II e
w 3
msmffl:11
3 3 3
A L R L R R L R L R L L R L R L R R L R L R L L
19
II e
3
millms :11
3 3 ~
3
20
II e
w
3
mm!m:11
3
3
3
R L R L AR L A L A L L R L R L AR L R L R L L
21 3 3 ~
3
J 22 3 3 3 m 3
mffl.-m:11 II e mfflmF:11
R L R L RR L R L R L L R L R L RR L R L R L L
23
II
m 3
3
e m r= mffl:1
1
3 3 24
II e mm mm:~
3 3
~
4JmPJm:11
3
25 26
II e fflm·zm:11
3 3
II e
27
II e mmmm:1
3
3
3
28
II e
, , rn ,
fflm•zm:11
3
3 3 3 3
29
II U mmmm:l
3 3
30
II e JJJmmm :1
Part 4: Roc k/Shuffle Patterns With Double Paradiddles
In patterns 1 through 10 below, the right hand remains on the closed hi-hat, except for beat 4 , when it moves
to the snare drum to catch the accent. The left hand moves from the hi-hat to the snare drum on the second
beat on ly. Get comfortable with the alternating hi-hat/snare drum hand pattern before attempting to add the
bass drum figures in these exercises.
Once again, each rock/shuffle pattern also includes an optional open hi-hat, which adds an extra lift. Make
sure you 're tota lly fam iliar with the basi c hand/foot coordination before adding the open/ closed hi-hat.
3 0 > 3 3 > 3 3 > 3 3 > 3 0
~ rm ~ rm
1 2
HH
so
BO
II u =II
3
RLRLRR L A L A L L RLRLRR L R L A L L
3 0 > 3 3 > 3 3 0 > 3 3 > 3
3 4
L_ 3__1 3 3 L- 3 --'
RLRLRR LRLRL L ALA LR A LR LR L L
3 0 > 3 3 0 > 3 3 0 > 3 3 > 3
~Bij~Bij :II
5 6
II e
L_ 3__1 L_J --'
3
R L A LA A L A L A L L A L R L A A L R L R L L
3 > 3 3 0 > 3 3 0 > 3 3 > 3
7 8
3 L_3 _J 3
RLRLRR LRLRL L RLRLRR L R LALL
3 0 > 3 3 0 > 3 3 0 > 3 3 > 3
9 10
3 3 3 3 3 3 L_3 _J
RLRLRR LRLRL L RLRLRR LRLRL L
=== ============================- Paradidd le Power ~

These exercises use the same bass drum patterns notated on the previous page. However, a ghost note is now
added on the second partial of the first triplet. The ghost note is played with the left hand. The accented after-
beat rema ins on the left hand on beat 2 and on the right hand on beat 4 .
3
RLRLRR LRLRL L RLRLRR LRLR L L
3 > 3 3 > 3 0 3 0 > 3 3 > 3
l-3__J 3 3
RLRLRR LRLRL L RLRLRR LRLR L L
3 > 3 3 0 > 3 3 0 > 3 3 > 3
~ iij ~ iij :II

5 6
II B
L-3 __J L-3__J
3
R L R LR R L R L R L L R L R L R R L R L R L L
3 > 3 3 0 > 3 3 > 3
7 8
3 l-3 __J L-3_.I t_3_.1 3

RLRLRR LRLRL L RLRLR R L RLR L L
3 0 > 3 3 > 3 3 0 > 3 3 > 3
9 10
3 3 3 3 3 L- 3 _l 3
RLRLRR LRLRL L RLR L RR LRLRL L
Note the addition of the ghost note on the second partial of the th ird tri plet in these ten patterns. The ghost
note is played with the right hand, and is immediately fol lowed by a right-hand snare drum accent on beat 4.
3 0 > 3 3 0 > 3 3 0 > 3 3 > 3
~ -m ~m :II
HH
1 2
so
BO
II B
r r 3
RLRLRR L R L R L L RLRLRR L A L R L L
3 0 > 3 3 > 3 3 > 3

4
L-3_J 3 3
RLRLRR LRLRL L RLRLRR LR LALL
3 0 > 3 3 > 3 3 0 > 3 3 > 3
5 6
L_3_J L-3_J
3
RLRLRR LRLRL L ALRLRR LRLRL L
3 > 3 3 0 > 3 3 ::;... 3 0 3 :;,. 3

7 8
3 L- 3__J L-3_J 3
RLRLRR LRLRL L RLRLRR LR LAL l
3 > 3 3 0 > 3 3 > 3 3
10
3 3 3 3 3 3 L-3 _J
RLRLRR LRLRL L RLALRR LR L ALL
===== ====== = = ====== ======== ===== Paradiddle Power 3

The same bass drum patterns used on the previous pages are used in exercises 1 through 1 0 below. Note,
however, the addition of the ghost notes on the first, third, and fourth triplets. Here, the left hand remai ns on
the snare drum throughout, while the right hand moves from hi-hat to snare drum on the fourth beat only. The
right hand can also be played on a ride cymba l in these patterns.
Once again, be sure to make a clear distinction between the soft ghost notes and the strong accents on 2 and 4.
rn> ,
3 0 :>- 3
~rn
3 3 0 :>- 3 3
r ·r=·fd·:l
1 2
HH
so
BO
II B
3
A L A L R R L R L R L L R L R L R R L R L R L L
3 o:>- 3 3
3 4
t__3__J 3 3
R L R LR R L R L R L L RLRLRR L R L R L L
3
3 0 :>- 3 0 3 0 :>- 3 3
~ 8ij ·~ ~· :II
1
5 6
II B
t__3__J t__ 3__J
3
R L R L R R L R L R L L R L R LR R L R L R L L
3
3 :>- 3 0 3 0 :>- 3 0 3
7 8
3 t__3__l '--3-1 3
RLRLRR LRLRL L R L RLRR LRLRL L
3
3o:;::.. 3 0 3
9 10
3 3 3 3 3 3
RLRLRR LR L R L L RL L R L R L L
38 Paradiddle Power== = = = ======= ================ = =

Part 5: Rock/Shuffle Fills With Double Paradiddles
The following three pages use double paradiddles as rock/shuffle fills. As before, every fil l bar is preceded by
three bars of one of the basic rock/shuffle beats previou sly presented.
The fills in patterns 1 through 5 below use double-paradiddle sticking around three drums (snare drum, small
tom, and large tom). Be sure to maintain a steady, even time flow when moving from the rock/shuffle pattern
into the fill.
3 0 > 3 3 > 3
3
1 2 3
HH
~b
LT
BO
R LR LRR LR LR L L
3
R LR LRR LR LR L L
3 > 3
2 2 3
R LR LRR LR LR L L
3
R LR LRR LR LR L L
3 > 3
3 2 3
A LR LRR LALR L L
3
R LR LRR LALAL L
3 > 3
4 2 3
ALR LAALR LAL L

3
R LALAALR LAL L
3 > 3
5 2 3
ALAL RR LAL R L L
3
R LA LAR LALR L L
=====================--------------------;m;;;;; Paradiddle Power ~

