Another key element of the Mark Knopfler guitar style: Quarter note triplets – with example tabs

Posted on 2 CommentsPosted in Guitar in general, MK guitar style and licks, Understanding music

Quarter note triplets are notes of a certain duration, or in other words they produce a certain rhythimcal effect. Such a note is shorter than a quarter note but longer than an eighth note. They do not “fit” into the normal grid of half, quarter, eighth or sixteenth notes; they break out of the normal rhythm scheme, thus highlighting a melody or a phrase.

However, they have nothing to do with a “free timing”, they follow a precise logic and have a certain length and rhythm.

With the help of licks based on these quarter note triplets you will increase your vocabulary on the guitar. Whenever you are in danger of running out of ideas or feel chained to a standard rhythm, even a very short lick of quarter note triplets will break up your normal rhythm and give a distinctive gleam to your solo.

Examples of these licks can be found in a great number of Mark Knopfler / Dire Straits tunes, surely to many to name them all (it is probably easier to name those who do not feature them) . Some nice examples which are mentioned later in this article are:

Sultans of Swing, Down to the Waterline,  Lions, Tunnel of Love, Single Handed Sailor, Private Dancer, I believe in you (Bob Dylan featuring Mark Knopfler)

How do quarter note triplets work?

To start with, let`s have a look at the basics of note duration. A standard (= 4/4) bar consists of four beats of the same length (counting: one – two – three – four). This duration – as long as one beat – is called a quarter note.

takt1
quarter notes

A note that lasts as long as one bar is called a whole note, and the one that is one half of this length is a half note, of course.

takt2
a whole note, two half notes

Consequently, a whole note is as long as two half notes, or as four quarter notes. A half note is as long as two quarter notes, and so on.

takt3

If you divide a quarter note into two halfs, you will get an eigth note, if you divide an eight note into two, you will get a sixteenth note, while one sixteenth note is as long as two thirty-second notes. This means you can fill up a bar with four quarter notes, or with eight eighth notes, or with sixteen sixteenth notes, and so on.

click to enlarge

If you combine notes with different duration, you will get a particular rhythm, just like in the following example.

rhythm1

Note that all these notes are a multiple of the shortest appearing note length. In the previous example this shortest length is a sixteenth note. If you imagine the bar being divided into sixteen beats of this length, you will get a sixteenth note grid (grey notes). All other notes of this example perfectly fit into this grid, which means they all start on a grid position, while other grid positions are simply left free. The next picture shows the previous example, now over such a grid.

All notes fit into a grid of sixtennth notes
All notes fit into a grid of sixtennth notes

Triplets

The idea behind a triplet is that a note is not divided into two notes of the same length (e.g. a half note into two quarter notes) but is divided into three notes of the same length. A half note will then be divided into three notes – and these are called quarter note triplets – as indicated by the bracket labelled with “3”.

quarter note triplet
quarter note triplet

duration of three quarter note triplets = duration of one half note

If you play such quarter note triplets over a normal (= straight) rhythm, they will not fit into a standard grid of shorter note length. Quarter note triplets played over a grid of eighth notes will look like this:

quarter note triplest do not fit into the normal grid
quarter note triplest do not fit into the normal grid

The first of the three quarter note triplets falls together with the eighth note, but the next two “sit somewhere between” the grid lines (no matter if you have an eighth or sixteenth note grid). This is the reason why quarter note triplets are more difficult to play, but also why they cause a feeling of breaking out of the normal rhtythm scheme – they simply do.

If you want to play quarter note triplets, you should be aware of the following two rules:

A) They are regular, in other words each of the three notes has the same length.
B) The first of the three notes starts on the beat, the next two are somewhere between the beats (however not in the middle between two beats).

Some example licks

After so much theoretical background, now is probably the right time for some concrete examples so that you have something “in your ear”.

Our first lick appears in the intro of Sultans of Swing (0:09). Here the quarter note triplet consists of three notes on the high E-string (an A, C and A again).

from the Sultans of Swing intro
from the Sultans of Swing intro

Note that the first of the three notes (5th fret on E-string) starts exactly at the 3rd beat of the bar, the next two notes are between the beats, and the last note (6th fret B-string) starts at the first beat of the second bar.

