Common triplet arpeggio licks?

Scott LaFaro!

 

OK. Here is one of my own design - destined to become a classic...
Note that the open G and D strings are "ghosted", while the Left Hand is moving toward Half-Position to grab the B and G.
This line works great (for example) on "Sugar" - m.4.

 

Nice; but shouldn’t that B in the first triplet be an A# for it to be a G7#9? Also, if you change the first note of the first triplet from F to G played as a harmonic on the G string it creates a nice effect and facilitates playing the line at speed.

 

A lot of great examples of this technique can be found in Mike Richmond’s Modern Walking Bass Technique, a book that doesn’t get enough love in my opinion.

 

John Goldsby has a really nice etude in his Jazz Bass Book. It’s a triplet - major triad pattern played in 12 keys and I can remember enjoying working on it.

 

Those ghosted open string triplet rakes I've seen called "biscuit drops" by Chuck Rainey in his BG method books and "bucket of <expletive that rhymes with quit>" by a local guy...both spoken in a triplet rhythm of course!

 

1. Nope. I prefer the sound of the Bnatural - it helps convey the Dominant 7 sound of G7#9,+5 (some people call it "G7alt." Not me.)
2. Nope. I think the 7th (F) helps convey the Dominant 7 sound, and there is plenty of "G" being played in the measure. You can also pull-off on the F to the Eb, which makes for less RH work.
But that's me...
Thanks for your time and interest.

 

The head of Freddie Freeloader has some nice triplet work by Paul Chambers.

I took it off a long time ago when I was in school, but I have no idea where the transcription is now. (Maybe it's also in one of the Stinnett books.)

If I happen to run across it, I'll post it.

 

Q: What is/are the Chord(s) that you're supporting or obliterating here?
Or are you now a Free Jazz playa? (jk)
Also - did you mean the 3rd triplet to be "Bb,F#,D" to keep your Augmented triad shape consistent?
Thanks.

 

No "Alt" for me!
@John Goldsby already gave me some Long Distance Eyerolls over my loathing of the "Alt" nomenclature a few years ago in these very pages. (It's too painful for me to revisit!)
I like using "X7, #9, +5" as these 4 notes in a voicing will strongly imply and suggest the b9 and #11.
But that's ME!
Thanks.

 

Todd Coolman transcribed this line in his book "The Bass Tradition". Nice broken triplets bouncing off open strings. Well worth picking up a copy. One of my favorites.

 

Listen to Jay Leonhart with the Eddie Higgins Trio. Loads of triplet fills to transcribe, smoothly played:

 

Sorry, Don — I'm just an alt-fashioned guy.

That said, I prefer to know *exactly* what the alterations are—as I think you prefer also. But I'll accept C7alt if that's what I see. It's a lazy way of writing a dominant chord that could have optional alterations.

Please carry on with your "bucket-o'-dung" conversation . . .

 

@Tom Lane -
Hey - take your cool Augmented triad shape and separate it by a descending Whole-Step (instead of a Half-Step), and you get this cool sequence that is based upon the C Whole Tone scale.
Each Triplet can/should be played across 3 strings - start with 4th finger on the F# on the A string.
Sorry, I forgot to add "#11" to the chord name "C7,9,+5", but you and I both know that the #11 is a great sound on a Dominant 7 chord.
This sequence fits nicely on the C7+5 chord in the last bar of the Bridge of "All The Things You Are".
Thanks.

 

I clearly remember my first lesson with Rick Kilburn around '78-'79. Off the top he asks me to walk on a 12 bar and come the second chorus really wanting to impress I start with the triplets. At that point he says in this even, straight to the point cut the crap I'm being as nice as you've got any right to expect from a New Yorker voice, "Don't do that. People will get mad at you."

 

There are several pages of these augmented patterns in both the "Ray Brown Bass Method" and in "The Evolving Bassist" (Rufus Reid) . . .