Playing triplets over a straight groove
A big feature of this track is the numerous triplet runs that pepper Gary’s phrasing. This particular idea isn’t unique to blues, but it lends itself very well to the sound of the Minor Pentatonic scale, especially when playing over a straight groove in 4/4. Since this tends to be a two-notes-perstring pattern, we’re naturally used to hearing it in straight patterns of 2/4/8 etc. Once we divide the scale into threes, it takes on a completely different complexion, as we’ll hear notes in odd places across the beat. The ability to flit between straight 8ths and triplet 8ths can be a challenge, however, so make sure you’re well versed in all the different rhythmic groupings before trying it out in your own improvising.