Listen: do not show these to somebody and call them “BISHOPDIDDLES.” You’re going to get both of us beaten up.
One thing I like about this double paradiddle inversion is that it’s possible to accent the first and last notes of a triplet (or beat of compound 8th notes) with it, so it fits nicer in a slower tempo swing 8ths environment, and we can make a Reed system for practicing it.
Regular double paradiddles accent naturally on the first two triplet or compound 8th partials:
This inversion puts the natural accents on the first and last partials, which of course coincides with a common swing 8th note interpretation:
This, then, is a collection of drills for developing it fully:
You can use patterns 1-3, 4-6, 7-9, and 10-12 (I don’t know why 13 is there) as foundation patterns for practicing this out of Syncopation. Play p.38 all those ways.
I mostly only use these patterns once at a time, not hand to hand like this, so this may not be much more than a technical drill, but I think it’s a good technical drill.
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