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Here is an exercise i have been doing. When playing 32nd notes with doubles and 16th notes, sometimes it can get a bit robotic. I added a triplet to round out the sound. Going between the 32nd's and the triplets is fun. Of course this is all meant to played all over the kit. Number 3 is when it starts to sound more fun with the triplet. Number 4 at the end looks pretty horrific, but the triplet ends up going over the bar line at 1. In the end, they all sound exactly the same, just transposed. You can also do it with one or none accents.

Interesting exercises... thanks for posting that!

Very cool, thanks!

Neat stuff. Thanks for posting!

Now, start trying a variety of other stickings...start with a regular paradiddle, reverse paradiddle, inside out...don't forget LH lead. Where you have 4 32nds in a row play them with a RLLR sticking. Exhaust the possibilities and try to do as much of it in your head. Write it out only if it has you totally perplexed. Doing these types of things will end up presenting some very unusual combinations that will get you out of your comfort zone. If you play them slowly and get used to the feel, gradually they eventually feel right and add another dimension to your abilities to improvise. If you want to really get nuts, apply the accent pattern of one group to another and then start applying all the possible sticking variations. Great stuff, Jim.

Thanks guys! My main reason for writing this stuff down was basically the triplet variations. They give some nice slop when improvising on the snare and around the toms. The triplets are like passing tones. I have been doing 32nds etc.. with all the 16th note accent permutations for a long time, but when I added the triplets, it was nice mix.

I am including another exercise in three. It has triplets in it that make them sound wierd and challenging. Number 3 is kinda odd, accenting the second note of a triad is not too common. And the * is something I need to work on.