The fill bars in the pattern s below use double-paradiddle sticki ng around four drums (snare drum, two rack
3 0 > 3 3 > 3
3
6 2 3
ST HH
so MT
LT
BO
R LR LRR LR L R L L
3
R LR LRRLR LR L L
3 0 > 3 3 > 3
7 2 3
R LR LRR LR L R L L
3
RLR LRR LR L R L L
3 > 3
8 2 3
R LR LRR LR L R L L
3
R l R LRR l R LR l L
3 0 > 3 3 > 3
9 2 3
R LR LRR LR LR L L
3
R LR LRR LR LR L L
3 > 3
10 2
R LR L RR LR LR L L
3
R LR LRR LR LR L L
40 Pa radidd le Power ==============================

The fi lls in patterns 11 through 15 utilize double paradiddles and cross-sti cking.
3 0 > 3 3 > 3
3
11 2 3
ST HH
SD MT
LT
BO
R LR L AA LR LAL L
3
ALALAALALAL L
3 0 > 3 3 > 3
12 2
R LR LAALALAL L
3
ALR LR ALR LR L L
3 0 > 3 3 > 3
13 2 3
R LR L RR LR LAL L
3
ALALAALALR L L
3 0 > 3 3 > 3
14 2 3
R LR LR ALR LR L L
3
ALR LAALR LR L L
3 > 3
15 2 3
R LR LR ALAL AL L
3
ALR LAR LR LR L L
-========-=-=== = -=-=-=-= = = =-=-= = = = = =-=-==-=--= Paradiddle Power 4

Part 6: Jazz Fills With Double Paradiddles
The following pages use double paradiddles as jazz fills. Note that each fill bar is now preceded by three bars
of the jazz ride cymbal beat w ith bass drum and hi-hat.
All the fill bars in patterns 1 through 5 below use double-paradiddle sticking around three drums (snare drum,
small tom, and large tom). Practice all of these exercises at slow, medium, and fast tempos.
Note: Once again, be sure to omit the third partial of the triplet on beat 4, during the third repeat of the jazz
cym bal beat (*).
3
3 3 3
1mmmm=1
2 3
•7 •7
r- y.
A L R L R R L R L A L L
3
3 3 3
2
II e
2 3
1mmmm=11
R L A L A R L A L A L L
3 3 3 3
2 3
1mmmm=11
R L R L A R L R L A L L
~ 3 3 3
1mm mm =
1
4 2 3
II e
A L R L R R L R L A L L
2 3
1fflill/]Jill:11
R L R L R R L R L A L L
42 Paradiddle Power ==============================

A ll fills in patterns 6 through 10 use double-paradiddle sticking around four drums (snare drum, two rack
> 3 > 3 * 3 3
6 2 3
CYM _ _-*---*--=1--*-_,_~--...-=J---..~--~~~--~-1-.,._-+--+--+---+-..W--+--+---+---+---+--.....
ST MT-n-"""7T"- - - _.__ _ _ __.___+----;~--+--~--+11.........-.....___,rrrt-:rrrt-:---------t--------at--W-~
sou-++-........--~-~-~-~-+--,,.....~-+-~-----1-~__...__...__.----------~~~~-,.ttl
BO
HHF
A l A l A A l A l A l l
> 3 > 3
7 2 3
A l R l R R l R l R l l
8 2 3
A l A l A A l R l R L L
> 3 > 3
9 2 3
•
A l A l A R L R L A l l
10 2 3
R l R l R A l A L A l l
===============================--- Paradiddle Power J.

The fi lls in the patterns below uti lize double paradiddles and cross-sticki ng.
> 3 > 3 * 3
> 3 > 3
2
> 3 > 3 3
13 2 3
14 2 3
> 3 > 3
15 2 3
44 Pa radiddle Power --------------------=======-----=====-----==---=---

SECTION 3: TRIPLE PARADIDDLES
RLRLRLRR-LRLRLRLL
Part 1 of this section involves the use of triple paradiddles around three drums (snare drum, small tom, and
large tom). Be sure you're totally comfortable with the trip le-paradiddle sticking before attempting the exercis-
es below. Strive for accuracy first and foremost, and use a metronome or drum machine to assure a steady,
even tempo. Remember to play the bass drum on beats 1, 2, 3, and 4 of every bar and master each pattern
before proceeding on to the next.
2
II e j JJJj JJJJ333J333:II
RLRLRLRRLRLRLRLL RLRLRLRRLRLRLRLL
R L RLRLRRLRLRLRLL RLRLRLRRLRLRLRLL
II e j JJJJJJJJJ33JJJJ:II
RLRLRLRRLRLRLRLL RLRLALRRLRLRLRLL
j Jl Jj JJJdJJ3JJJJ:II
8
II e
RLRLRLRR L RLRLRLL RLRLR LRRLR L R LRLL
9
II e j JJJj Jj jJj j jJj JJ:II 10
II e JJJ j JJJjj JJ JJj JJ:II
R LRL RLRRLRLRLRLL RLRLRLRRLRLRLRLL
--=-=-=-=-=-=-=-=-=-=-------=-----=---------------=---=-----;;;;;;;;;;;; Paradiddle Power 41

~ u JJJJJ333JJ3JJ333:II
1
~ e JJJJJJJJJJJ3JJJ3:1I
1
RLRLRLRRLRLRLRLL RLRLRLRRLRLALALL
1~ e JJJJJJJJ JJJ JJJJJ :II

RLRLALARLRLRLRLL RLRLRLRRLRLRLRLL
1~ u JJJJJJJJJJJJJJJ3:11
2
~ (! JJJJJJJJJJJJjJJJ:ll
2
~ u JJJJJJJJJJJJJJJJ:II
~u JJJJjJjjJJJJJJJ~
30
11 e jJJJ JJJJJJJJ JJJJ:II
RLRLRLRR LR LRLRLL RLRLRLRRLRLRLRLL
Part 2 features triple paradiddles orchestrated among four drums (snare drum, two rack toms, and large tom).
Practi ce these patterns slowly at first, and do not increase the tempo until you can pl ay each exercise accu-
rately and smoothly.
1
JJJJ JJJJ JJJ JJJJJ :II 2
II e JJJJ JJJJJ JJJJJJ J:ii
II e JJ JJJd)JJ JJJJ JJJ :II

II e
6
II e JJJJJJJJJJJJJJJ~:II
RLRLRLRRLRLRLRLL RLRLRLRRLRLRLR LL
RLRLRLRRLRLRLRLL R LR LRLRRLRLRLRLL
9
II e JJJJJJJJJJJJJJJJ:II 10
II e JJJJjJ JJJ jJ JJJ JJ :II
RLRLR L RRLRLRLRLL RLRLRLRRLRLRLRLL
48 Paradiddle Power--============================--
1; e jJJJJJJJ JJJ JJJJJ :II 1~ j JJJJ33 JJJJJJJJJ :II

(j
RLRLRLRALRLRLRLL
<---~~~~~~~~-----'
R LR L RLRRLRLRLRL L
1~ e JJJJJJJJJJJJJJJJ:II
1
~ ll JJJJJJJJJJJ JJJJ{11
RLRLRLRRLR LRLRLL RLRLRLRRLRLRLRLL
===========================-- Paradiddle Power 4

