If many occur in a row then the triple pulse can easily be lost. Punctuating the second partial has the effect of blurring where the downbeat occurs. In order for you to be able to play these properly and comfortably you must build a strong internal triplet pulse. The next set of drum beats were written to utilise the second partial of the triplet both on bass drum and snare drum. It will also give the musician a much deeper understanding and skill within the triplet feel. Having said that though, a musician must be able to “feel” and use the second partial for those occasions when it is required. The only time the second partial is really punctuated within a rhythm is when its being used in conjunction with the other partials surrounding it. Most music, and drummers for that matter, don’t require a great utilisation of the second partial due to its awkward and unnatural sound rhythmically. In the previous Basic 12/8 Drum Beats lesson I gave you a selection of rhythms that mainly focused on the first and third partial of each beat. Utilising The Second Partial Of The Triplet This will allow you to create your own triplet based rhythms to fit whatever music you happen to be performing. This lesson will be showing you how drum beats based in the 12/8 time signature can be manipulated and altered to sound totally unique. As triplet based rhythms are found in all forms of music it is important that you are able to perform within this time signature and that you feel comfortable navigating its triplet “feel”. The 12/8 time signature, as already explained in the previous lesson, can be thought of as a triplet based form of music. The grooves found in this lesson can be a little tricky, even for an advanced player! If you are not familiar with this lesson then I suggest you visit it now to check you are able to perform the exercises given. This lesson continues on from the Basic 12/8 Drum Beats lesson found on this site.

6 8 drum beats