Our basic feel in jazz is actually
the eighth note and that's what we were
exploring when we started
talking about swing.
But there's a couple other main
feels I want you to develop, and
the first other one is the triplet feel.
A minor tune is gonna be a great tune for
us to develop a triplet feel.
Basically, by playing slightly faster,
we'll play three notes per beat
instead of two, it's gonna give us
a whole 'nother texture, a whole 'nother,
literally feel to draw on in our solos,
it's going to help break
the monotony of even eighth notes.
So I'll get the backing track of just
the solo changes for minor's fame.
And I'm gonna demonstrate
the introduction of a triplet feel.
Here's an eighth note feels.
Now, here's some triplets.
I'll go back to eighth notes.
Back to triplets.
So you hear the difference actually it's
harder to play in triplets
because it's faster.
What's actually good about the triplet
feel on the cello is in general we can
only hit three notes per hand position
before we have to shift.
So playing in the triplet feel is actually
easier on the cello than it might be for
Cuz all you have to do is
shift every quarter note,
and then you have three
new notes to draw on.
And so on, and
you can move that anywhere and,
Basically, anywhere you go,
you're gonna probably be able to have
three notes in each transition.
So keeping that in mind,
you can make improvising
in the triplet field better.
If you're having trouble adding this
to your improvisational arsenal,
this can be developed through our
continuous rhythmic improvisation CRI.
If you just put on a metronome and
play continuous quarters,
eighths, and triplets in a harmonic minor.
Or a A aeolian, either of those
scales that will prepare you for
applying this in the tune.
So, go back to the continuous
rhythmic improvisation exercise and
apply it to this scale
if you have trouble.
But, see first if you can just
start to throw in these triplets.