2
~ e j JJJj JJJJJJJJJ JJ:II
2
~
2
" JJJj JJJJJj JJJJj J:I I ~ e JjjjJjjjJjJJJJJ{ll
RLRLRLRRLRLRLRLL RLRLRlRRLRLRLRLL
50 Paradiddle Power =======-=-=-==-====-=-====-=====-

Part 3: Triple Paradiddles With Cross-Sticking
The patterns on the next three pages use tri ple paradiddles with cross-sticking. All notes requiring a cross-
sticking move (right hand over left, or left hand over right) are notated w ith a circled X:igl
In exercises 1 through 18 on this and the fo llowing page, the left hand crosses over the right to strike the large
tom. Cross-sticking always presents an additional reading and technical chall enge, so be sure to take you r
ti me with all of these exercises.
1
JJJJJJJJ;PJJJJ :ll
R LRLR LRRLRLRLRLL RLRLRLRRLRLRLRLL
II U JJJJJJJJDJJJU:11
R LR LRLRRLRLRLR L L R L RLRLRRLRLRLRLL
RL R LR LRR LRLRLRLL R LRLRLRRLRL R L RLL

In the last two exercises on this page (19 and 20), the left hand crosses over the right, moving from the small
tom to the large tom.
~~1~ {l JJJJJJJJP§J3JJ:ll
1
~ 1, JJJJJJU 3~ JJJ333:II
R L RLRLRRLRLRLRLL RLRLRLRRLRLRLRLL
R LRL RLRRLRLRLRL L RLRLRLRRLRLRLRLL
RLRLRLRRLRLRLRLL RLR L RLRRLRLRLRLL
20
II e JJJJJJJJJ JJJJJJ J:I
RLRLRLRR LRL RLRLL RL R LRLRRLRLRLRL L
In patterns 21 through 30 on thi s page, the right hand w ill cross over the left, moving from the large tom to
the snare drum and from the large tom to the small tom . Note that both rack toms (right and left) are used in
most of these exercises.
24
II e Jjdj JJ JJjj JJjjJJ :II
RLRLRLRRLRLRLRLL RLRLRLRRL R LRLRLL
RLRLRLRRLRLRLRLL RLRLRLRRLRLR LRL L
7i El JJJJJj JJJJj JJJJJ:II

Part 4: Rock/Funk Patterns With Triple Paradiddles
In the following rock/funk patterns using triple paradiddles, the right hand plays continuously on the closed hi-
hat, with the exception of beat 2, w hen it moves from hi-hat to snare drum for the accent. The left hand moves
from hi-hat to snare drum on beat 4 only. Exercises 1 through 10 start out with the same basic 8th-note bass
drum patterns used previously with single and double paradiddles.
Agai n, all of these triple-paradiddle rock/funk patterns include an optional open hi-hat on certain 16th notes.
The open hi-hat may occur on either the right or left hand and calls for an extra degree of concentration and
coord ination. Practice these patterns without the open hi-hat for starters. Try to work it in after you've mastered
the hand and foot parts.
tni Jinf Ji
> 0 0 > 00> 00 >
Jn
•• • r=== j jj
1===
2 J JJJjJJJJJJJ~==
jjj
: II(! f :II rn f f f f :II
1 BP
0 0 > >
3
d===
n nj t==
jj j
rn f 1 CT i :II
ALRLRLRRLRLRLRLL RLRLRLRRLALRLRLL
> 00 >
j JjJ ~J fJj Ji ===

f===
J
5
j jJ
II e = - = = := :ii
i
RLRLRLRRLRLRLRLL RLRLRLRR L RLRLRLL
0 0 > >
9
11 e~
==tJJJ~J~pj==
~ - := ~ - J~J
= =II
i i
The patterns on this and the following page use triple parad iddles combined w ith the more compl ex bass
drum patterns used previously with the single- and double-paradiddle sections. Start out slowly, bri ng out the
accent on 2 and 4, and keep a steady, solid time flow by practicing with a metronome or drum machine.
II U ::
fJJ J]JiJJ JiJ]iJ J:ii
- :: :: - ::.
., ., ~
ALALALAALALALALL ALA LA LAA L ALALAL L
0 0 > >
4
11 e :: JJJjJ~J~JJ=~
f -., :: :: . J=i-j==J~J
.,
:= :II
ALALA LRA LRLRLRLL ALALRLRRLRLRLRLL
II e niJJin~JaiJJJ
:: - :: . :: . =:: =: :iI
., ~ J
RLALALRRLALRLRLL RLRLRLRRLRLRLRLL
0 0 > >
7
11 e :: JJJJ~JJ~~JJ==
f -:: . ==i -::~ .n :II
~ ~
RLRLALRRLALRLRLL RLALALRRLRLRLRLL
> 00 >
9
10
II U
~==nJ~JJf
::=i -::. :: JJJJ==~n
-::. :ii
~ ~
RLR LRLARL RLALRL L RLRLRLRRLRLRLRLL
=========================---- Paradiddle Power !

00> 0 0>
~11II
~J]jnn~/JJJ
:~ e == -=. == = :II 12
II
fJn -pJ::~f:: Jn J--JJ::~ :jl
e ::
i. i.
~ i
RLALRLRRLRLRLRLL RLRLRLRRLRLRLRLL
13
II
fJJJIJ= JJninin
e= = - =. :I I
i~
14
11 e=
jJJJJJi=J::~ .J1JJi :II
i
==- ::
[i
j
ALALRLRRLRLRLRLL RLRLRLRRLRLRLRLL
~nfiJJJ~~JJ~n
0 O> >
15
11
f==JJJjJJ~~~Jj-J~J
e= =~ - = :II 16
11 e =·=:;= ~ -=· :II
i. i ~J ~
RLRLRLARLRLRLALL RLRLRLRRLRLRLRLL
18
11
niJiJJPJ~IJJJ
e = =. == == = =II
i di
RLRLRLRRLRLALRLL RLALRLRALRLRLRLL
19
RLALRLRRLRLRLRLL
56 Paradiddle P o w e r = - = = = = = = = = = = = = = = = = = = = = - =
Part 5: Rock Fills With Triple Paradiddles
The next fifteen exercises utilize triple paradiddles as rock fi lls. Similar to the single- and double-paradiddle
fill patterns, each fill bar begins w ith three bars of a basic rock beat. Again, the right-hand part may be played
on the hi-hat or ride cymbal.
The five exercises on this page use trip le-paradiddle stick ing around three drums (snare drum, small tom, and
large tom).
,. IJl JJJJJJJJJJ JJJj :II

3
•7
R LRLRLRRLRLRLR l L
.R L R L R L R R L R L R L R L L
IJ1JJJJ JJj J11JJJ J :I I

3
R LR LR LRR LR LR LR L L
IJJJJ j 1JJJJJ JJJJJ:II

3
RLRLRLRR LRLRLR LL
Ij J11JJJJJj 11JJJJ:II
3
RLR LRLRR l R LRLAL L

The fill bars in exercises 6 through 10 use triple-paradiddle sticking among four drums (snare drum, two rack
R LR LR LAR LR LR LR L L
R LALALRR LALALR L L
R LRLRLRRLRLRLR L L
RLR LRLRR LR LR LRL L
R LRLRLRR LR LR LRL L
58 Paradiddle Power------=---------=------===========--=---=
These fil ls combine triple paradiddles and cross-sticking.
RLR LRLRR LR LALR L L
12 2 3
R. l R L R L R R L R L R L R L L
RLR LRLRRLRLR LRL L
ALR LRLRR LRLRLR L L
ALRLALRRLRLR LAL L
======================== Paradiddle Power !:

Part 6: '1azz Fills With Triple Paradiddles
The next fifteen exercises show the use of triple paradiddles as jazz fills. As usual, every fill bar begins with three
bars of the jazz ride cymbal beat. The bass drum is played on all four counts with the hi-hat on 2 and 4. Be sure to
make a smooth transition between the three bars of jazz time and the fill bar.
All of the fills on this page use triple-paradiddle sticking around three drums (snare drum, small and large tom).
* Note: The third partial of the triplet on beat 4 is omitted during the third repeat to allow sufficient time for the
right hand to lead into the fill bar.
1 2 3
~M~~---*"~-*'~~E--~~-*-r~~~~~~--.-+-+----i1---+---+-+---+---+-..r--t-..o1-+-..i'-t-..t-----...
~ -H-+s-~~~~~~~~-+~~~+-~,----i--..i--'----:mi------------------__..___' - -___~~-:+t
~~F ~~---f'E-~----~--.__---1' __----'-~~~..__~~......_~~~~~~~~~~~~~~~

RLR LRLRR LR LR LRL L
2 2 3
R LRLRLRRLRLRLR L L
3 2 3
RLRLR LRRLRLR LRL L
4 2 3
R LR LR LRR LR LR LR L L
5 2 3
R LRLRLRRLRLRLRL L
60 Paradidd le Power =--------------------------------===--=--==----=--=---