A second example lick is from the middle part of Down to the Waterline (2:45).

from Down to the Waterline
from Down to the Waterline

Note that it is rhythmically identical to the example before. The quarter note triplet again starts on the third beat of the bar.

Practising quarter note triplets

As you probably see, the only difficult aspect about quarter note triplets is the right timing – regular but not on or directly between the beats like “normal” notes.

You should start to practise the rhythmical aspect first, so forget about note names and simply play a muted string over a metronome counting the beats (= playing quarter notes).

Think like this:

  • Start on the third beat
  • All three notes of the triplet have the same duration
  • The last tone (= first note after the triplet) starts on the first beat of the next bar, so try to end on the “one”.

In other words, don`t try to play the second and third note at their correct position (this is very difficult because the metronome does not help you), but instead try to start and to end on a beat with a constant speed  (start: “three” of bar one, end: “one” of bar two)

The exercise looks like this:

basic exercise, play as a loop
basic exercise, play as a loop

The fourth beat of the metronome – “the “four” – falls between the second and the third of those triplet notes. Try not to be confused by this.

Mind to play it regularly, all three notes of the triplet have the same length. If the last note (the one on beat “one”) starts too early, try to play the triplet slower. If it comes too late, play the triple slightly faster.

Remember:

· You should practise this with a metronome (or a drum track).
· Practise at different speeds (be aware that a slower speed might be more difficult than a high speed).
· Practise thorougly, it is the precision that make it sound good.
· Finally you should develop a feeling for quarter note triplets and play them without thinking too much about what are are just reading.

Building quarter note licks / More examples

Note: You should practise the rhythm first (previous exercise) and only start with this next step if you perfectly manage the previous exercise. As you probably will not really listen to this advice, you should try to do the exercise later again, until you can play all notes precisely.

Basically you can play any notes that you would normally play. However, often it sounds good to start and to end with a note that belongs to the respective chord. Note that this is the case with the two Knopfler licks discussed so far.

The following examples include quarter note triplets over a C chord, so the first and the fourth notes are notes of a C chord.

lick1

lick2

lick3

lick4

The next examples run over a chord change from C to G.

lick5

lick6

The next example can be found in Six Blade Knife (start of the first solo) on many live versions (on the studio version he plays eighth notes):

six blade

… or another one from Down to the Waterline which opens the solos:

waterline2

Of course the quarter note triplets do not necessarily have to start on the third beat. Theoretically they can start at any position in the bar. However, in Mark Knopfler`s music you find them normally to start on the third or on the first beat.

In the following example (from Once Upon a Time in the West, 2:48) the first triplet starts at the first beat. Note that there are two quarter note triplets ( = six notes) in each of the next three bars. These bars are “filled up” completely with quarter note triplets.

click to enlarge

Here is another example in which two quarter note triplets (6 notes) fill up a complete bar (from Bob Dylan –  Slow Train Coming/ I believe in You, 4:33) . Note how you can “pinch” the strings to create an effect similar to staccato.

i believe in you

Or this one from Lions (2:11):

lions

The following example can be be found in some early live versions of Water of Love. Note how a two-string scale lick makes use of quarter note triplets.

water of love

Common mistakes

The following is a mistake that is typical when learning quarter note triplets. If you try to make the notes match to a grid of eighth notes, you might play something like in the second bar of the following example. In this bar, the second note is too early and the third too late. The rule “all have the same length” is violated. Compare the “wrong” version of the second bar with the correct one of the first bar.

mistake1

Leaving out notes

One thing you can do to make these quarter note triplets even more interesting is to leave out some of the notes. You should “think” the left out notes (to keep a steady feel when playing) but not actually play them. The following example shows two ways to leave out a note (first bar: the third note, second bar: the second note):

leaving out

In the following example – similar to the the first solo of Sultans of Swing, 3:27 – the first note of a quarter note triplet is left out.

sultans2

Examples from other artists

Of course quarter note triplets are something that is not limited to the electric guitar. You can find them in all kind of music, among all instruments, or in vocal parts.

One example is the refrain of The Right Time by the Corrs (quarter note triplets: “This – is – the” (right time) or “Once – in – a ” (life time).

Or the Mark Knopfler song Private Dancer from Tina Turner: I’m your private dancer, a (now the triplet) dan-cer-for-money…

Summary

You have learned that quarter note triplets do not fit into a straight grid of smaller note length. For this reason they are more difficult to play but reward you with a nice rhythmical effect. They are useful to set highlights to your solo.

