#1 makes for a nice way to spice up a triplet fill in jazz. Keep your left hand on the snare drum while the right hand travels from small tom to the medium tom to the floor tom. Also try playing the right hand on the ride cymbal, and playing the bass drum in unison with the right hand. In #2, most of the right hand stickings will be on the hi-hat while every left hand stroke will be on the snare. Come across to the snare drum on 2 & 4. Add the bass drum and this makes for a fairly intricate and unique rock beat.
Over to the blues in 12/8 with #3! It's the same hand pattern as #2, but this bass drum pattern gives us a shuffle feel. Still in 12/8, #4 adds variety with a double-riding pattern. Put your right hand on the ride cymbal (or ride cymbal bell) and left hand on the hi-hat. Again, your right hand will come to the snare at the start of every other paradiddle-diddle.
In #5, we are now transferring the right hand to the floor tom and left hand to the small tom. It's the same idea in that our hands are on two surfaces and coming over to the snare in the same spot -- but vastly different sound! #6 - At last! A 16th note application! Playing this six note grouping as 16th notes leads to syncopation at the start of the second one. After the 2nd one is played, we are left with only four 16th notes in the measure, so you do not see another paradiddle-diddle! -- Just four 16th notes! (Well, technically, we can fit the paradiddle-diddle if we play it as 16th triplets, and that would provide a neat "gear-shifting effect" since it would be following sixteenth notes of the same sticking, buuut ... maybe another time!) Finally, this pattern has the snare on the first stroke of each paradiddle-diddle for a different effect.
Now begin to explore the possibilities of moving the right hand around within EACH paradiddle-diddle! And let us know how it goes!