Today's lesson continues with the same concept from last week's post, dealing with how we can use Clave patterns as frameworks to create interesting rudimental combinations (again, thank you Billy Martin!)
Here's another one that I've come up with (another "wrist twister as it were...) that uses different accented paradiddle combinations to outline a larger 3-2 Son Clave pattern:
Obviously the sticking combinations are important, but to really make it musical and groove, one really needs to pay attention to the accents and really exaggerate them (or else the larger Clave pattern will be lost!)
A fun variation that I've been practicing is to replace the first two double paradiddles with two single paradiddlediddles, each leading off of the same hand.
Maybe you could add flams to each of the accents to increase the "chop buster" factor.
You could also get clever like I mentioned last time and apply the same concept to a 2-3 Son, 3-2 Rumba and Bossa Nova Clave pattern as well.
Again, sorry about the hand written notation. I'm still sorting out my new computer and notation program.