They should be aware of their nature and practise them until you have internalized them and can play them without thinking about.

Often they start at the first or third beat of a bar. Likewise, you can play them one after the other, filling up a bar with 6 notes of the same length.

Interesting effects are created when some of these notes are simply left out.

Why not use the comment function to add more examples of quarter note triplets and discuss these here?

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Sultans of Swing – The alternate single version and the demo version – sound and gear

Posted on 9 CommentsPosted in Amps, Effects, Guitars, Mark Knopfler gear, Misc, Recording

Dire Straits’ first hit was Sultans of Swing, recorded in Basing Street studios, February 1978. But did you know that there was a different studio recording before (demo version, Pathway Studios, July 1977), and also a later recording (Pathway Studios, April 1978) that was recorded to be released as a single in some countries?

The demo version

This version was recorded on July 2, 1977, together with four other song (Wild West End, Down to the Waterline, Water of Love, and Sarcred Loving which was written by David Knopfler and was never released). The band had just started a few weeks before, and after rehearsing these first original songs they decided to book a small studio – Pathway Studios  – to produce a demo tape. The session cost them about 180 GBP. We all know what happened later: Radio DJ Charlie Gillet played these demo tapes in his Honky Tonk radio show, and the band finally got their record contract at the end of that year.

Pathway Studios was a tiny 8-track demo studio in Islington, London. Here is a quote I found about it in the Wikipedia. Note that it seems to refer to some later point as Alesis digital reverbs were definitely not available in 1977:

“The studio was very small, about 8 x 8 metres with a 2 x 2m control booth in the corner and an upright piano next to it. You could just squeeze three people into the control booth! The tape deck was a Brenell 1 inch 8 track. The monitors and desk were custom made, and they had a pair of Auratones as well, fed from Quad power amps. The desk was quite small, pushed hard against the front wall with the custom monitors hung above and the Auratones on the meter bridge. Outboard was very basic: a Bel delay line, an Alesis digital reverb and Drawmer gates, but they had a nice plate reverb in a cupboard in the office upstairs. I can’t recall all the mics but they were the industry standard stuff. We got big warm sounding mixes and despite the cramped conditions the mixing process seemed effortless compared to the difficult digital learning curve I have been on in the last two years.”

The following two pictures show Squeeze recording there in 1976.

pathway studios 1

pathway studios 2

This Sultans of Swing version (and only this song) was later released on a compilation album called the Honky Tonk demos by Oval records (see below for sound clip).

The single version

After the recording of the first Dire Straits album at Basing Street Studios (February 13 – March 5, 1978), the results were played to Phonogram’s marketing people. Some of them thought that Sultans of Swing was too polished and smooth sounding for a single that is accepted by the radio, so they re-recorded this song on April 20 / 26, 1978, again at Pathway Studios. This single was released in some countries, among them England and Germany, while in others the album version was released (e.g. in the Netherlands or the US). In some countries,  e.g. the former Yugoslavia, one verse (#5, “And a crowd of young boys…”) was cut off to decrease the overall length which – with almost 6 minutes – was rather long for the radio. This version features more distortion and compression, it indeed sounds more like  rock music. It even appears to be a bit faster although it is practically not. It seems it was never released on CD (see below for sound clip).

Sound and gear on these versions

On the demo version Mark Knopfler played most likely his 1961  Stratocaster (S-No #68354) , at this time he only had one Strat. It was probably not painted red yet but had a wood finish. The pick-up position seems to be the middle pick-up. The sound engineer at Pathway – Chas Herington – was later the  lighting designer on the Brothers in Arms tour  in the mid 80ies. It was 1985 in Arnhem, Netherlands, when I spoke with him and asked him about the equipment on these sessions. He told me that Mark played an old Fender Vibrolux amp which was recorded with a Neumann microphone. He also stated that Mark’s typical sound came out of the amp this way, and was not created with outboard effects and processing.
I assume that on the single version Mark Knopfler played his maple-neck Strat (S-No. #80470), also through the Vibrolux. This time there is a subtle distortion, possibly also compression (remember the rumour about the Dan Armstrong Orange Squeezer). The pick-up position seems to be bridge & middle to achieve that nasal sound.

