As its name implies, the Double Paradiddle is a variation on the Single Paradiddle.
This rudiment can be performed as 16th notes, though this does not appear to a historic application. Instead, Double Paradiddles seem to be predominately performed as sextuplets.
Double Paradiddle in British and American Music:
Double Paradiddles appear in only a few early-19th century American manuals, Ashworth (1812) and Rumrille (1817). Like the Single Paradiddle, these early forms are performed with the double accent on the first four strokes, with softer strokes on the “diddle”.
In mid-century manuals, it appears roughly half the time. Klinehanse (1853) and Nevins (1861) include it with accents, while Hart (1862) leaves it unaccented. Bruce & Emmett (1862) and Strube (1869) only accent the first note.
Despite being listed in these manuals, duty calls never use the Double Paradiddle. Also, strangely, no marches or quicksteps appear to use this rudiment. Hart notes that the rudiment, what he calls the “Two Single Half Blows, and a Paradiddle”, are “not often used” (12).
Unfortunately, despite being listed in so many manuals, we cannot say with certainty whether it should be performed as 16th notes, sextuplets, or both since it is never used in practice..
Double Paradiddle in French Music:
The modern French style has Double Paradiddles, called Volant, or wheel.
As with the Single Paradiddle, it’s unclear when the Double Paradiddle enters the French system.
Modern manuals (see Tourte) suggest that Double Paradiddles are always played as Sextuplets in the French style.
Volant do not appear in any of the 19th century French marches, which suggests they do not have a strong tradition in marches, but rather might be considered an advanced or fancy rudiment.
Double Paradiddle in Other Nations’ Music:
The Swiss / Basel system appears to be the only other European system with a history of paradiddles (for more, see Single Paradiddles), but they do not seem to utilize the Volant.
More Info:
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