Swingerbeat (2008) highlights three different contexts for doublestrokes: the second note rebounding to re-attack at the same height as the first stroke, the second note being downstroked to re-attack at the tap height, and the second note being upstroked to re-attack at the accent height.
While there really isn't any emphasis on paradiddle figures, the hucka-dig motion is employed heavily.
The last bar of the piece is very much like the tap-off. In a line setting, it would probably work to just repeat the warm-up as if the last bar is the tap off (i.e. add the pickup from the last 24th-note of bar 1 to the final bar, and resume at bar 2).
