Fastest Way To Get Faster: Paradiddle Madness – Drum Lesson

Fastest Way To Get Faster: Paradiddle Madness – Drum Lesson


(jazz music) (tapping) (drum beats) – Hey everyone it’s Jared here and I’m excited to be back
for the second edition of my fastest way to get
faster lesson series. Now the first series
did incredible. It reached hundreds of
thousands of drummers all around the world. So I’m stoked to be back to
give you some new lessons in stuff that I’ve
been working on that’s really really
been helping me. So let’s get started
into the lesson. Now speed is one of
those things that, it’s kind of a touchy subject. Lots of drummers want to go fast but they don’t really
always understand why. Or why they need to. Now going fast around the drums, when you show non drummers
that you can do that, they’re all impressed right. So if you wanna
impress your friend, or you wanna impress
your family member, your boyfriend or girlfriend, and you go really really
fast around the drums, they’re right aways gonna
think you’re a good drummer. Now being able to go
fast around the drums, doesn’t mean you’re
a good drummer, it just means you can go fast. Now it’s one of these
techniques that we want to have in our toolbox but it
isn’t totally necessary. There are lots of
successful drummers that really can’t
play that fast. Now I like to play fast
because I use it within a lot of the music I play, I use it within a
lot of the solos. So it’s a tool that I like
to have in my toolbox. But it’s not a necessary
tool that you must have. Another thing what I say is speed without
control is useless. I once heard Chris Coleman
say that if you had a Ferrari without brakes, you
wouldn’t be alive very long. ‘Cause you take that thing
down the road going super fast, you try and hit those breaks
and you have no control. So it’s really important
to use this tool wisely. Don’t overuse it in
musical situations. Because that’s
gonna get you fired. So the first exercise
that I prepared is called Paradiddle Madness. Now I first got this name
from listening to a solo by Mike Michalkow,
one of my teachers. He did this solo in
one of his lesson DVDs, called Moeller Method Secrets. And it was only
used in paradiddles, just the single paradiddle. And it’s this crazy, dynamic,
really interesting solo, and so I kind of
stole his main idea and applied it to this exercise. Now this exercise uses
the triple paradiddle, the double paradiddle,
and the single paradiddle. So before you get
into this exercise, just practice each of those
paradiddles individually. Once you kind of get
them under your hands, we can start to
apply this exercise. So this starts on
the snare drum, and just moves down
and then up the drums. Now the triple paradiddle
is the perfect exercise to go all the way down the
drums and move back up. Because it changes lead hands. So it goes right left,
right left, right left, right right, and then it
starts with the left hand. Left right, left right, left
right, left left, watch. (drum beats) So it’s very very nice
how it just naturally repeats itself. If you don’t have the mid
tom, use the right cymbal. So let me play this for you at
60 and 180 beats per minute. (tapping) (drum beats)
(timing beeps) The next is the
double paradiddle and we’re gonna apply it
in a similar way except we’re not gonna go all
the way down the drums, we’re gonna stop
here on the mid tom, or your right cymbal if
you don’t have a mid tom. This would look like this. (drum beats) Let me play this for you at
60 and 180 beats per minute. (tapping) (drum beats)
(timing beeps) And finally, we have
the single paradiddle. Now just like we took off one drum for the
double paradiddle, we’re only gonna play
the single paradiddle between the snare
and the high tom. Like this. (drum beats) Again, I’ll play it for you at
60 and 180 beats per minute. (tapping) (drum beats)
(timing beeps) So you notice I wrote
the triple paradiddle in a bar of four four. I wrote the double paradiddle
in a bar of three four. And I wrote the single
paradiddle in a bar of two four. The whole exercise works
out to be nine total beats. So let me play it for
you in its entirety, moving from the triple, to
the double, to the single, to the triple, to the
double, to the single. I’m gonna do it for you at
both slow and fast speeds. Here we go. (tapping) (drum beats)
(timing beeps) So I’d recommend you
start this at a tempo you’re comfortable with and
then just slowly increase that in increments of five
beats per minute at a time. I showed you where you’d start. So I would start at around
50 or 60 beats per minute. And then where I’m
at is around 180, and it’s still not
perfectly clean, but that’s kind of what
I’m working on there. So I kinda showed you
the tempo that I’m still really working on. I need to be really warmed
up to be able to play it at that tempo. So you can push it even much
faster than that I’m sure. But do your best to
start slow and then just increase it over time. Getting faster isn’t about going from zero to 100 miles an
hour or from 60 to 180. It’s really about making slow
and incremental improvements. I’m demonstrating it a little
bit differently here for you just to show you
kinda what’s possible if you put in some work. Because I started at 50
or 60 beats per minute. And now I can play it
much faster than that, just because of the amount
of time that I invested and the amount of
time I practiced this. So go ahead, get to your
kit, start practicing. I’d recommend spending
around five minutes on each of those exercises. And then spend around 15
minutes on the entire exercise all put together. Get to your kit,
start practicing. (jazz music)

