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Thread: Kick triplet question

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    Question Kick triplet question

    OK. so I'm not a total book learner, but Im going to start to learn how to read more advanced drum music. You know, stuff outside of eigths and sixteenths. Anyways, I know what a triplet is. For example, rack tom-floor tom-bass drum(bonham triplet). but, would doing rack tom-bass-bass, fast with heel toe, be considered a triplet? probably a very easy question, but it was confusing me. Thanks!

  2. #2

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    if you ask me any three note grouping is considered a triplet.. it's just a difference of tones depending on what you use. lately ive been doing ridebell-cowbell-bass triplets or other stuff like cowbell-crossstick-hihat pedal(with tambourine on). it's funky!
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    It would be considered as long as it's played in the correct time. 3 is 3, no matter which drums you use to reach said triplet!

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    yah waht they said .. its the hits not the tones that make a triplet.(or the siblings i guess)
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  5. #5

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    So in Good Times Bad Times, are the kick drum strokes considered triplets?

  6. #6

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    Yes. It's is just the back 2/3 of the triplet. It's the timing that makes it a triplet. There doesn't necessarily need to be three notes.

  7. #7

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    I agree with all of the above posts, but I want to point one thing out. Russ said "any three note grouping is a triplet," but I want to expand that to "any equally spaced three note grouping is a triplet." One of my pet peeves is when people confuse gallops and triplets, because they are both groups of three, but a gallop is not equally spaced, one note is longer.

    As for mainedrummah's question, yes, even though there's four notes. In a triplet, the note values would be something like 8th - 8th - 8th, but the double-stroke on the bass divides the last 8th into two sixteenth notes. Therefore, it's still in a triplet count, just subdivided a bit.

    On second thought, I guess it all depends on how you play that double. If you play two hits in the time of one, like in the previous example, it's a triplet, but if you play them both at the same duration as the two tom notes, it would be a quadruplet.

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    Meter (music)
    From Wikipedia, the free encyclopedia
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    Musical and lyric metre.
    See also hymn meter and poetic meter
    For other uses, see Meter (disambiguation).
    Meter or metre is a term that music has inherited from the rhythmic element of poetry, where it means the number of lines in a verse, the number of syllables in each line and the arrangement of those syllables as long or short, accented or unaccented (Scholes 1977). Hence it may also refer to the pattern of lines and accents in the verse of a hymn or ballad, for example, and so to the organization of music into regularly recurring measures or bars of stressed and unstressed "beats", indicated in Western music notation by a time signature, note-lengths and bar-lines.

    The terminology of western music is notoriously imprecise in this area (Scholes 1977). MacPherson (1930, 3) preferred to speak of "time" and "rhythmic shape", Imogen Holst (1963, 17) of "measured rhythm". However, London has written a book on musical metre, which "involves our initial perception as well as subsequent anticipation of a series of beats that we abstract from the rhythm surface of the music as it unfolds in time" (London 2004, 4).

    This "perception" and "abstraction" of rhythmic measure is the foundation of human instinctive musical participation, as when we divide a series of identical clock-ticks into "tick-tock-tick-tock" (Scholes, 1977). "Rhythms of recurrence" arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups (Yeston, 1976, 50–52). "Once a metric hierarchy has been established, we, as listeners, will maintain that organization as long as minimal evidence is present" (Lester 1986, 77).

    1 Metric structure
    2 Types
    3 Meter in song
    4 Meter in dance music
    5 Meter in classical music
    5.1 Changing meter
    5.2 Polymeter
    5.3 Examples of various meter sound samples

    [edit] Metric structure
    The definition of a musical metre requires the identification of repeating patterns of accent forming a "pulse-group" that corresponds to the poetic foot. Normally such pulse-groups are defined by taking the accented beat as the first and counting the pulses until the next accent (MacPherson 1930, 5; Scholes 1977). Normally, even the most complex of meters may be broken down into a chain of duple and triple pulses (MacPherson 1930, 5; Scholes 1977). The level of musical organisation implied by musical meter, therefore, includes the most elementary levels of musical form (MacPherson 1930, 3).

