In my continued exploration of “odd-a-diddles”, I’ve often put the paradiddle tap in a jazz context (shown in its raw form in Ex. 1). In this column, I’ve taken that five-note wonder and orchestrated it around the kit. This vocabulary can be used for soloing or for tension-filled fills. Ex. 2 shows the orchestration I’m using for this right lead pattern. The right hand plays the floor tom; the left hand plays the snare; and the double right is replaced with a double stroke on the bass drum. Exs. 3 and 4 put the odd-adiddle in an eighth-note-triplet context, while Exs. 5 and 6 show them played as sixteenths. Each of the rhythmic environments has a one- and two-measure example, as the five-note pattern does not resolve itself for five measures. These examples will help you to feel the odd-adiddles in shorter, more usable phrases. Also, be sure to keep time with the hi-hat as shown so you’re actually feeling the tension and resolution of the phrase.
DRUM! Music Editor Wally Schnalle is a drummer, composer, and teacher based in the San Francisco Bay Area, and has performed with Eddie Gale, Ernie Watts, and the San Jose Symphony Orchestra. itrhymes.com