Quarter Notes Triplets in 3/4 Comping Ideas

This post follows on from the last one on applying quarter-note triplets to 3/4.

Here we are using the phrasing to create comping patterns. You should practice all patterns with the hi-hat on beats 2 & 3, as well as only on beat 2 (see the top of the PDF).

Figures [A] and [A1] put the figure on the snare drum and then on the bass drum. Take time to make sure the placements are accurate and comfortable before continuing. Count triplets throughout.

And remember: it is a two-bar pattern, so practice starting the loop from the second bar as well as the first.

Figure [B] splits the figure between the bass drum and the snare drum. This turns out to be a four-bar phrase. Again, it would be best if you practised beginning the loop on each of the four bars. Some interesting patterns can be found by moving the snare part between sound sources.

Figures [C] and [D] put one note on the bass drum and two on the snare drum creating three groups of three quarter-note triplets. There is one more similar variation not written out. Can you work out what it is?

In the PDF you will find one more figure, figure [E] which alternates between two notes on the snare and two on the bass drum. This creates a challenging eight-bar phrase. Again get comfortable starting from each bar and experiment with voicing the snare part around the kit.

Once comfortable with all the phrases, think of ways to apply them musically in a playing context. This will mean using fragments and parts of phrases on the fly rather than playing the whole figure.

Have fun. Make music.