Common triplet arpeggio licks?

Discussion in 'Jazz Technique [DB]' started by Tom Lane, Sep 4, 2018.

  1. Tom Lane

    Tom Lane Gold Supporting Member

    I've been trying to incorporate more arpeggios into my playing, both lines and solos. But, just focusing on lines for the moment, going through my transcriptions I find RB likes to drop from TP to the nut with an arpeggio in the middle of the drop and I have a few others but I'm having trouble locating enough so I can just play triplet arpeggios until they become part of my vocabulary. I've got one line from John Clayton that starts on one and plays every triplet but it's a repeated chromatic theme, not an arpeggio, effective and interesting on it's own.

    It seems like there ought to be some classics out there so I thought I'd ask the TB brain trust. Suggestions are much appreciated!
     
  2. Neon Scribe

    Neon Scribe Supporting Member

    Scott LaFaro!
     
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  3. Don Kasper

    Don Kasper Gold Supporting Member

    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.
    IMG_3731.JPG
     
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  4. statsc

    statsc Supporting Member

    Apr 23, 2010
    Burlington, VT
    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.
     
  5. statsc

    statsc Supporting Member

    Apr 23, 2010
    Burlington, VT
    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.
     
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  6. Tom Lane

    Tom Lane Gold Supporting Member

    Here's one of the Clayton licks - a G Blues:

    upload_2018-9-5_11-20-51.png

    Another nice one from John - Same blues:

    upload_2018-9-5_11-26-7.png

    And another:

    upload_2018-9-5_11-28-32.png

    And one from Ray:

    upload_2018-9-5_11-58-24.png
     
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  7. geoffbassist

    geoffbassist UK Double Bassist Supporting Member Commercial User

    Jul 17, 2006
    UK
    Founder - Discover Double Bass
    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.
     
  8. brianrost

    brianrost Gold Supporting Member

    Apr 26, 2000
    Boston, Taxachusetts
    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!
     
  9. Don Kasper

    Don Kasper Gold Supporting Member

    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.
     
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  10. Carl Hillman

    Carl Hillman

    Jan 1, 2010
    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.
     
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  11. Don Kasper

    Don Kasper Gold Supporting Member

    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.
     
  12. Don Kasper

    Don Kasper Gold Supporting Member

    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.
     
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  13. klyph

    klyph Supporting Member

    Mar 28, 2009
    Cape Cod
    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.
     
    Last edited: Sep 5, 2018
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  14. Tom Lane

    Tom Lane Gold Supporting Member

    Yes, typo; should be Eaug, Ebaug, Daug, Dbaug, C, starting from the 5th to the root on the 3rd? 2nd? triplet, 5th on the beat. Easy to play in tune, harmonically interesting to my ear; I think it might work, but I've never heard any of my influences play it, so, overly thought out, academic, or just unmusical?
    Not strictly speaking an arpeggio, but I've been playing around with 2 and 3 triplet arps and am encouraged. I find I have to make exercises and really over do it to make them part of my vocabulary; playing every chord as part of the exercise. Transcriptions are not enough for me. I feel like Chris Potter in kindergarten but I keep making progress, and that's enough.
     
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  15. Emoody

    Emoody Supporting Member

    Jun 3, 2012
    Switzerland
    Listen to Jay Leonhart with the Eddie Higgins Trio. Loads of triplet fills to transcribe, smoothly played:

     
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  16. John Goldsby

    John Goldsby Supporting Member

    Mar 4, 2003
    Bassist @ WDR Big Band Cologne, Discover Double Bass, Conservatorium Maastricht, NL
    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 . . .
     
  17. Don Kasper

    Don Kasper Gold Supporting Member

    @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.
    IMG_3733.JPG
     
    Last edited: Sep 6, 2018
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  18. Jeff Bonny

    Jeff Bonny Inactive

    Nov 20, 2000
    Harrison Mills
    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."
     
  19. John Goldsby

    John Goldsby Supporting Member

    Mar 4, 2003
    Bassist @ WDR Big Band Cologne, Discover Double Bass, Conservatorium Maastricht, NL
    There are several pages of these augmented patterns in both the "Ray Brown Bass Method" and in "The Evolving Bassist" (Rufus Reid) . . .
     
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  20. Tom Lane

    Tom Lane Gold Supporting Member

    Thanks Don! I like this one, it flows very solidly into the F to my ear!
     
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