La video de Quincy Davis.


  1. Freer application of diddles
  2. Better organized stickings
  3. Speed/fluidity (bring accents out)
  4. Playing inner partials


Snare only

Paradiddle displacement

Paradiddles restart one 16th later every bar. For this you add a note (the accented note but not accented) and repeat the previous paradiddle.

X-++ O+-- X-++ O+--
+O+- -X-+ +O+- -X-+
+-X- ++O+ --X- ++O+
--+O +--X --+O +--X
then same but inverted

Me: notice the last paradiddle is only one stroke because adding strokes consumes time.

Paradiddle-diddle displacement

X-++-- X-++-- | +O+--+ +O+--+
+-X-++ --X-++ | --+O+- -++O+-
-++-X- ++--X- | ++--+O +--++O
then same but inverted (dble O!)

Double paradiddle displacement

Same idea than the first but with X-X-++ O+O++--.

X-X-++ O+O+-- X-X-++ O+O+--
+O+O+- -X-X-+ +O+O+- -X-X-+
+-X-X- ++O+O+ --X-X- ++O+O+
--+O+O +--X-X --+O+O +--X-X
-++-X- X-++O+ O+--X- X-++O+
O+--+O +O+--X -X-++O +O+--X
then same but inverted

With bass drums

Use the bass drums to play the added note.

On the last one QD plays with closed and splashed HH!

Follow up

  • Play the accents on the toms but stay on the snare.
  • Play anywhere on the kit.
  • Combine the diddles.

My comments

  • After a kick you can use whatever hand you want.
  • You can use a double to displace two strokes away, from down to down or up to up.
  • Try paradiddles in a ternary context and the others in a binary context.
X-++O+ --X-++ O+--X- ++O+--
+O+--X -++O+- -X-++O +--X-+
+-X-++ O+--X- ++O+-- X-++O+
then same but inverted
X-++ --X- ++-- | X-++ --X- ++--
+O+- -++O +--+ | +O+- -++O +--+
+-X- ++-- X-++ | --X- ++-- X-++
--+O +--+ +O+- | -++O +--+ +O+-
-++- X-++ --X- | ++-- X-++ --X-
++-- +O+- -++O | +--+ +O+- -++O
then same but inverted (dble O!)