Chords for Wrist Triplets

Tempo:
96.675 bpm
Chords used:

A

C

D

G

Am

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Wrist Triplets chords
Start Jamming...
Hi, I'm Mike Keese for Bell Bay Banjo Sessions.
This time we're going to talk about the triplet once again.
I know I've done a number of columns on the triplet, but as I evolve as a banjo player,
I keep learning different things and better ways of becoming a banjo player, becoming
a little more efficient and trying to learn something about developing a style.
[C#] And [N] so the triplet continues to come up because it basically is the main ornament we use on
our tenor banjo, at least the main right hand ornament.
Today I'm going to talk about the wrist triplet, [G] which I found is the most efficient way to
do a triplet.
Those of you who have known about the McTwist, which [N] is using fingers and wrists like this,
[F#] know that I enjoy using that too, and I've found a number of very good banjo players
who use it.
But recently, especially after seeing Darren [C#] Maloney play, [D#] I've started to go back to the
wrist triplet, [G] mainly because it's quite [N] efficient.
Now the wrist triplet and the McTwist are two different animals really.
The wrist triplet, for example, uses the center of gravity, which is the wrist triplet is
back here, so that your fingers are not moving at all.
And that's why you can use the McKenna grip and the natural grip, [G] both with this particular method.
Now with the McTwist, you have to use the natural grip because you're also going like
this and it moves the center of [B] gravity a little farther forward and there's a little
bit more action in your hand, which [G#] means it's not quite as quick as the wrist triplet.
[Em] That's why you see very fast banjo players like Jerry O'Connor and Darren Maloney using
the wrist triplet alone.
[N]
[E] This is the wrist triplet now.
The wrist triplet is very simple.
It's just going like this.
[B] [Am]
[A] [C]
[D] As you can see, [N] it's really only this, no finger movement at all.
You can do [B] this with finger movement.
[C]
[A] That was [E] the McTwist, this is the wrist triplet.
And as you see, there's a [A] difference in sound and the wrist triplet is much more relaxed.
In fact, it can be almost a minimal [N] movement.
Now one of the things that makes the wrist triplet easier [A] to do is this hand [C] position.
Darren Maloney likes to go like this, put [B] this part of his hand right on the [D] head.
[Em]
[D] I think it [N] kills the sound slightly, but on a well set up banjo, you won't really [D] notice the difference.
[C#] [A] This is a very good exercise.
Remember, the center of gravity is right along here and you're just relaxing your fingers.
Just barely hold on to the pick and it won't go [F#] anywhere.
[Am] [C]
[D] [Em] [Am]
[D] [A]
[N] Now I'll let you in on a little bit of a secret.
And that's that the McTwist exists no matter what triplet you use.
It's almost natural to squeeze down on the pick [A] a little bit when you're trying to emphasize [G] your triplets.
And even though you try to relax and be very quick, sometimes you end up moving a little
bit of your fingers like this.
Now that's okay.
Even the very best banjo players do it.
[N] But when you see somebody really speeding along, they're just doing wrist triplets entirely.
Now I'm going to [G] try a tune called Jenny Picking Cockles just to show you a little bit of this.
I'll play the first part.
[C]
[A] [D]
[C] [Am] [C]
[A]
[C] [C]
[Am] [C] [A]
[N] Now actually I can play that a lot faster, but I learned that from John Cardy who plays
it probably faster than that.
I'll have to check my tapes.
But it's a neat tune to practice your triplets with.
So triplets are very important.
People constantly ask me about them.
They're often hard to do because you have to relax in a point in which people get very
nervous when they try them.
But try the wrist triplet.
Try to relax into it.
And just if you miss it, you miss it.
It's not a big deal.
You can go back and make it another time.
This is Mike Keys for Banjo Sessions.
Key:  
A
1231
C
3211
D
1321
G
2131
Am
2311
A
1231
C
3211
D
1321
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_ _ _ _ Hi, I'm Mike Keese for Bell Bay Banjo Sessions.