Sound clips

Here are sound clips with excerpts from both versions.
Demo version (from CD)

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Single version (from vinyl single)

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Note that Mark also plays one of the two rhythm guitars on both tracks.

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My Sunburst Schecter Strat Copy

Posted on 9 CommentsPosted in Guitars, Mark Knopfler gear

Following on from Ingo’s  excellent article on the stolen sunburst schecter used on Tunnel Of Love.  I (Dermot O’Reilly also known as strat61 on some forums) have been invited to write a piece on my Schecter come fender strat inspired by that guitar.

Inspiration

Although I followed Dire Straits from 1978 with Sultans it was only Christmas 1980 when I started to play the guitar myself that I really locked onto Knopfler’s style and really fell in love with the strat. Tunnel Of Love has and always will be a special song for me especially the breakdown part in the song with the lines ..

Girl it looks so pretty to me
Like it always did
Like The Spanish City to me
When we were kids

.. and the subsequent play out. As a kid living in Doncaster in Northern England me and me mates (we don’t say “my mates and I” up there) we always kicked around the local fair that visited the Town Moor race course (not Newcastle’s Town Moor a ref for the song along with Spanish City). So at 16 years old having suffered a few life blows already it gave me a real lift.

My Sunburst Schecter Strat Copy

SchecterFender

SD530968

Even though the red schecter strat was used for live shows and TV at the time like Whistle Test because the sunburst had been stolen during Making Movies tour rehearsals Sept-Oct 1980 I later came to discover the Tunnel Of Love (stolen) strat which in the past few years I succeeded in a holy quest to replicate.

So basically it’s half original Schecter and half a 2006 Eric Johnson Sunburst Strat which is based on a 57 strat with the improvements Eric made, not so much for better sound (any strat has the potential for sounding great) but more for playability and stability. I liked the two piece alder body as the join wasn’t noticable and the very thin nitrocellulous lacquer finish. The neck is a 1-Piece Quartersawn Maple, Soft ‘V’ Shape with a nitrocellulose finish. I added an original schecter brass pick guard fully loaded with schecter F500 tapped pickups and original untampered (still waxed) wiring harness. The exact same as used by Knopfler in his sunburst schecter strats (1980 – 86). Also an original Schecter brass bridge with brass block plus brass “bath tub” input jack.
I always loved those Californian Schecter guitars that Mark used early on in Dire Straits and still untill very recently. I remember the day I read the reply from Andys a guitar shop in Denmark street as I read somewhere that Mark used the store and I wrote to them on “real paper” asking for more information. They said Mark used Schecters not Fender strats – I was shocked.  But that soon changed when heard Making Movies was recorded with schecter strats.

Sounds

Here’s a clip of me playing a few Knopfler licks.  Gear is my Schecter/Fender sunburst strat, 1977 Musicman 65W 212 amp. Also in the chain is a vintage Morley volume pedal, vintage MXR compressor, Boss Delay DDS-3 and an Aphex Aural Exciter.

Even though I have an old 1984 squier (The Popular) strat based on old 70’s fenders that I love this strat feels like a profession model, it’s well behaved, all the frets positions play well, but it is a fuller more smooth sounding strat – less brittle. I prefer the half tapped settings as they have a more open tone, the full bobbin is as a result more closed less harmonics but you can more easily get a pinched harmonic sound as is the case with humbuckers – I usually only use the untapped settings for blues or slide. In terms of matching the Tunnel of Love tones it’s pretty close, although I think my Music Man amp has a bigger part to play as any amp does in the tone mix, but this is the amp that was used on that album. The Schecter pickups can get some of the dynamics heard in that song especially the initial rhythm chops at the song start better than a bog standard strat. I’m still not sure whether Telegraph Road (played with the sunburst schecter replacement) uses the fully tapped or half tapped settings. Also an added plus is getting a great Walk Of Life tone as the pickups are the same as Marks Red tele and you can switch in the Neck and Bridge together.

What I like most about this strat apart from the looks of course is it’s ability to cover any type of style rock, blues different Dire Straits stuff over the years. It does a good impression of a Gibson Les Paul with neck/bridge non tapped and tone rolled off and as I just discovered yesterday with the bridge/mid non tapped you can get a good Ride Across the River tone – whereas sometime a std strat does only a few things well if your lucky. Thanks for reading.

FYI: The Eric Johnson Strat

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