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David's Tip of the Day: Dip Technique - Part 3 (Cut)

Posted Tue, 10/09/2012 - 07:49 by David Barrett Admin
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The brother to the dip is the Cut. A cut is where you start unbent (3 draw B for example) and quickly bend. In this case, the 3 draw is sounded on the beat (this is where it differs from the dip, where the first part of the dip... the bend... starts before the beat) and then bend down quickly (again, around a half step). The fourth bar of the third chorus in Little Walter's famous slow blues harmonica instrument "Blue Midnight" provides a fantastic example of the cut.

David's Tip of the Day: Dip Technique - Part 2

Posted Mon, 10/08/2012 - 08:31 by David Barrett Admin
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On Friday I defined how a dip is performed on a standard draw or blow note (any bendable note on your harmonica). You can also perform a dip on a bend, on the 3' (3 draw half step bend, B-flat on a C Harmonica) for example. To perform a dip on the 3' the goal is to start slightly below the 3' (B-flat), say 3" (A), and slide into the 3' without it releasing too far... to the natural 3 draw pitch (B). That's the challenge... to practice playing the 3", which raises quickly to 3' without the 3' completely releasing. Using a tuner or pitch-generating device is very useful for this. continue reading...

What's New: Movement Exercises Study 3 - Arpeggios

Posted Fri, 10/05/2012 - 22:32 by David Barrett Admin
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In this lesson we'll dig into the Essential Arpeggios for the blues harmonica player. This lesson is for Intermediate and Advanced skill levels of players. You'll need an A Harmonica for this study. Videos include: Introduction to Arpeggios; Arpeggios Based on C Major Movement Scale; 2nd Position Arpeggios; F and A7 Arpeggios; Closing Words for Arpeggio Study

David's Tip of the Day: Dip Technique - Part 1

Posted Fri, 10/05/2012 - 10:13 by David Barrett Admin
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The dip technique is where you start a note flat (slightly bent... around a half step) and release it quickly. It's common to associate the "Kya" or "Tya" movement ("Tya" is only performed in a pucker) to help with this technique. continue reading...

What's New: Ryan Walker Student Concert

Posted Thu, 10/04/2012 - 22:57 by David Barrett Admin
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Join Ryan Walker as he performs his three study songs, "Gary's Blues," "Take It Easy Now" and "The Strut."

David's Tip of the Day: Importance of the Jam Session

Posted Thu, 10/04/2012 - 07:48 by David Barrett Admin
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Check out the latest podcast of Jazz Insights with Dr. Gordon Vernick , where Joe Gransden speaks of the “Making it As a Jazz Musician” and the importance of the jam session. Though he’s speaking of Jazz, everything is pertinent to the Blues musician. You can subscribe to this podcast at http://itunes.apple.com/us/itunes-u/jazz-insights-media/id405935692

David's Tip of the Day: Practicing Scales - Part 4 (Studying Artists)

Posted Wed, 10/03/2012 - 09:39 by David Barrett Admin
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For use of the Major Pentatonic Scale, Paul deLay is my favorite.

Practicing Scales - Part 3 (Studying Artists)

Posted Tue, 10/02/2012 - 09:17 by David Barrett Admin
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The next step in getting to know your scales is to study songs that USE those scales. Take a look at the Andy Just Artist Study song "Misery." In this song Andy uses the Blues Scale almost exclusively (for both the head and his improvising).

What's New: Mitch Kashmar Interview

Posted Mon, 10/01/2012 - 10:25 by David Barrett Admin
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A Long Beach California native, Mitch was directly influenced by West Coast blues harmonica legends George “Harmonica” Smith, Kim Wilson, William Clarke and Rod Piazza. I first became aware of his work through William Clarke in one of my favorite blues harmonica instrumental duets “Horn of Plenty” on his release “The Pontiax, 100 Miles To Go” and soon after a live performance at the JJ’s Blues Festival in San Jose, California. His tone, smooth vibrato and truly stellar harmonica playing in all three positions and the chromatic harmonica, make him one of my favorite players of all time. continue reading...

David's Tip of the Day: Practicing Scales - Part 2

Posted Mon, 10/01/2012 - 09:52 by David Barrett Admin
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To sum up Part 1...

1) Blues Scale = Play with Bluesy Jam Track (Box, Slow Blues, Minor, etc.)
2) Major Pentatonic Scale = Jam Track with Light Feel (Rhumba, Swing, etc.)

Put the jam track on and play the scale in the following ways, both ascending and descending, in this order...

1) Whole Notes - Each note of the scale held for 4 beats (this is your chance to dial in your tone, bending accuracy, dynamics, breathing and tremolo... don't skip this step.)
2) Half Notes - Each note of the scale held for 2 beats
3) Quarter Notes - Each note of the scale held for 1 beat continue reading...