This time we're going to talk about the triplet once again.
I know I've done a number of columns on the triplet, but as I evolve as a banjo player,
I keep learning different things and better ways of becoming a banjo player, becoming
a little more efficient and trying to learn something about developing a style.
[C#] And [N] so the triplet continues to come up because it basically is the main ornament we use on
our tenor banjo, at least the main right hand ornament.
Today I'm going to talk about the wrist triplet, [G] which I found is the most efficient way to
do a triplet.
Those of you who have known about the McTwist, which [N] is using fingers and wrists like this,
[F#] know that I enjoy using that too, and I've found a number of very good banjo players
who use it.
But recently, especially after seeing Darren [C#] Maloney play, [D#] I've started to go back to the
wrist triplet, [G] mainly because it's quite [N] efficient.
Now the wrist triplet and the McTwist are two different animals really.
The wrist triplet, for example, _ uses the center of gravity, which is the wrist triplet is
back here, so that your fingers are not moving at all.
And that's why you can use the McKenna grip and the natural grip, [G] both with this particular method.
Now with the McTwist, you have to use the natural grip because you're also going like
this and it moves the center of [B] gravity a little farther forward and there's a little
bit more action in your hand, which [G#] means it's not quite as quick as the wrist triplet.
[Em] That's why you see very fast banjo players like Jerry O'Connor and Darren Maloney using
the wrist triplet alone.
[N] _ _ _ _ _
[E] This is the wrist triplet now.
The wrist triplet is very simple.
It's just going like this.
_ _ _ [B] _ _ _ [Am] _
_ _ _ _ [A] _ _ [C] _ _
[D] _ _ As you can see, [N] it's really only this, no finger movement at all.
You can do [B] this with finger movement.
[C] _ _
_ _ _ [A] _ _ That was [E] the McTwist, this is the wrist triplet.
_ _ _ And as you see, there's a [A] difference in sound and the wrist triplet is much more relaxed. _
_ _ In fact, it can be almost a minimal [N] movement.
Now one of the things that makes the wrist triplet easier [A] to do is this hand [C] position.
Darren Maloney likes to go like this, put [B] this part of his hand _ right on the [D] head.
_ [Em] _ _ _
_ [D] _ _ _ I think it [N] kills the sound slightly, but on a well set up banjo, you won't really [D] notice the difference. _ _
_ [C#] _ _ [A] _ _ This is a very good exercise.
Remember, the center of gravity is right along here and you're just relaxing your fingers.
Just barely hold on to the pick and it won't go [F#] anywhere. _
[Am] _ _ _ _ _ _ _ [C] _
_ _ [D] _ _ [Em] _ _ [Am] _ _
_ _ _ _ [D] _ _ [A] _ _
_ [N] _ _ _ _ Now I'll let you in on a little bit of a secret.
And that's that the McTwist exists no matter _ what triplet you use.
It's almost natural to squeeze down on the pick [A] a little bit when you're trying to emphasize [G] your triplets.
And even though you try to relax and be very quick, sometimes you end up moving a little
bit of your fingers like this.
Now that's okay.
Even the very best banjo players do it.
[N] But when you see somebody really speeding along, they're just doing wrist triplets entirely.
Now I'm going to [G] try a tune called Jenny Picking Cockles just to show you a little bit of this.
I'll play the first part.
[C] _ _
_ _ _ [A] _ _ _ _ [D] _
_ [C] _ _ _ [Am] _ _ [C] _ _
_ _ _ _ _ _ _ [A] _
_ [C] _ _ _ _ _ [C] _ _
_ [Am] _ _ [C] _ _ [A] _ _ _
_ [N] Now actually I can play that a lot faster, but I learned that from John Cardy who plays
it probably faster than that.
I'll have to check my tapes.
But it's a neat tune to practice your triplets with.
So _ triplets are very important.
People constantly ask me about them.
They're often hard to do because you have to relax in a point in which people get very
nervous when they try them.
But try the wrist triplet.
Try to relax into it.
And just if you miss it, you miss it.
It's not a big deal.
You can go back and make it another time.
This is Mike Keys for Banjo Sessions. _

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