Strumming Triplets (Guitar Lesson)

Chapter 1: (00:42) Introduction Lesson Objectives

-Review the various ways that triplets can be counted.
-Learn the proper strumming directions for a chord progression that features triplet rhythms. Chapter 2: (03:35) Counting Triplets A triplet subdivides a quarter note into three equal parts. This subdivision of the beat can be counted in a few different ways. Counting the rhythm aloud or in your head will help you internalize the rhythm. In turn, your rhythmic feel will become more solid.

Ways to Count Triplets (Listed in order of Matt's preference.)

"1 and ah, 2 and ah, 3 and ah, 4 and ah"

"1 trip-let, 2 trip-let, 3 trip-let, 4 trip-let"

"du da di, du da di, du da di, du da di"

"tri-ple-let, tri-ple-let, tri-ple-let, tri-ple-let"

Experiment with all of these counting methods until you find the one that produces the best results for you.

Breaks in the Triplet Pattern

If ties or quarter notes occur within a strumming pattern that involves triplets, continue to subdivide the beat during the quarter note or tied note. In other words, continue with the same triplet counting pattern even when quarter notes or tied notes are added into the rhythm. This will ensure that you are not holding a strummed chord for too long. Chapter 3: (06:59) Exercise 1 Overview of Exercises

-Each exercise features the same chord progression played in a different rhythm. The chord progression consists of Em for a measure, C for a measure, Am for a measure, and B7 for a measure. Basic "open" chord voicings are used for each of the chords. These chords form a i - VI - iv - V7 progression in the E harmonic minor tonality.

-Always play these exercises with a metronome. Start as slow as you can stand it, and work your way into a wide variety of different tempos. Remember that music is played at a variety of tempos, so you must practice at a variety of tempos.

Strumming Direction

As you learned back in the lesson pertaining to triplet rhythms within single note excerpts, a measure consisting of nothing but triplets is played with strict alternate picking. The same rule is true when strumming a chord progression. This will seem quite awkward at first since beats two and four begin with an upstroke. However, with careful, consistent practice at a slow tempo, you will nail this awkward strumming rhythm.

The other alternative would be to play a down-up-down pattern for each group of triplets. This is not desirable, because it produces a heavy accent on the first triplet in each group of three.

Performance Example

Matt demonstrates how triplets should be strummed at 03:40.

Play Along Examples

Remember to count the rhythm in your head before you play. Never just jump right in!

80 bpm - 04:45

90 bpm - 06:00 Chapter 4: (05:17) Exercise 2 "Ghost Strums"

Patterns that feature tied notes or syncopated rhythms can be played with "ghost strums." During the tied note, simply strum over top of the strings while missing them intentionally. As a result, the right hand remains in consistent motion, and the desired rhythm is produced.

Ghost strumming seems to be helpful for most people within patterns that involve sixteenth notes and ties rather than triplets and ties. Only use the ghost strum technique if you find that it helps you maintain a steady rhythm. Otherwise, it is not necessary.

Performance Example

Watch Matt's demonstration of Exercise 2 at 02:30.

Play Along

70 bpm - 04:05

Note: Keep in mind that this is the hardest exercise in the lesson. For most of you, this exercise will require more practice time than the others. Chapter 5: (02:28) Exercise 3 Strum down - up - down -up, down - up - down - up for each measure. Watch Matt in the lesson video for a demonstration of the strumming pattern.

Play Along

96 bpm - 01:20 Chapter 6: (04:27) Exercise 4 Pay careful attention to the proper strumming directions for this exercise. Matt breaks down the proper pattern at the beginning of this scene.

Play Along

02:14 - 100 bpm

03:15 - 120 bpm

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