    Some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse (Scholes 1977). Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric (Karpinski 2000, 19).

    Metric structure includes meter, tempo, and all rhythmic aspects which produce temporal regularity or structure, against which the foreground details or durational patterns of any piece of music are projected (Wittlich 1975, chapt. 3). Metric levels may be distinguished: the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels (Wittlich 1975, chapt. 3).

    Hypermeter is large-scale meter (as opposed to surface-level meter) created by hypermeasures which consist of hyperbeats (Stein 2005, 329). The term was coined by Cone (1968) while London (2004, 19) asserts that there is no perceptual distinction between meter and hypermeter. Lee (1985) and Middleton have described musical meter in terms of deep structure, using generative concepts to show how different meters (4/4, 3/4, etc) generate many different surface rhythms. Rhythmic units can be metric, intrametric, contrametric, or extrametric.

    Senza misura is an Italian musical term for "without meter", meaning to play without a beat, using time to measure how long it will take to play the bar (Forney and Machlis 2007,[page needed]).

    [edit] Types

    Simple [quadr]duple drum pattern: divides two beats into two Play (help·info)
    Simple metre or simple time is a time signature or metre in which each beat (or rather, portion, 1/2 or 1/3 of a measure) divides naturally into two equal parts, as opposed to three, which is compound metre.

    Simple triple drum pattern: divides three beats into two Play (help·info)
    For example, in the time signature 3/4 in simple metre, each measure is divided into three beats, making it triple metre, and each of those beats divides into two quavers (eighth notes), making it simple triple.

    In music, duple refers to duple meter. Duple is also a duration of 1½ the regular note value duration in compound and or triple meter.[citation needed] An irrational rhythm, it may also be used as a polyrhythm when played against the regular duration.

    In relation to duple time triple meter rhythms would be triplets.

    Compound quadruple drum pattern: divides four beats into three Play (help·info)
    In music, compound meter, compound metre, or compound time (chiefly British variation), is a time signature or meter in which each measure is divided into three or more parts, or two uneven parts (as opposed to two even parts, called simple metre), calling for the measures to be played with principal and subordinate metric accents (the latter called subaccents), causing the sensation of beats. In Western music, the predominant form of compound meter is the division into three parts, often preferring to reduce a higher number of parts to written time signature changes, but more parts are possible, and frequently used, for example, in Balkan music; some examples are given in the article Bulgarian dances.

    Compound triple drum pattern: divides three beats into three Play (help·info)

  9. #9

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    Triplets are probably the most misunderstood rhythm for beginning musicians. The most troublesome part is beginners often think they understand it when they don’t! Even if you’re certain you understand triplets, you should go through this lesson.

    First, because this is where most people go wrong, I want to point out what triplets aren’t before I explain what they are.

    A triplet is not simply any grouping of three notes. Students are often confused thinking that when 3 notes are played close together, or if they are beamed together in written music, that they are triplets. That’s not necessarily so. A triplet is a specific rhythm, not a note grouping.

    What Are Triplets and Eighth Note Triplets?
    A triplet is a rhythm playing three notes in the space of two. That is, three evenly spaced notes in the space of two notes of the same rhythmic value.

    The most common example is the 8th note triplet. An eighth note triplet rhythm is 3 notes played in the space of 2 eighth notes. You may find it easier to think of the eighth note triplet as being 3 notes dividing a quarter note (since 1 quarter note = 2 eighth notes).

    Other triplets exist, too. The next most common is the quarter note triplet. A quarter note triplet is three notes dividing the space of two quarter notes (the same space as a half note).

    Again, a triplet is not just 3 notes grouped together, but a specific rhythm consisting of three equally spaced notes.

    Eighth Note Triplet Notation
    In music notation, triplets are always marked with the number 3 over or under the triplet notes. Sometimes triplets have a slur mark (an arc-shaped line), or they may have a bracket. Other times the 3 notes are just beamed together with the number 3 written near the beam. All of these forms of triplet notation mean the exact same thing.

