So it’s been a hot minute since my last post. But no worries fellow rhythm travelers. I’ve been occupied elsewhere, but I’ve a got a lot of lessons lined up now. So expect to see a Mark Guliana Solo Transcription (part of it anyways), Eric Coleman Inspired Licks, Tony Williams Inspired Licks, some transcriptions from GoGo Penguin’s album Man Made Object and beyond.
But today I want to give a second to this dynamite 8th note triplet lick by Mike Mitchell. And another nine phrase to offset that duple feel. Yeah!
Set in an uptempo Brazilian groove with a driving cymbal/kick accent on the (2 trip let) makes it less predictable and when up to this sickeningly fast tempo it sounds like an atomic drum explosion going off.
I’ve set it up in two different instances. The first bar being 8th note triplets in a 3/4 time. And the second being 16th note triplet and just filling up a whole four bar with it. This one is a bit trickier but it lands right on the cymbal hit so a double on the kick puts you right back on top of the beat.
As per usual this is a good lick to start in spots other than 1. One is great and all but when started on the anticipation beat of that last triplet in beat 2 it is much more hip. And this is a good moment here to just say. I usually learn new licks like this with the hi-hat foot keeping time. You probably won’t have a metronome at the gig, so you’ll need something to keep you tight. But whenever learning anything new like this -and especially when the beginning is anywhere other than the downbeat – it will make your timing much stronger. Say it doesn’t come out right either. Then you’ve got your foot keeping time to bring you back back home. And thirdly, it helps improve limb independence. Playing triplet patterns with your hands and feet over a quarter pulse hi-hat is in and of itself very rewarding for freeing up all your body parts.
This lick is super fun and very pocket. Happy Grooving!
Until next time.