Posted Tue, 11/04/2014 - 03:34 by David Barrett Admin
Students were naturally nervous to play at the evening jam sessions, especially with all the great talent and the video cameras rolling. We all have aversion to putting ourselves into situations where we may embarrass ourselves publicly. The key point I like to remind students of is that a jam session is not a concert. A jam sessions is an opportunity to explore new ideas and to allow the moment of collective vulnerability (for the band as well) to create new and exciting music that could only come from that dynamic moment.
Posted Mon, 11/03/2014 - 00:04 by David Barrett Admin
I'm at my desk in the Movenpick Hotel Stuttgart, about to leave for my flight home. Today I'll start a series based on my observations from my classes, conversations with students and what I heard at the jam sessions... specifically what I saw in regards to deficiencies.
Memorize your three blues chords...
I7 (one-seven chord) = G B D F (G is the Root of the chord, B the third [third note from the root in the basic scale... G A B], D the fifth and F the flat-7th [the 7th in the Key of G is F#, so F being lowered a half step is the flat-7th)
IV7 = C E G Bb
V7 Chord = D F# A C continue reading...
Posted Thu, 09/18/2014 - 06:55 by David Barrett Admin
Focus Notes and Texture go hand-in-hand. As each chorus passes, you're keeping track of what you've played. You're not trying to remember every lick, it's more of a simple scorecard of what focus notes and the textures you've used.
For example...
Let's say you've played three choruses so far. Chorus 1 focused on the 1 draw and you used single notes. Chorus 2 focused on the 2 draw and you threw in some dips, slaps and pulls. Chorus 3 you focused on the 3 draw, mostly emphasizing the bluesy sound of the 3' and didn't use any new textures. continue reading...
Posted Wed, 09/17/2014 - 07:07 by David Barrett Admin
I stated yesterday that once you play a focus note for a chorus that it should be mentally crossed off... not to be started on again for the rest of the song. BUT, you can use it again after a number of choruses if you present it differently. For example, if you played the 4 draw earlier using the standard slap, you can present it later with a flutter, shake, octave or powerful two-note combination. So, presenting notes with different "textures" (combining a focus note with other notes) you expand your ability to keep your solo fresh and interesting. More on textures tomorrow.
Posted Tue, 09/16/2014 - 07:48 by David Barrett Admin
To sum up the concept and importance of focus notes...
1) Focus notes are the notes of your I7 Chord, G B D F if you're in 2nd Position on a C Harmonica. This gives you the hole numbers 1 2" 2 3 4 5 6+ 7 8 9 9+ continue reading...
Posted Thu, 09/04/2014 - 09:23 by David Barrett Admin
My most common comment to students when improvising (I state this every day in my lessons) is to leave more space. Main licks and fills can quickly run together into a frantic mess when space is not utilized... like a run-on sentence. You often hear music coaches of non-wind instruments say to pause, as if to take a breath. This provides space between your phrases and enough time for the listener to digest what you just stated. This also tends to fix rhythmic issues. continue reading...
Posted Thu, 06/26/2014 - 07:42 by David Barrett Admin
Work on a passage until you feel like you have it. Record yourself playing that passage. Listen to the original recording with sheet music in hand (if available) so you have a clear reference of what the passage should sound like. Listen back to the recording of your performance and with a pencil circle any areas on the transcription that you feel don't quite sound right. Listen back numerous times, to both the original and your recording, to pinpoint exactly what needs work.