    Depending on what the music calls for, it's possible for one or two of the notes to be a rest.

    Counting 8th Note Triplets
    There are lots of ways musicians count triplets. There’s no one correct way to count triplets.

    You might just say "trip – ah – let" for each triplet.

    Or, you might count "1 – Ah – Lee – 2 – Ah – Lee – 3 – Ah – Lee – 4 – Ah – Lee."

    Or, "One – Trip – Let, Two – Trip – Let, …"

    Playing 8th Note Triplets
    It’s really important to learn to feel and play the 8th note triplet rhythm. You will encounter it in most every style of music. The 8th note triplet is a essential rhythmic element for many styles like blues, jazz, and a lot of rock.

    A lot of people ask whether they need to pluck triplets with 3 fingers instead of just two. Some people do that, but it’s certainly not necessary.

    After playing steady 8th triplets comfortably, you’ll want to be able to go freely between other rhythms and the triplets. As with everything, practice enough and it will become automatic. No one can do it for you!

    See the 8th note triplet exercises page to hear and practice your triplets.

  10. #10

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    Ok thats a lot of stuff ^^ But yeah what BakkuShan said... It's three evenly spaced strikes. You can have two 16th notes then an eighth note but It wont be a triplet. Same with the other combinations such as one 8th then two 16ths etc. These aren't triplets. They have to be evenly spaced.

    Once you have the feel you can eliminate strikes within the triplet e.g. the 2nd strike to create a shuffle feel within the triplet.

  11. #11

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    Be careful guys. When you talk about "spaces" instead of "note values" you risk getting it all wrong. There is no substitute for basic rhythmic theory. It is like basic math. I highly advise taking the time to learn it. Doing so will eliminate all confusion.

    There are phrases of threes that are often confused with triplets. Proper understanding of note values will allow you to distinguish them from one another.
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  12. #12

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    Triplets are three evenly spaced notes that are placed over an even number of beats. While there is a 8th note triplet which is common, there's also quarter note triplets, 16th note triplets, and a deal of others. When a the middle note of a triplet is taken out and only the first and third notes are remaining, that is the shuffle pattern.

  13. #13

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    my favourite bonham roll is a adaptation from the ratamacue

    rat-a-ma -cue -and -a

    the "and-a" is the kick

  14. #14

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    as long as you are counting it properly, a triplet can be played on any combo of drums. I like k,k,s/ k,k,ht/k,k,mt/k,k,s in a 16th note triplet pattern
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  15. #15

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    I have been practicing the 16th note triplet thrown into slower grooves in between the 8th notes to build strength in my right foot. You here this is common in metal grooves as a fill, sounds really cool but needs to be played ultra clean
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  16. #16

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    Quote Originally Posted by drummer View Post
    Be careful guys. When you talk about "spaces" instead of "note values" you risk getting it all wrong. There is no substitute for basic rhythmic theory. It is like basic math. I highly advise taking the time to learn it. Doing so will eliminate all confusion.

    There are phrases of threes that are often confused with triplets. Proper understanding of note values will allow you to distinguish them from one another.

    Brilliant! Couldn't agree more.

    In this:- [ame="http://www.youtube.com/watch?v=JSKPqdRRtA4"]YouTube- Timing Excercise[/ame]

    The subdivisions are, 1/4 notes. 1/8th notes, 8th note Triplets, 16th notes, 16th note triplets, 32nd notes, 32nd note triplets. The triplet subdivisions could be played on anything, they would still be triplets. (Of course, this is slow, 60BPM. If it was 120 BPM, standard Pop tempo, the 32nd note triplets would be 16 note triplets.)
    I love the 4 stroke ruff into a fill or stop, either lrlRLRL RLRL RLRL etc as the start of a fill. Or 2 bass drum notes, followed by left hand tap, then Right Hand Accent. This is basically a 16th note triplet followed by an accent. Really hard to describe in writing, but sounds great!

    Note, This site would REALLY benefit from some way of writing notation for this stuff.


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