The fills in patterns 6 through 10 below use triple-paradiddle sti cking around four drums (snare drum, two
rack tom s, and large tom)
CYM G 2 3
~~~~-'*~*""""'~~'*""-''1--*-.--~~-.-~~--.--+_,.....-+--+--+--+--+--t-.---t-+-t----1t--t--+--+---..
~bMT -n-""""TT~~~_,_~~~~'--+-----:-,..--+-----:,.-,---if-*------------~..r-,__..._+-..,,._t--..lf-W_,,..___--=ttl
BDu _._..___...___~--..--~--~~~+-__..__-=---+----"'-=---l~~~~~~~~-----~~~~~-t-t1
HHF
RLRLRLRRLR LR LR L L
> 3 > 3
2 3
. R LR L R LR R LR L R LR L L
8 2 3
•
RLRLRLRRLR LR LRL L
9 2 3
R LRLRLRR LRLRLR L L
10 2 3
RLRLRLRR LR LR LRL L
====--=----====--==--====--=======------- Paradiddle Power E

The fi lls in patterns 11 through 15 below utilize triple paradiddles and cross-sticking.
RLRLRLRRLRLRLR L L
2 3
R LR LRLRRLRLRLRL L
13 2 3
RLRLRLRRLRLRLR L L
14 2 3
RLR LRLRRLR LR LRL L
15 2 3
RLRLRLRRLRLRLR L L
SECTION 4: ADVANCED CONCEPTS
Single Paradiddles In Triplets
RLR RLR LLR LAL
Single paradiddles in triplet form have an entirely different feel from single paradiddles in 16th notes. M ake sure
you're completely comfortable with the sticking before moving on to the patterns below. Note that the last three
notes of the pattern are alternate single strokes. The single strokes function as a "turnaround" so that the sticking
can return to right-hand lead on the repeats.
3
3 3 3 3 3 3 3
mmmm:1 JTI mm m :II

1 2
11 e
R L R R L R L L R L R L R L R R L R L L R L R L
3
3 3 3 3 3 3 3
3
II e mmmm :1 '11em mmm:11

3 3 3 3 3 3 3 3
5
II e mmmm :1 6
II e JIJfJJffiffi:11
3 3
3 3 3 3 3 3
7
II e mmmm:1 8
II e JIJIDmm :1
3 3 3 3 3 3 3 3
9
II e mmmm:1 10
II e fijjIJffiffi :11
R L R R L R L L R L R L R L RR L R L L R L R L
3 3
1r ~ e IDJJJ ffi ffi :II

1
3 3
R L R R L R L L R L R L
12
II U mmmm:
3 3 3 3
11
mmmm:
3
3 3 3
13 14
JI e 11
II e
R L R R L R L L R L R L R L R R L R L L R LA L
mmmm: mmmm:
3 3 3 3 3
3 3 3
15 16
II e 11 II e 11
A L RR L R L L A L R L R L RR L A L L R L R L
mrnmm:
3
mmmm:
3 3 3 3 3 3 3
17 18
II e 11 II e 11
R L AR L R L L R L A L R L R R L R L L A L R L
mmmm:11 mmmm:11
3 3 3 3 3 3 3
19 20
II (; II e
R L RR L R L L R L R L R L R R L R L L R L R L
64 Paradiddle Power ----======--======--====--=------===----

Part 2 uses single paradiddles in triplet form among four drums (snare drum, two rack tom s, and large torn).
Start out slow ly here and repeat each pattern fifteen to twenty times before moving to the next one.
mmmm :1
3 3 3 3
2
II c;
3 3 3 3
mmmm :1
3 3 3 3
3
II c;
4
II c; mmmm :1
mmmm:1
3 3 3 3 3 3 3 3
5
II e
6
II e snmmm:1
3 3 3 3
mmmw :1
3 3 3 3
7
II c; mmmm :1 8
II e
mmmm :1
3 3 3 3 3 3 3 3
9
II c; msnmm :1
R L RR L R L L R L R L
10
II c;
----------=------==--------=----==----======-----= Paradiddle Power 6

3 3 3 3 3
mmmm:1
3 3 3
11
R l R R L R L LR L R L
12
II e mmmm:11
R L RA L A L L A L A L
3 3 3 3 3
mmmm:1
3 3 3
mmmm:ll
13 14
II e II c;
A L AA L R l L AL AL AL AA L A L L A L A L
mmm~: 1 1
3 3 3 3
15
II B mmmm:1
A L R A L A L L A L A L
16
II e
R L AR L A L L R L R L
3 3 3 3 3
3 3 3
17
II c; mmmm:11
R l RR L A L L A L R L
18
II e mmmm:11
R L AR L R L L R L A L
3 3 3
19
II e mm mm :l
A L AR L AL L R L R L
20
II e illillDJffi:11
R L AR L R L L A L R L
66 Paradiddle Power==============================
Part 3 : Single Paradiddles In Triplets With Cross-Sticking
The following twenty exercises use single paradiddles in triplets with cross-sticking. All notes requiring a
cross-sticking move (right hand over left or left hand over right) are notated with a circled X: ~
Practice with a metronome or drum machine, and increase the tempo only after your fluency with cross-stick-
ing increases.
3 3 3 3 3 3 3 3
mmwm:ll
2
mmmm:11
1
II e
R L RR L R L L R L R L R L RR L R L L R L R L
mmmm:1
3 3 3 3 3 3 3 3
4
mrnmm:ll
3
II c II U
3 3 3 3 3
3 3 3
rnmwm:ll
6
rnmmm:11
5
II e II e
3 3 3 3 3
mrowm:11
3 3 3
7
II e
8
II U mmmmrn
3 3 3 3 3
mrowm:11
3 3 3
9
II e
10
II e mmwm:ll
3 3 3 3 3 3 3 3
""'11 e ffifJJillJE :II

s0 LT 11 1~ewmmm :11
3 3 3 3
mm :1
3 3 3 3
1
~"mrymm:1 1
1
~ u ffl ffl
3 3 3 3 3
mm :II
3 3 3
1
1~ e ill -OJ
1
~ e fflffl RJ ffi :II

3 3 3 3 3 3 3 3
~eill-0Jmm :11
1 1
~ e ffiJJJ ffiJ"fJ :II

3 3 3 3 3 3 3 3
1
~" illffi mm :11

2
1~ e ill -OJ ill -9"3 :II

Part 4: Rock Fills With Single Paradiddles In Triplets
The next th ree pages demonstrate the use of single paradiddles in triplets as rock fill s. Here again, each fill bar
is preceded by three bars of a basic rock beat. The fills in patterns 1 through 5 below use single paradiddles
around three drums (snare drum, small tom, and large tom).
3 0 > 3 3 :> 3
3 3
1 2 3
HH
ST
SD
LT
BO
R LRR LR L LR LR L
3
R LALRR LR L
3 0 > 3 3 > 3
2 2 3
R L RR LR L LR LR L
3
R LR LRRLAL
3 0 > 3 3 > 3
3 2 3
AL RALR L LR LA L
3
ALR LAALR LR L L
3 :> 3
4 2 3
R LAA LAL LR LR L
3
R LR LRR LR L
3 0 > 3 3 :> 3
5 2 3
R LRR LR L LR LR L
3
RLR LRR LR L
==============================--- Paradiddle Power E

The fills in patterns 6 through 10 utilize single-paradiddle sticking around four drums (snare drum, two rack
3 0 > 3 3 > 3
2 3
R LRR LR L LR LR L
3
R LR LRR LR L
3 0 > 3 3 > 3
1 2 3
R LRR LR L LR LR L
3
R LR LRR LR L
3 0 > 3 3 > 3
8 2 3
R LRR LR L LR LR L
3
R LR LRR LR L
3 0 > 3 3 > 3
9 2 3
•
R LRR LR L LR LR L
3
ALR LRR LAL
3 0 > 3 3 > 3
10 2 3
•
R LAALR L LR LR L
3
R LA LARLR L
The fills in patterns 11 through 15 below utilize single paradiddles and cross-sticking.
3 0 > 3 3 > 3
3
R LRR LR L LR LR L
3
R LR LRR LR L
3 0 > 3 3 > 3
12 2 3
R LRR LR L LR LR L
3
R LR LRR LR LR L L
3 0 > 3 3 > 3
13 2
•
R LRR LR L LR LR L
3
R LR LR R LR L
3 0 > 3 3 > 3
14 3
R LRR LR L LR LR L
3
R LR LRR LR L
3 0 > 3 3 > 3
3
2 3
•
R LRR LR L LR LR L
3
R LR LR R LR L
================================================;;;;;;;;;;;;; Paradiddle Power 'A

Part 5: Jazz Fills With Single Paradiddles In Triplets
