3, 5, 7 Applied to Triplet Systems for Syncopation

That sounds like a bit of a mouthful, but we are simply combining two different ideas we've previously looked at on this blog.

A few years ago we explored a concept implying 3/8, 5/8 and 7/8 over 4/4 to play longer, more fluid phrases that extend over the barline.  At the time we were using this idea in the context of comping.  If you haven't yet read that post, you can check it out here.  Today we're going to take that same concept and apply it to our soloing practice.  

Here, again, are the various phrases written out.  We're now going to use them with the triplet systems from the previous post, which you can check out here.  Apply all four systems from the last post to each of the examples below.  As I mentioned the first time around, resist the urge to actually count in 3, 5, or 7.  We are just using these numbers as a means to create new ideas in 4/4.

Another interpretation that we looked at last time is to add a "skip" note.  In each grouping of 3 play the first two notes instead of just the first note.  Again, try all four systems from the previous post with these ideas.

As this is a soloing concept a great place to start is by trading fours with yourself.  Each of the examples above natural resolve after an odd number of bars, so create multiple different phrases by starting on different bars and repeating back to the top.  For example:

In the 3 note grouping play measures:

• 1, 2, 3, 1
• 2, 3, 1, 2
• 3, 1, 2, 3

In the 5 note grouping play measures:

• 1, 2, 3, 4
• 2, 3, 4, 5
• 3, 4, 5, 1
• 4, 5, 1, 2
• 5, 1, 2, 3

In the 7 note grouping play measures:

• 1, 2, 3, 4
• 2, 3, 4, 5
• 3, 4, 5, 6
• 4, 5, 6, 7
• 5, 6, 7, 1
• 6, 7, 1, 2
• 7, 1, 2, 3