Show notes
Triplets make sense on their own, then you drop them into a tune and your mouth ties itself in a knot. Phil has hit exactly that, so in this episode we take it right back to basics.
Phil is working through the Advanced Beginner course and can play triplets in a scale all day, but the moment they land in a musical context he panics and rushes them. When he plays for me, the first thing we spot is that what he's playing isn't actually a triplet at all - it's eighth notes, and you can hear it in where the accent falls. So we slow right down, count "one triplet, two triplet, three triplet", and strip the scale out entirely, just playing four blow, four draw, four draw with a proper triplet feel until the pulse is solid.
We also talk about how many reps something really takes to move from conscious to unconscious, why getting some movement in your body helps you lock into the beat, and one practice detail that makes a big difference - building pauses into your repetitions so you practise hitting it from the start rather than always needing a run-up.
If your timing falls apart the moment you put a technique into a tune, this one is for you.
⏱ Audio Chapters
0:00 – Phil's question: triplets fall apart in a musical context
2:55 – How many reps it really takes
4:50 – Where the two licks join
5:45 – Phil plays the blues scale in triplets
6:21 – That's not a triplet, it's eighth notes
6:49 – Slowing down and counting yourself in
7:41 – Stripping it back to three notes
8:15 – Getting movement in your body
10:04 – The metronome is your first musical context
10:26 – Why you should build breaks into your practice
This episode is brought to you by the ever-growing Tomlin Harmonica School - where you get a proper step-by-step curriculum, real feedback from real teachers on your own playing, and a genuinely warm community of fellow Harmonicats. Try it free for 7 days at https://bit.ly/4gTxSei
Our TOPPODCAST Picks 
Stay Connected