In the jazz fi lls below, each bar is again preceded by three bars of the jazz cymbal beat. The fills in the
patterns below use three drums (snare drum, small tom, and large tom).
Note: As before, be sure to omit the third partial of the fou rth triplet during the third repeat of the jazz
cymbal beat (*).
3
1
~M ~~---*~""*--=i-""*--*""~*"-~*"-.---~~~.---~~~.....--11----1f--f--+--+--+--+--+-+-+-+--+-~
~ -41-..........~~~~~~~~~~-1-----=.--~-1-----=.--~+--1........-c.....m:........m._..'--....._...__..__.....___....___.r_m..__~
~~F ~~~~~~~---~n-~~~~~~~~~~~~~~~~~~~~~~~~
2 2 3
• •
3 2 3
• •
• •
4 2 3
5 2 3
72 Paradiddle Power------==================-=========~
Four drums (snare drum, two rack toms, and large tom) are used in the five jazz fills below.
8 2 3
9 2 3
• •
10 3
================================ Paradiddle Power 7

The fill s in all of the patterns below use cross-sticking.
3 3
3
2 3
•
•
2
••
3
14 2 3
•
•
3
15 2 3
Double Paradiddles In 16th Notes
RLRL RRLR LALL RLRL
Double paradiddles in 16th-note form have a different feel from the double-paradiddle triplets in Section 2. Get
familiar with the feel of the sticking before moving on to the drumset orchestrations below. Note that the last
four 16th notes of the double paradiddle, for our purposes here, are alternate single strokes. The single strokes
act as a "turnaround" so that the sticking returns to a right-hand lead.
1
t? 11 e JJJJJJJJJJJJJJJJ:II
RLRLRRLRLRLLRLRL RLRLRRLRLRLLRLRL
RLRLRRLRLRLLRLRL RLRLRRLRLR L LRLRL
5
II B JJJJj JJJj JJJJJJJ:II
RLRLRRLRLRLLRLRL RLRLRRLRLRLLRLR L
RLR L RRLRLRLLRLRL RLRLRRLRLRLLRLRL
j JJJj JuuJJJJJJJJ:II
10
II e
~ ~ e JJJ Jjj JJJj JJJJ JJ :II 1~ e JJJ Jj jJJJ3 JJJ Jj 3:I I
1
1
~ e JJJJJJJJJJJJJJJJ:ll
1
~ e JJJJJJJJJJJJJJJU:ll
RLRLRRLR LR LLRLRL RLRLRRLRLRLLRLRL
18
II e JJJJJJJJJJJJJJJJ :II
~ e JJJj JJJJJJJJJJJJ:II e JjJJjJJJJJJJJJJJ :II

1
20
II
RLRLRRLR LA LLRLR L RLRLRRLRLRLLRLRL
Part 2 uses double paradiddles in 16th notes around four drums (snare drum, two rack toms, and large tom).
II U JJJJJJJJJJJJj JJJ =II

4
II e JJJJJJJJJJ JJj ~JJ =II
10
II U JJJJJ JJJJ JJJJJJ J =II
=============================== Paradiddle Power 7

ro~/,; u JJJJJJj JJJJJJJJj :II
1
~ e j JJ3j J33JJ JJJ333:II
1~ e JJJJJJ JJJJJ JjJ JJ :II 14

II
JddJ JJJJJJJJ :jl
eJJJJ
RLRLRRLRLRL L RLRL RLRLRRLRLRLLRLRL
1~ e jJ jJJ JJJJJJJJ JJJ :II

RLRLRR L RLRLLRLRL RLRLRRLRLRLLRLRL
78 Paradiddle Power=========================================
Part 3: Double Paradiddles In 16th Notes With Cross-Sticking
The next two pages feature double paradidd les in 16th notes with cross-sticking. Cross-sticking moves are
notated with a circled X. These patterns can be qu ite tricky, so take your time. Focus on accurate execution
before speed.
RLRLRRLRLRLLRLRL R LR LRR L RLRLLRLRL
JJJJJ JJJJffl JJJJ:ii

7
II U
RLRLRR LRLRLLRL RL RL R LRRLR LRL LRLRL
JJJJ JJJJJ JJ JJJJ J:II

10
II U
1
~ n m=:JjjJjjJJJJJJJ:11
1
15
II e JJJJJJJJJJJJJJJJ :II ~ Ii JJJJJJJJ@JJJJ:11
RLRLRRLRLRLLRLRL ALRLARLRLRLLRLRL
Part 4: Rock Fills With Double Paradiddles In 16th Notes
The following pages use double paradiddles in 16th notes as rock fills. Three bars of a basic rock beat pre-
cede every fill measure. The fill s in the five patterns below all use three drums (snare drum, small tom, and
large tom).
R LRLRR LRLRL LRLRL
R LRLRR LRLRL LRLRL
RLR LRR LR LR LLRLR L
RLRLRRLR LRL LRLRL
RLRLRRLR LR L LRLR L
=========================;;;;;;;;;;;;;;: Paradiddle Power 8

The fil ls in the patterns below all use double paradiddles orchestrated around four drums (snare drum, two
rack toms, and large tom).
6 2 3
HH ~-~u..-""--.ai-"""'-.....a....-""-_....,.-""-~~~~~~~~~1---4-+--l--l--+--+--+--+-.--...i---1---1--+--+~
~bMT--rr-""7"r~~--mf--~~~--~+---:-:i.---t---:,...---t--W-___,.._,~~,.._,_........1--..t--..t--------..t-------...i---;tt
BOU_..._--.~~~~~~~~~+---......:'---+-__..._-=---l-~~~~~~~~~~~~~~~M
ALALAALALAL LALAL
ALALAALALA L LALA L
8 2 3
•
•
ALALRALALAL LRLR L
9 2 3
•
R L A L AR L R L R L L R L R L
10 2 3
R LALAR LR LR L LALAL
The fill s in exercises 11 through 15 incorporate cross-sticking.
11 2
HH~~~~~t-""'~~~-+-~..--~~-r-~~-,..-+---t--t----+--+-+-t---1r-t-+--t-+----t----+--+--t-~
~b MT -...--.,....~~---,.1--~~~--~+----=-->r--t----=-~--+...,.._._..._ _--+-.i--......__.~----t-+,.;----....i--:..--:-
BO~ _.u_-3.£.----~~~......--:----~---+--~=---+----'<'-=----+~~---'e<-~~~~~-----~~~~~
R LR LRR LR LR LLR LR L
12 2 3
R LR LRR LR LR LLRLR L
15 2 3
•
R LR LRR LR LR L LR LR L
===============================-- Paradiddle Power 8

Part 5: Jazz Fills With Double Paradiddles In 16th Notes
In the following jazz fill s, each fill measure is preceded by three bars of jazz time. Omit the third partial of
the fourth tripl et during the th ird repeat of the cymbal beat. The first five fill exerci ses below use three drums
(snare drum, small tom, and large tom).
1 2 3
~M ~~~~~--=t-;IE--3~----:IE-"l'°"'*'"..---~~-.--~~-.--+---+--+--t-+-+-1t--t-..r--t----t--+---t----+--+---r.
rP -tt---.-~~~~~~~~~1--~·~---+~---~--r---------.1--------_...~~~~~~--:+'I
~~F ~~----~-B~--f'----1pt..-~'--~~...._~~-'-~~~~~~~~~~~~~~~
ALR LRR LR LR L LR LR L
> 3 > 3
2 2 3
• •
•
R LR LRR LR LR L LRLR L
:> 3 :> 3
3 2
•
R LR LRRLR LR LLR LR L
5 2 3
R LR LRR LR LALLALAL
84 Paradiddle Power===============================
Four drums (snare drum, two rack toms, and large tom) are used in the fills on this page.
fYM~6~-4L-~~~L-~~l-~2g_~~3~~__cr:rJ_J~~!L..r:J:JJ___c:J::r:i~
S MT -,,~~~~-'-~~~~....._-+---.,,~--t~~,...--Hl.,__,,r-..r--'-ar-.--W__.....-...._,.._...__.....,,_.____,.,_..,...t--:+tl
SD •
BDCT _.._~--,...---..~~~~~~-+---~•~-1---.-=--+~~~~~~~~~~~~~~~-+m
HHF
R LR LRR LR LR LLRLR L
, R L R LR R L R L R L LR LR L
8 2 3
•
• •
9 2 3
•
10 2 3
•
===============================;;;;;;;;;: Paradiddle Power I!

