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Discussion in 'Tab, Tips, Theory and Technique' started by Zap-O!, Feb 7, 2014.
There are 8th note triplets being played by a cello? in Good Vibrations.
I always figured that was a guitar with distortion.
Edit: I just listened again. At the end it definitely sounds like a cello.
Could be a double bass actually....
Well, I should have said that it definitely sounds like a bowed string.
John Lennon's Rhythm guitar part on the verses is all eighth note triplets.
Yeah, we established that in post #38.
Well we actually established it in post #30.
Well, that it was John's guitar came out in 38, and, yes, I have always been aware of the rhythm guitar part in this song, but it didn't occur to me as an example of triplets mainly due to the fact that it is kind of in the background, that is, not the melody or the actual rhythm, of the song, which is straight 4/4. The other examples in this thread are prominent triplets in the basic rhythm of the songs. You can play "All My Loving" recognizably without the triplet rhythm strumming.
Bastards of Young-The Replacements right after the last chorus at about 2:47 there is a singe measure of quarter note triplets.
If you know big band swing hits, this one is common for a trumpet section or sax section to yell out in unison:
"Caledonia, caledonia, what makes your big head so hard!"
Quarter note triplets from the word "what" to the word "so," downbeat of next bar with the word "hard." That's a full 4/4 bar of six quarter note triplets followed by a quarter note on the next "one."
Fire-Jimi Hendrix Experience-During the main solo and the outro guitar solo there are a plethora of quarter note triplets.
I am also trying to learn quarter note triplets. Eighth note triplets against 4/4 are relatively straightforward and easy to count. Quarter note triplets against 4/4 are very very difficult to count (at least to me). As others mentioned, how do I know I am not playing something else (quarter + 2 eighths or whatever) instead of actual 3 equal notes in the space of 2 beats.
A quarter note triplet works out to 2/3 of a beat for each of the 3 notes. But it is hard to count because the note lands in between the downbeat and upbeat.
As far as quarter note examples, I would like to hear vocal examples as I find that easier to relate to.
I think "Michelle" "I need you. I need you" is a quarter note example.
does this feel like 2 or 4?
the pickup notes over "fall ing in" could be written as a triplet
the guitar solo makes this clearer than merle's singing in this instance
Most of the verse in Bob Seeger "Hollywood Nights."
She stood there bright as the sun
On that California coast...
If you play quarter note triplets starting on beat 1, then the & of the second note falls on beat 2. Another way to say this is that beat 2 falls exactly in the middle of the quarter note triplet.
When I play quarter note triplets, I imagine myself playing a big, dramatic slow down for emphasis, as if I am playing in a TV band on a variety show and Jim Nabors is bringing it all home. My rhythmic conception is based on a particular feeling that a given pattern produces. Counting is no good when you are performing. You have to feel it. In fact, rather than learn the rhythm by counting it out, you might try just playing along with recordings and lock in by feel, not brain.
When I play quarter note triplets I just think "(8th note) triplet in half time".
On the other hand, I am always starting them on 1 or 3 (of 4/4). Does anyone have a good example of a quarter note triplet starting on 2 (or 4)?
I just googled. Quarter and half note triplets!
If I'm playing with a drummer I hadn't played with before, I like to give them little tests. At some point in a song, I may decide to play quarter-note trips. Whether the drummer choses to join me or not tells me something about how he evaluates what he is hearing around him. There is no right or wrong concerning joining me in 3s or playing against me in 4s as a general rule. But it's nice when we are on the same page about what we think our particular roles should be. Again, I am not saying that if I play quarter-note trips, then the drummer should as well. It is a matter of how we each imagine how we think it should sound. I'll admit to getting a little annoyed if the drummer always joins me.
I love the communicative aspect of music, especially onstage.
I fondly remember discovering quarter-note triplets. As a teenager, I had just got my first guitar and was trying to learn various Beatles songs. I bought "The Beatles Complete" (1976, Warner Bros. Publications Inc.) and was trying to play "We Can Work It Out." I was perplexed by bizarre notations at the lyrics "fussing and" and "fighting my." Fortunately I knew the song and so could figure what the strange "3" was printed above those particular notes. I was so proud of myself. ;-)