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Triplet Exercises kill me.
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Henryrobinett



Joined: 01 May 2010
Posts: 180
Location: Sacramento, Ca

PostPosted: Tue Dec 13, 2011 9:48 pm    Post subject: Triplet Exercises kill me. Reply with quote

Does anyone else have a hard time playing triplets with a metronome? Especially at a relative slow tempo? It kills me. I stopped doing scales a couple of years ago, especially with a metronome. But I realized I have to start it up again. Heres an example. I don't know whether it's just me, my technique or what.


------------------------------------------------------------------------------
----------------------------------------------------------5-3--------------
--------------------------------------2--------2-4-5--------5-------------
------------------------------2-3------5-3---------------------------------
-----------2- 5-3-2---- 5--------------------------------------------------
---3-5 ---------------------------------------------------------------------


I do this, or any fingering and position or something like this, at 125 BPM it KILLS me to keep it in tempo. I've talked to sax players or pianists and they go, "Yeah? Hm." I mean either it's just me or it's a guitar thing.
I normally don alternate picking or do a down stroke on the downbeat of the triplet. I have no problem with either technique.

I wish there were a way to post pics or graphics here. That'd make it a lot easier. Money, I know.
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PaulD



Joined: 18 Sep 2004
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PostPosted: Tue Dec 13, 2011 11:08 pm    Post subject: Reply with quote

Henry, you can post pictures by uploading them to Photobucket or some other photo hosting site, then putting the link between the [img] [/img] codes.

Paul
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Henryrobinett



Joined: 01 May 2010
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PostPosted: Wed Dec 14, 2011 1:31 am    Post subject: Reply with quote

Yeah, OK Paul. Thanks. But what about triplets?
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PaulD



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PostPosted: Wed Dec 14, 2011 2:47 am    Post subject: Reply with quote

As far as triplets, I'm a bit inconsistent. Slow tempos don't really throw me, but I seem to have a harder time staying in time with descending lines more than ascending for some reason. I haven't tried your example yet...I'll try it when I get home tonight.

Paul
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Henryrobinett



Joined: 01 May 2010
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PostPosted: Wed Dec 14, 2011 3:35 am    Post subject: Reply with quote

That was just something I was doing today. But arpeggios in triplets is another example. Keeping the time dead on. Improvising triplets is fine, as far as I know. But doing these exercises kicks my butt. I can double time it, but playing it slow kills me.
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Gorecki
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Joined: 06 Oct 2005
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PostPosted: Wed Dec 14, 2011 3:36 am    Post subject: Reply with quote

Henry, I would seriously consider integrating alternate picking.

Each triple or sixlet (depends on the time signature) has a very clear cut pattern alternating. It might even help starting with an up stroke. So the pattern consistantly will work out to be up 2 3, down 2 3, up 2 3, down 2 3...etc on your right hand no matter where your left had is. The consistant stroke rotation gives an easy way to put a little accent on the one.

The same idea works for drummers learning 'paradiddles'. Tap your legs with your hands alternating hands, left right left, right left right, left right left, right left right...and so on.
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Henryrobinett



Joined: 01 May 2010
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Location: Sacramento, Ca

PostPosted: Wed Dec 14, 2011 5:02 am    Post subject: Reply with quote

No, that's not it. I do alternate picking. I have also designed some wicked exercise that I've been doing for 20 some years - every day for 40 minutes - of alternate, then all down, all up, down, down up; and up, up, down in triplet fashion. That's what so weird. My picking is one of my strongest technical attributes. It's not the picking.
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Henryrobinett



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PostPosted: Wed Dec 14, 2011 5:03 am    Post subject: Reply with quote

I took a lot of my ideas from drummer paradiddle stuff.
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JakeJew



Joined: 30 Jul 2005
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PostPosted: Wed Dec 14, 2011 6:49 am    Post subject: Reply with quote

I don't know what to tell you. I assume you mean 8th note triplets at 125, right? Not 16th note triplets, right?

I tried the lick at tempo w 8th note triplets, no problems...picked it a few different ways. I'm stumped as to what your problem might be.