Cross-sticki ng is incorporated during th e fill measures on th is page.
2 3
13 2 3
14 2 3
•
2 3
R LR LRR LR LR L LALR L
86 Paradiddle Power =============================---

Triple Paradiddles In Triplets
ALA LAL AAL ALA I LAL LAL ALA LAL
Part 1: Snare Drum, Small Tom , Large Tom
Triple paradiddles in triplets can be extremely challenging. Don't get discouraged if it takes you extra time to
get these patterns to flow smoothly. Become comfortable with the feel of triple-paradiddle sti cking in triplets
prior to attempting the exercises below. Be aware that the final three notes of the two-bar sti cking pattern are
alternate strokes, allowing the sticking to return to a right-hand lead on the repeat.
3 3
3 3 3 3 3 3
J JJJ J J J J J J JJIJ J J J J J j J J J. . .J. . .J. :i i

1
R L R L R L R R L R L A L A L L A L A L A L A L
3
3 3 3 3 3 3 3
e J J J J J J J J J jP"--iJ~J IJ J J J J J J JJJ..............
2
11 J J :II
A L A L A L A R L A L A L R L L R L A L A L A L
3 3
3 3 3 3 3 3
3
II U J J J J J J j JJ J J J Ij JJ J JJJ J J J-J J :II
R L R L A L A A L R L A L A L L A L A L A L R L
3 3
3 3 3 3 3 3
4
11 uJ J J J J J J J J J J J IJ J J j J J J J J J~Jimi-i!J :II
A L R L A L A A L A L A L R L L A L A L A L R L
3 3 3 3 3 3 3 3
J JJJ JJ j J J j J J IJJJ J JJJ J J J. . .J. . .J. :II

5
II e
A L A L R L R R L A L R L A L L R L A L R L A L
3 3
3 3 3 3 3 3
1f
5
11 ej J J j J J J J J JJ J iJ J J J J J J J J J~J,......J :ii
R L R L R L R R L R L A L R L L R L R L R L R L
A L A L R L A R L A L R, L R L L R L R L R L R L
3 3 3 3 3 3 3 3
u J J J J J J J J J J J J IJ J J J J J J J J J-JJ :i i
8
11
R L R L R L R R L R L R L R L L R L R L R L R L
3 3 3 3 3 3 3 3
9
11 uJ JJ J JJ J J J J JJIJ JJ J JJ J J J J-JJ :II
R L A L R L R R L R L R L R L L R L R L R L R L
3 3 3 3 3 3 3 3 ~
,.......
1
~ u J JJ JJ JJ JJ J J J IJ J J J J J J J J J JJ :II
88 Paradiddle Power;:;;;;;;;;;;;;;=====================
Four dru ms are used in the next ten exercises featuring triple paradiddles in triplets.
3 3 3 3 3 3 3 3
~b~ e J J J J J J J J J J J J IJ J J J J J JJ J J,...._J~L11
1
11
±4J J J J JIJ J J dJ J J J J J~JJ :II

3 3 3 3 3 3 3
2
11 e J J J J[
R L R L R L R R L R L R l R L L R L R L R L R L
3 3
3 3 3 3 3 3
3
11 e JJ J J J J J J J J J J IJJ J J J J J J J J,...._J~J :II
3 3 3 3 3 3 3 3
u J JJ J J J J J J J J J IJ J J J J JJJ J J J J :II
4
11
3 3
3 3 3 3 3 3
5
11 e J JJ J J J J JJ JJ J IJ J J J J J JJ J J~JJ :II
======================== Paradiddle Power 8

3 3 3
3 3 3 3 3
~b~; J J J J JJ J J J J J JIJJ J J J JJ J J J J J :II

6
11 c
3 3 3 3 3 3 3 3
1
11 c J J J J J J J J J J J J IJ J J J J J J J J ~~JJ :II
R L R L R L R R L R L R, L R L L R L R L R L R L
3 3 3 3 3 3 3 ,.......
3 -..
8
11 uJ J J J JJ J J J J J J IJ J J J J J J J J J JJ :II
R L R L R L R R L R L R L R L L R L R L R L A L
3 3 3 3 3 3 3 3
J JJ JJ J J J J JJ J IJ J J J J J J J J J JJ :II·
9
11 u
R L A L R L R R L A L R L R L L R L A L R L A l
3 3 3 3 3 3
i=u J J J J J J J j J J j J IJ J J J J J J J J ~~JJ :I I
1
90 Paradiddle P o w e r = = = = = = = = = = = = = = = = = = = = = =
Part 3: Triple Paradiddles In Triplets Using Cross-Sticking
Playing triple paradiddles in tripl ets using cross-sticking call s for total concentrati on. Take these patterns slow-
ly, and practice methodically with a metronome or drum machine to ensure steady time.
3
3 3 3 3 3 3 3
J J J J J J J J J J JJiJ J J J J J J J J J-JJ :ii

1
3 3 3 3
J J J JJ J J J J-J3:~
R L R L R L R R L R L R l R L 'L R L R L R L R L
3
3 3 3 3 3 3 3
3
II e J J J J J J J J J J J J iJ J J J J J J J J J-JJ :II
3 3 3 3 3 3 3 3
J J J J J J J J J J J JIJ J J J J J J J J ~-JJ :II

4
II e
t 3 3 3 3 3 3
Jd JJ J J J J J IJ J J J J J J J J J~JJ :ii
=============================== Paradiddle Power 9

3 3 3 3 3 3 3 3
~i~: J J J J J J J J J J J J IJ J JJJ J J J J J J J :II

5
11 {l
3 3 3
J
3 3 3 3
J JJ J J J J IJ d J J J J J J J. . .J. . .J. =II

1
11 e JJ J J ]
R L R L R l R R L R L R• L R L L R L R L R L R l
3 3 3 3 3 3 3 - 3 -
911 e J J J J JJJd J J J J IJ J J J J J J J J JJ J :ii

3 3 3
3 3 3 3 3
J JJ J d J J J J J J J IJ J J J d J J J J J~JJ :I I
9
11 e
3 3 3 3 3 3 3
1
1~ I~ J J J J J J J j J J JJ IJ J J J J J j JJ j-J~
R L R L R l R R L R L R L R L L R L R L R L R L
92 Paradiddle Power =====================;;;;;;;;;o

Part 4: Rock Fills With Triple Paradiddles In Triplets
All of the triple-paradiddle rock fill s here, and on the following two pages, are two bars long. Therefore, only
two bars of the basic rock beat precede each two-bar fill to equal a complete four-bar phrase. The fi lls bel ow
use three drums (snare drum, small tom, and large tom).
3 > 3
1
~ ~~..........-""--'"'-f-'U'-~~......._---~..--~-.-------+-+-+--~1-+--+-..t--il-+-r-+-+-~1-+--+-+-t-+--+-+-t-.-.
~ -w-........~~--'--~~~--~-1---=#---1----'---'---------~-------....-....,...-..----~----.......--____,---._____
BO ~~---~-1.------i'"--=i-f"'L-""!-=~..._~__._~~~~~~~~--""--~~~~~~~~~
RLRLRLRRLRLR
3 L3_J
RLRLRRLRLRLL
3 0 > 3 3 > 3
RLRL~LRRLR L R LRLLRLRLRLRL
3 L3_J
RLRLRRLR L RLL
3 > 3
RLRLRLRRLRLR
3 L3_J
RLRLRRLRLRLL
3 > 3
4
RLRLRLRRLRLR
3 L 3_J
RLRLRRLRLRLL
3 0 > 3 3 > 3
3 L3_J
RLRLRRLRLRLL
===-=-==-=-=-=-=-==-==-=-=-==-==-==-==-=-===-=-=--=;;;;;;;:; Paradiddle Power S

These fi lls are orchestrated around four drums (snare drum, two rack toms, and large tom).
3 0 >- 3 3 > 3
6
H H~~_..........._..,._+"""......_.c.a...o"'-'""-.+"""-""-..-~~~.-.i--1--1--+-1--1--+--l-i---4---+....---i--+-.j.....-1.-+--+--+-1--i--+--l-i~
~b MT -..-~~~------.--~~~--~--+-~.,..--+--.....____--..,,_____.......,,_____,,._-..1-+___...i-..,,,__...._,..._-...--1---."-!-1-11
BD u-'-L-~-,_,..--~~~___,~r-=--=->.-l--L...=----+-~~~~~~~~--+~~~~--"-----~~-+1
RLRLALRRLRLR
3 L 3_J
ALRLRRLALRLL
3 > 3
R LRL R LRRLA LR LRL LRLRL RLRL

