Stage 2Sticking
Rudiments, then rudiments inside a groove. Which hand plays a note starts to matter as much as when.
Strokessingles and doubles
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The first sticking of all: R L R L in strict 16th notes, snare on the lead hand and closed hat on the other.
Could not read stage-07-sticking/singles-16ths.mid
Practice →60 BPM -
R R L L in 8th notes: two strokes per hand, with a whole beat for each pair.
Could not read stage-07-sticking/doubles-8ths.mid
Practice →60 BPM -
The same R R L L, now four notes to a beat — where a double stops being two strokes and starts being a bounce.
Could not read stage-07-sticking/doubles-16ths.mid
Practice →60 BPM
The paradiddlealternate, then double
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The first sticking pattern: R L R R, L R L L in 8th notes, snare on the lead hand and closed hat on the other.
Could not read stage-07-sticking/paradiddle-single.mid
Practice →60 BPM -
The same paradiddle, with a kick on 1 and 3 underneath — the rudiment becomes a groove.
Could not read stage-07-sticking/paradiddle-groove.mid
Practice →60 BPM -
The same eight strokes every bar, with the diddle one step later each time — the paradiddle you know, moved.
Could not read stage-07-sticking/paradiddle-inversions.mid
Practice →60 BPM
Bigger diddleslonger patterns, same idea
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R L R L R R, L R L R L L — six strokes a side, on triplets, one whole pattern per bar.
Could not read stage-07-sticking/paradiddle-double.mid
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R L R R L L, twice a bar — the rudiment that never swaps hands, so the lead keeps the accent throughout.
Could not read stage-07-sticking/paradiddle-diddle.mid
Practice →60 BPM -
R L L R R L: two doubles in the middle with a single either side — the stage's hardest placement.
Could not read stage-07-sticking/six-stroke-roll.mid
Practice →60 BPM
Checkpointa bar of each — switching between patterns is what makes them stick
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One bar each: 16th singles, 8th doubles, the paradiddle, and the double paradiddle on triplets.
Could not read stage-07-sticking/checkpoint-7.mid
Practice →60 BPM