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Comments

  1. I subscribed yesterday. these videos have been so helpful, since my band teacher doesn't teach us the full drum set.

  2. Hey Drumeo, Great video! Question for Jared: How long did it take you to be able to plat it at 180 bpm?

  3. Jared Falk >>> how long did it take for you (personally) to develop that paradiddle speed …. AND… to be able to pull it off so clean? (u make it look easy but for me its the opposite cuz i've been an abuser of single stroke rolls the whole time cuz it was much easier instead of learning the proper technique(s)

  4. you know when you ask someone how they are and they respond, living the dream. Well Jared can say that with conviction! Nice work!

  5. I know one of the best way is to obviuosly take time and increase when it feels right but what time frame should i be achieving for going from 50 to 100bpm. a month? 6 months? a year?

  6. Please from spain. What drum kit you used in this video? What drum heads? Evans G1 coated? g2 coated? and the cymbals? hi hat and ride? Thank you! You are the best teacher!!! 😉

  7. hey jared I picked this exercise from you when you first showed this nice exercise. Can you share your tuning of the kit? good job Jared

  8. I've been watching this guy's videos from the time he sold those DVDs of his originally. He is a great teacher and the bite sized chunks of the lessons are just what we need. Thanks dude, you're a real Mensch

  9. This is from your other video I completely remember because right after I watched that I tried to learn it and I did, yay xD And it's kind of sad that if you can play fast people automatically think you're good, even if you don't really know how to play.. That's why I always focus on my technique rather than showing off..

  10. My tom heads are too loose to get a good rebound off of. I know tightening them would get a better rebound but it ruins the sound that I'm trying to keep them at. What do I do?

  11. what happens after you've been playing the double paradiddle on the ride cymbal and snare; right hand on ride, left hand and snare and then left hand on ride, right hand on snare so that you can build up an ambidextrous feel? So what do we end up with; what kind of feel is that?

  12. Im currently working on hands down by dashbored confessional. Any advice about playing 32s without getting tired or locking up?

  13. Been playing for years but never had a drum lesson. Just been playing blast best for hours at a time. Then I came across your videos and now I'm learning the basic from your videos and it's helping me learn so much on the drums. Good job

  14. Thanks Jared. Just got back into drums after 20 yrs. Paradiddles are new to me, open up a whole new world. Awesome lesson!

  15. Paradiddles is the most and easiest way to do solos but for ua drummers is like noooo we can tell right away. I love ur videos bro

  16. Hard working guy with great advice. At the end, you reveal the secret. TIME ON THE KIT PRACTICING. Mike has a paradiddle (only singles) with accents on the R. It's musical, and effective at just about any speed

  17. Jared Falk: Thank you and the Drumeo team for this awesome material. I'm not kidding that I have been practicing these lessons for 3 days and my speed and comfort moving around the drum has dramatically improved so much! Can't even believe I'm the one playing hahaha! Thank you!

  18. I enjoy the way you approach the drums. Teaching and explaining technic and simple examples. Thanks…

  19. I have been trying to do something way harder than a paradiddle, thinking that was what a paradiddle was … LOL

  20. Love your channel. The lessons are solid and the teachers are not arrogant, not rushing but plain sweet and very patient. Thank you Canada 🙂

  21. I try to play as fast as I can when people come over. They usually leave thinking, “He sure was fast! And has terrible control.”
    Point is, they think I’m fast.

  22. Hey Jared, is there a trick to keeping your "diddles" even? I've got it pretty good at a slow count but once I try to speed up just a little my diddles get too fast and makes it sound awful.

  23. I'm working on this today. I noticed this video a week or so ago, but para-ddidles are what my instructor recommended this week for studying and this video makes it fun and worthwhile.

  24. It’s very true—- speed is not necessarily the end all and be all,,, In fact some “Slow drummers” are actually favorites of mine—- Shelly Manne and Mel Lewis come to mind as drummers not known for blazing chops but who musically added a great deal to the idiom—- Especially Shelly, he inserted wonderful little phrases and figures into the music that always delighted me and were unexpected and consequently exciting.

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