Terrifying Guitar 101 Day Of The Triplets fere's what hapoenedt | was jar ming with some folks at Musicians Institute I red play- ing Tick that | normally use for sxteenth- note triplets, but at naif speed in order to gel eighth-note triplets. But realized that the phrasing at this tempo was BORING, ‘Was happy about his? Nooooooo. Since then, I've worked on bulging a ‘vocabulary of phrases that sound interest- ing when played in an eighth-note triplet feel. | vied to avold using numerically based patterns (descending and ascend- ext Em 8 z = a Hte< n ft Ing sequences based on groupings of thee oF four notes, for exampie). Ive uses fas many bends and slides a8 possible, And as always, I've done my best toi clude an occasional “hip note.” In Ex. 1 the hip notes include the b5 (bars 2, and 4), movement between the major and minor ded (bars 2, 3, and 4), and chromat- Ic lines (bars 1 and 2). Sound tke fun? Of Course! It aiso sounds a bit ike Michal Schenker.) Thanks, everyoady. See you ~ PAUL GILBERT PS. | just realized that ! almost re- leased a colurmn with no sixteenth-notes in. it quickly added Ex. 210 preserve the in- tegriy ofthis column's name. (can eee It ‘now: Paul Gilber's new column, Adult Contemporary Stylings And Tasiy-Bendy Ucks.) a Former Racer X guitarist and GT. in structor Paul Gilbert now performs with the band Mr Big. ‘See Notational Symbols, page 100 resruery woocumanruven 115