3 L3 _J
RLALRALRLRLL
3 0 >- 3 3 > 3
RLRLALRRLR L R LRLLRLRLRLRL
3
ALRLRRLALRLL
3 > 3
RLRLALRR L R L R LRLLRLRLRLRL
3 L3_J
AL RLRRLALRL L
3 0 >- 3 3 > 3
10
RLRLRLRRLRLR LRL LRLRL RLAL

3 L 3 _J
RLALRRLRLRLL
The fill bars below use cross-sticking.
3 0 > 3 3 > 3
11
HH~~-""'""""-"""-+'°'-""-"""'-'°'-""'-+-""-":>o-r-~~...,......-+--1!-+---+-+--1!-+--+--+--lf-+-h-+-+-+--+-+-+-+--1-+-+-+-h-.
~b MT-.r.,...,~~---.---~~~----~--t----..-.,,..--+---,,......_,....-+:......,....._..---..r-_,,._w+_,....w--,,rhJ-----+:.h.1----w-il.....,_f-:+t
eo u -'-'-~---,..--~~~...,.....,,,..,.....,..--=-~..+---L..-=--+-~~~~~~~~-+~~~---'IQL-~~~~-'-HI
R L RLR L RR LR LR LRLLR L R L RLRL

3 L 3 ....J
R L RLR R LRLRL L
3 > 3
R L R L R·L R R LR LA L R L LR L R L R L A L
3 L3....J
R L RLRRLRLRLL
3 > 3
13
RLRLRLRRLRLR LRLLRLRLRLRL
3 L3....J
R L RLRRLR LR LL
3 0 > 3 3 > 3
14 2
RL R LRLRRLRLR LRL L RLRLRLRL

3 L3 ....J
RLRLRRLR L RLL
3 > 3
15
R L R L RLRRLRLR
3 L3....J
RLRLRRLRLRLL
================================ Paradiddle Power 9

Part 5: Jazz Fills With Triple Paradiddles In Triplets
Here again, note that on ly two bars of the jazz time beat are needed prior to the two-measure fill to equal a
four-bar phrase. These fills uti lize three drums (snare drum, small tom, and large tom). Again, remember to
omit the third partial of the fourth triplet on the second repeat of the jazz cymbal beat(*). This will allow the
right hand sufficient time to move to the appropriate drum for the fi ll.
> 3 > 3 * 3
1 2
~M~~--~~'---=l-~--~--=~~~~--+--1-+-+--+-~--+--+-+-+---h-+--+-~--+---+-...i---+-+--+-+-+-rw
~ -H-+L~~~~~~~~~+-~--+~--'--------~------.......-.----i-------L..-.~--------..-....--.___-:+tl
~~F~~--~-111;----!'"'--~ll'I-~-'--~--'-~~~~~~~~--''--~~~~~~~~_._..
RLRLRLRRLRLR L R LLR LRLRLRL
> 3 > 3
2
LRLLRLRLRLRL
:> 3 :> 3
4 2
:> 3 :> 3
5 2
RLRLRLRRLRLR LRL LR LRLR LRL
96 Paradiddle Power--======= ========== ============ =

The second rack tom is brought in on the five fill bars below.
6
CYM~~--*~----;>E--=1---*""*--~--*""-=i--;E-r-~~~+-+-+-..r-+--1--+--+-+-t-+---+-.--+--+---1-+-+--t-+-+-+--+-+-t~
~6MT -..-~~~~-'-~~~~~-t-----=--.-+--.o~___.--.~----...t--t-..t--++....,.,....,......,.,,_,....._..,.......,_____-.,.---:tt
BOu _...__.......~~~~~~~~~--+-__..._=---+-~~~~~~~--'--+~~~~~~~~~-+t1
HHF
R LRL RLRRLRLR LRLLRLRL RLR L
RLRLRLRRLRLR
> 3 :> 3
9 2
RLRLRLRRLRLR LRLLRLR LRL RL
10
===============================;;;;;;;;;;;; Paradiddle Power !3

These final fill bars use cross-sticking. Be sure the tra nsition from the cym bal beat into the fill, and from the
fill back to the jazz pattern, is smooth and even.
11
CYM~~~~--3E-=1--*-*"-~-'M-~E-r-~~~~-+--+-+-1-+--+--+-1-+--h--l--+-+-+-l--+--~1-+--+--+-1~
~bMT -.r--..-r~~~--"~~~~-'--+----,----i--..r-w-1--i-..,,__...,._--.,...._____-.+-....,._,-i-..,,...._.-1----..of----i,......_--.,....._--+11
BDu _._..____,,_._~~~~~~~~~-1---L-=----1-~---~--'---~~~--1-~~~---~--'--~~--+11
HHF
> 3 > 3
12 2
RLR~RLRRLR L R LRLLRLRLRLRL
R LR LRLRRLRLR LRL L RLRLRLR L
14
R L R L RLRRLRLR L RL L RLRLRLRL
15
98 Paradiddle Power-=-=========================---------=
7 .J
II e r
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CYltl .

Design and layout by Scott Bienstock

©Copyright 1999 Modern Drummer Publications, Inc.

Any unauthorized duplication of this book

SECTION 1: SINGLE PARADIDDLES

SECTION 2 : DOUBLE PARADIDDLES

SECTION 3: TRIPLE PARADIDDLES

SECTION 4 : ADVANCED CONCEPTS (Single Paradiddles)

SECTION 5 : ADVANCED CONCEPTS (Double Paradiddles)

SE.CTION 6: ADVANCED CONCEPTS (Triple Paradiddles)

2 Paradidd le Power========= ======================

The following key is used throughout the book:

------------------------------------------------------------~ Paradiddle Power 3

RLRRLRLLR L RRLRLL RLRRLRLLRLRRLRLL

4 Pa radiddle Power ;;;;;;;;;==---------=======================--

JJJJj JJJJJJgJ JJJ:II

6 Paradiddle Power ===========================;;;;;m=

II e JJJ JJJJJJ JJ JJJJ J:II

II e JJJJJJ JJJJJJJJJJ :II

II e JJ JJ JJJJ JJJJJ JJJ:II

===============--==--==========----- Paradiddle Power

1; e JJ JJJJJJJJ j JJ JJJ :II ~ e JJJJ JJJJ JJJ JJJJ J:ii

RLRRLRLLRLRR L RLL RLRRLRLLRLRRLRLL

======================== Paradiddle Power !

JJJ JJj JJJ JJ JJj JJ :II

RLRRLRLLRLRRLRLL RLRALRLLRLRR L RLL

10 Paradiddle Power--========================= ====

RLRRLR L LRLRRLR L L RLRRLRLLR L RRLRLL

II e jJJJJJJ JJJJ]JJJJ :II

RLRALRL L RLRRLRLL RLRRLRLLRLRRLRLL

12 Paradiddle Power ========================--

RLRRLR L LR L RRLRLL RLRR L RLLRLRRLRLL

> 00 > 0 O> >-

f===JJJ iJJJJJ~JJ~~n ~==Jn -JJ~J~nv==j ~J

::>- 0 0 >- > ::>- 0 0

::>- 0 0 > O> O>

16 Paradiddle Power ---------------------------------------------------------------

=--==-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=--==--==-=---= Paradiddle Power 1 ·

=========================--- Paradiddle Power 1

R LRR LRL LR LRR LRL L

R LRR LRLLR LRRLR LL

R LRRLRLLR LRR LRLL

RLRR LRL LRLRRLR L L

R LRR LR LLR LAALR L L

ALRR LRL LR LRR LRL L

ALAALAL LALRR LAL L

==============================-= Paradiddle Power

RLRR LRL LR LRRLR L L

Al RR LRL LR LRR LRL L

~ LRRLRL LRl RRl R l L

RLRR LRL LR LRR l RL L

RLRRLR L LR LRR LRl L

===;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;;==============;;;;;;;;;;;;;;;;;;==;;;;;;;; Paradiddle Power 2!i

26 Paradiddle Power ----------------==------------=--=--===---------------=

II e mm.mm :11 II e mmmm:11

ill m ffi JTI :II

--=------------------------=--=--=--------------------;;;;;;;;;;;;: Paradiddle Power 3

II e .J]J ill J J~ m :II

3 0 > 3 3 > 3 3 > 3 3 > 3 0

3 0 > 3 3 > 3 3 0 > 3 3 > 3

3 0 > 3 3 0 > 3 3 0 > 3 3 > 3

3 > 3 3 0 > 3 3 0 > 3 3 > 3

3 0 > 3 3 0 > 3 3 0 > 3 3 > 3

F ---f'E-~----~--.---1' ----'-~..__......_~~~~~~~~~~~~~~~