You can't keep the time for it?
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Henryrobinett



Joined: 01 May 2010
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Location: Sacramento, Ca

PostPosted: Wed Dec 14, 2011 4:11 pm    Post subject: Reply with quote

I can keep the time for it, to a certain degree, but I have to concentrate. What kills me is quarter note triplets. As far as I can tell it's time, not technique, - which is part of technique. It's in my solar plexus. I'll try and figure it out today.

And yes, the faster the triplet, the easier it is. More space between the note is harder. It's like doing quintuplets. Plus I have a weird technique with my left hand where I barre by rolling over for a 4th. If I'm not careful it creates timing problems because the timing's accuracy has to then come from the picking hand and not so much the combination of both.
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cjm



Joined: 16 Oct 2006
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PostPosted: Wed Dec 14, 2011 4:28 pm    Post subject: Reply with quote

Henryrobinett wrote:
It's like doing quintuplets.


Good God. I was always already in awe of guys who claimed to have done twins...Is there some special diet? Wink
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Henryrobinett



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PostPosted: Wed Dec 14, 2011 4:50 pm    Post subject: Reply with quote

I used to go crazy on this stuff. Septuplets too. I'd start with whole notes, half, half note triplets (3:4), quarter, quintuplets (5:4) and all the way up. I did this for some years, but I stopped years ago! The perspective of an old guitar player!

But I think I've figure the problem out. Groecki was right! Although I've spent a lot of time acquiring the technique to change my picking pattern at the drop of a hat, it hasn't been applied to playing on certain things. Thank god I worked on the technique.

I alternate pick almost EVERYTHING when I improvise and just play. It's like the contrary picking is for in case I get hung up. Now I TEACH that as a rule down beat = downstroke. Doesn't have to be. And I apply this to a certain degree. But I'm a stream of consciousness player. I don't work out patterns.

So when I practice these triplets I'm doing alternate. For ME alternate means down/up regardless. Some people come down on the next string. To me that's silly. Downstroke on down BEAT makes sense, unless you WANT to change it for some aesthetic purpose. So when I do triplets and I'm doing them alternate picking the phrasing gets hog tied and sounds funny. The SENSE of the triplet is lost, except that it's a triplet. It should be Down, up, up or Down, up down.

So I think this is it. It much easier to play now.
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Gorecki
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PostPosted: Wed Dec 14, 2011 5:29 pm    Post subject: Reply with quote

Only for the sake of sanity in communication. Laughing
A triplet is three expressed notations over the equivalent of a single beat within a quarter based time signature. Notated as three barred 8th notes over a single quarter note beat that would normally only contain two.

A sixlet (as Iíve always known them) is six expressed notations over the equivalent of a single beat within a quarter based time signature. Notated as six barred 16th notes over a single quarter note beat that would normally only contain four.

Just so anyone knows what I mean when I use the terms.

When it comes to doing these over long slow durations I'm sort of puzzled. I want to say maybe you're over thinking it? But then again, the next thing I was going to say in the most methodical of approaches alternate picking using some form of 'economy of motion' suggests starting stroke direction is dictated by the next needed string. Meaning if on the D string and you need the G for the next note, that *should be* a down stroke and the inverse if you need the A string, *should be* an up stroke all while maintaining alternation. Yeah, like I said, over thinking it. Confused
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Henryrobinett



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PostPosted: Wed Dec 14, 2011 5:49 pm    Post subject: Reply with quote

Well there are commonly known three notations over two beats - 3:2 or what is often called quarter note triplets. When done against the regular quarter note it turns into an "african" 6 over 4 rhythm. This is why in music you often see the colon indicating the ratio.
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wolflen



Joined: 10 Jun 2008
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PostPosted: Wed Dec 14, 2011 7:13 pm    Post subject: Reply with quote

[quote="Henryrobinett"]Well there are commonly known three notations over two beats - 3:2 or what is often called quarter note triplets. When done against the regular quarter note it turns into an "african" 6 over 4 rhythm. This is why in music you often see the colon indicating the ratio.[/quote]

mingus tune "good bye pork pie hat" good example of quater note trips
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