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Posted: **Sat Sep 24, 2005 6:29 pm**

hi everybody , i just wanted to share some nice exercises that i learned . these are actually paraditel (is this how you spell it ?) practices using the H T technique .
the basic exercise is :
t t h t t t h t
R L R R L R L L

after you do that , you start the exercise from the 2nd , 3rd & 4th strokes , like that :
t h t t t h t t
L R R L R L L R

h t t t h t t t * this one i particularly useful
R R L R L L R L & sounds great

t t t h t t t h
R L R L L R L R

have you ever tried this before ?
just try it , & tell me what you think . this is not easy at all , if trying to reach a nice speed .

Edited By soungalo on 1127587948

Posted: **Tue Sep 27, 2005 12:58 am**

Yep, these are good!
Sort of the 4X4 version of the 6X8 exercise some of us do with switching handedness.

Posted: **Tue Sep 27, 2005 1:03 pm**

what is this exercise ? can you post it please ?

Posted: **Tue Sep 27, 2005 6:28 pm**

Greeting they are part of the the rudiments which is used in the articulation of drumming,(Paraddiddles),they are articulated from the single, up to the triple/Paraddiddles.Dr. Zaragemca

Edited By zaragemca on 1127845862

Posted: **Wed Sep 28, 2005 2:24 am**

soungalo wrote:what is this exercise ? can you post it please ?

Look at the end of the drummer's diary thread..

Posted: **Wed Sep 28, 2005 5:34 am**

Hey Soungalo !

The paradiddles are a great way to start putting together cool
patterns that are useful in all genres of music. I noticed that
you did not have any bass or slaps in there. Start adding
those to the patterns and also spread out some of the strokes
to a second drum. For example:

B O P T S T O O : P T S T P T O O
L R L L R L R R L L R L R R L R

B (BASS), O (OPEN TONE), P/T (PALM / TIP), S (SLAP)

In part 2 above try putting the 2nd to last open tone on a
second drum. I would learn each of these parts separately
then put them together. Also ... move around which beat
gets placed on which drum.

Last thing - this has been said many times on this site, but
to repeat: Start slowly making sure each stroke is accurate
in sound and steady in beat. Then speed up gradually!

Best of luck to you!

Darin

Posted: **Wed Sep 28, 2005 1:12 pm**

Hey guys try this one ,

1+2+3+4+1+2+3+4+
tbtbbttt tbtbbttt

We use this pattern in the rumba genre as an introduction.

rumbaman

Posted: **Wed Sep 28, 2005 2:50 pm**

can you add the hands please ? I didn't understand .

Posted: **Wed Sep 28, 2005 7:13 pm**

Looks like RLRLRLRL would work just fine

Also ... RLRLLRLL seems pretty natural.

The point with these paradiddles is to try using all
different combinations. In the process you will find even
more patterns to use.

I suggest writing out the ones you discover that sound
really groovin'! :laugh:

Posted: **Thu Sep 29, 2005 4:15 pm**

As a comment, one of the biggest generalizations by most percussionists is that congueros and bongoseros tend to underestimate developing or working in regular general drumming techniques and even independence. This is a generalization and is not true to everybody but is a reality I see with most bongo or conga players. (Normally, who plays conga plays bongo and viceversa, at least is an assumption).

Only timbaleros who care and/or people that have trap drumming experience or percussionists who realize the important of things that appear not be needed to play congas or bongos, are the ones who go for the rudimental and technical part to avoid not being able to perform or do something required. Therefore, I highly recommend people to go for it....Appears not, but there is a reason to help you out...

I started as a bongocero, when I started to play again, realized later about the assumption about the also at least being a conga player and noticed I could not play it well...To avoid the embarrasement, went and got me some congas and started my journey into getting really serious. (The one who dominates the big three gets the gigs and if "switching" is forced in any situation you will not feel left out....)...When I got to the timbales, I realized I needed all those techniques to be good one and realized it will make me a better bongosero and conguero. (How many congueros and/or bongoseros out there who cannot play the timbales well at all or do a very sloppy job).

Case in point....everybody who wants to get to drumming seriously should go and work in rudiments and/or the technical aspect if you want to get serious...Lots of the modern percussionists dominate every instrument and could play anything...Others better than others but at least do a decent job....Paradibbles, mommy-daddy, singles, flams, triplets, indepedence exercises should be done by everybody if you want to do it serious. Books like Ted Reed's Syncopation for the Modern Drummer, George Stone's book about rudiments...(forgot it but is a bible about improving your hand techniques) should be at least seen if you believe you need it...

I realized, and it happens to me often, that dealing with that stuff is boring and is not fun like it is getting to play the real thing. I personally suffer from that....(The other day I was in a rehearsal as a favor and realized I needed to get my reading...something I have set aside avoiding the fun...Situations like that make you go back....Sometimes you need them to get your act together...Get proud on what you do and work on those things...Don't wait to have a situation, that most likely if you consider yourself serious about percussion, you don't want to happened to you...)

Sorry, I do not want to offend anybody who believe this is "pretentious". If your are content...no problem...if you are not..heed the message... (Note: I still believe I have a long but long way to go...like a friend of mine, who is a great percussionist, that is perhaps the best all around here in PR told me when I got my endorsement..."..well now is to keep on studying.."....It is completely true)!

Saludos!

Posted: **Thu Sep 29, 2005 4:24 pm**

Yo mis hermanos....I still study, when Im not feeling too lazy, and was taught to learn the "family" of conga bongo y timbal...It will afford u more possibilities of gigging,though each instrument take a lot of study and practical application, but it can be done. Most Good players can do this, play all three,and I get calls for all 3 instruments. Reading will NOT hurt you but only HELP you...yea I know it's math, but u can get by that in time....it took me awhile to get over the fractions...4/4 6/8 7/4 5/4 and so on...i was bad at math, and reading music, is math with notes....Raymond has learned from this experience, and so did I....paz....y Pa'Lante!...."JC" Johnny Conga....

Posted: **Tue Oct 04, 2005 8:27 pm**

Another good paradiddle exe. Try doing this... paradi(slap) x4 then change to (slap)adiddle x4 and back again. Use open tones instead of ht.

This is good for the speed work.

Posted: **Sat Oct 08, 2005 4:40 am**

Hey how is everyone doing . My instructor recomended buddy riches' snare book . These exercises are essential for any drummer be hand or stick .

rumbaman

Posted: **Sat Oct 08, 2005 4:03 pm**

I have that Buddy Rich book ..I ALSO RECOMMEND IT!...it has all the rudiments and more....just remember guys this is "rudimentary" drumming that has nothing to do with the clave, or Afro-Cuban rhythms....."JC" Johnny Conga...

Posted: **Mon Oct 10, 2005 9:12 pm**

JohnnyConga wrote:I have that Buddy Rich book ..I ALSO RECOMMEND IT!...it has all the rudiments and more....just remember guys this is "rudimentary" drumming that has nothing to do with the clave, or Afro-Cuban rhythms....."JC" Johnny Conga...

It is highly applicable however.

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H T paraditel