Posted Tue, 01/27/2015 - 08:08 by David Barrett Admin
My music instructor in college would often say for us to move our bodies while playing music, it helps with the rhythm. I sure have found this to be true through my years of playing and teaching. Though tapping your foot is a valuable tool, it's a fast muscle structure and can easily rush or drag without much indication to you while playing. When moving your body, the pendulum effect of the bodies large mass makes rushing or dragging less likely. Instead of your foot being influenced by your playing (faster/slower tapping), your body is influencing your playing (more consistent rhythm). continue reading...
Posted Fri, 01/23/2015 - 11:20 by David Barrett Admin
In our last handwritten TAB example I add standard rhythm notation. Most of the time this isn’t needed while learning by ear, but if you’re having difficulty with the rhythm of a particular passage it’s beneficial to take the time to figure it out (better to spend the time to own a rhythm than cower from it when it comes up in the music). Note that I’ve also changed the 1 and 2 draw chords found on upbeats to a “P,” which indicates the technique Walter is using to sound those chords, the tongue block Pull.
Posted Thu, 01/22/2015 - 08:37 by David Barrett Admin
I've now added what I feel are two important elements to a basic hand transcription... bar lines and chord changes.
By placing a vertical line after the last note of a measure (which in turn is before the first note of the new measure) you're helping to give a basic visual reference of where you are in time. Though you're not providing standard rhythm notation, which would show you exactly where you are in time, this is a good intermediary step when playing by ear. continue reading...
Posted Wed, 01/21/2015 - 11:32 by David Barrett Admin
In our newest episode of the BluesHarmonica.com Recording Study series Gary Smith shares his recording experiences and how he would like to approach our new CD project. Gary and I rehearse our harmony tunes and I provide you with MP3 scratch tracks and PDF music/TAB for you to play along with us.
Posted Wed, 01/21/2015 - 10:48 by David Barrett Admin
Here's my basic handwritten TAB for the fist line of Little Walter's "Rocker." When a hole number stands by itself it's to be drawn (inhaled). When a hole number is followed by a plus it's to be blown (exhaled). Each slash that follows a hole number represents a half step of bend. If two notes are connected by a arched line, the bend is to be slurred (slides from one note to the next). I use a comma to separate phrases, making breaking down the phrase for study easier. This is also helpful for seeing how the phrasing works for dynamic presentation. continue reading...
Posted Tue, 01/20/2015 - 08:41 by David Barrett Admin
This is good timing!... foreshadowing for our Recording Study video interview with Kid Anderson to release in a month's time. Kid will also be the guitarist and recording engineer for our new CD (Gary Smith, Aki Kumar and I). Congrats to Kid on this featured article!
Posted Fri, 01/16/2015 - 13:47 by David Barrett Admin
It's now time to get to work. Take a listen to the first four bars of Little Walter's "Rocker." I would like you to figure out: the key of harmonica; the key Walter and the band are playing in; where he starts in time; and how you would count this song in.
I'll get you started...
1) He's playing in 2nd Position
2) He starts with a 2" (2 draw whole step bend) that quickly goes to 2 (2 draw)