By Cameron Murray
The strumming technique I’m most often asked about is the triplet. I use it a lot in my own playing and it’s always well received. While it looks – and sounds – rather fancy, the mechanics are actually quite simple.
As I tell my students, I can only explain the way I do it. Other players and teachers may have different ideas, which is fine – there’s usually more than one way to achieve the desired result.
Unsurprisingly, the triplet is composed of three parts. It begins with a down stroke with the nail of the forefinger. Next, the pad (or fleshy part) of the thumb follows – also a down stroke. Finally, the nail of the thumb comes up. So, at its heart, it’s D-D-U. But there’s more to it than that. How you go about the movements is crucial to getting the sound you’re after.
Let’s break it down even further. On the first down stroke, make sure you’re striking all four strings. Now, where is your thumb? If it’s hovering over the fretboard or, worse, below it, you’re going to have to move your entire hand back up for the second (thumb) down stroke. This will interrupt the flow of the strum and it just won’t feel right. So, how do you fix it? Simple. Just keep your thumb up and out of the way during the first down stroke. Maintain approximately a 7-10cm (3-4 inch) gap between your thumb and forefinger. Once your forefinger has completed the first stroke, your thumb should be ready to start the second.
Onto the all-important up stroke. Many people advocate coming up with the forefinger, but I like to use the thumb. Reason being that the thumb is in the ideal position at the completion of the second down stoke to shoot back up the strings. This increases the speed and fluidity of the technique as a whole. If you go fast enough, the triplet becomes the ‘roll stroke’ with no beginning or end – a continuous motion that can add flavour to any chord progression.
So there you have it, the triplet. No trouble at all!
This article originally appeared in Issue 12 of KAMUKE, which is available in the Store