This following series of examples is a direct descendant from the 3-2-2-2 pattern. In essence it’s two 3-2-2-2 patterns in a row with the second being short by two eighths. This is the basic rhythmic figure.
If we count the eighth notes we come up with 16 of them. Now we make 16ths out of the eighths and write it in 4/4 instead of 3-2-2-2-3-2-2. Still the same rhythmic pattern but playing this against a quarter note pulse isn’t easy.
If we replace all non-accented notes by rests we arrive at this figure. Sounds a bit like a reverse Partido Alto.
Here now we have the accented notes on the treble side of the Stick and the ‘filler’ notes - or counter line - on the bass side.
Let’s make a full blown melodic pattern out of this. This has a nice forward drive. The first example is played on the treble side. I like to barrée the top line with my index finger - fourths always make me do that. It adds momentum and color if you tap the top line with alternating index and middle fingers as most likely you’ll never catch all three notes at the same strength thereby creating a very subtle variation.
This is exactly the same thing one octave lower. As always in these patterns the hard part is to switch keys/positions/tonalities without dropping a beat. Also, try them slow. Most of them sound pretty funky when played slower.