octave

Simple, but powerful, tip today. Take each lick/song you learn and play it up an octave.

Now that you have the hook dialed in, experiment with changing the way you present the hook.

I7 = 2 2" 2 doesn't have many options, but 6+ 5 6+ does. Use slaps to present them. Try slaps on the 6+ and flutter on the 5 (this is a very common way to present this lick). Octaves are great (though 2/5 is not an octave, it's an acceptable dissonance). Maybe start the lick with a pull to give it a rhythmic change.

Experiment with the other chords to see what you come up with.

The first step in experimenting is to move your hook up or down an octave...

I7 = 2 2" 2 turns into 6+ 5 6+ (or 9+ 9 9+ in rare cases)

IV7 = 4+ 3' 4+

V7 = 4 4+ 4 turns into 8 7+ 8, but due to the IV7 not being able to be moved up an octave negates this option

And your Bb Harmonica in 3rd Position...

I7 = 4 4+ 4 turns into 1 1+ 1 or 8 7+ 8

IV7 = 6+ 5 6+ turns into 2 2" 2 or 9+ 9 9+

V7 = 6 6+ 6 turns into 3" 2 3" or 10 9+ 10 continue reading...

Thanks for your patience while I was traveling... Tip of the Day is back! Take a look at "Challenges of Playing on the High End - Octave Substitution" from 10/12. In this I used the opening to "Juke" (minus pulls and such, just the basic pitches) and wrote 3+ 3 4 5+ 6+ 6+. continue reading...

You can also move licks down one octave to better understand their movement and note selections. Here's a Lee Oskar lick in its original form on the high end and then down one octave...

9+ 9 8, 8+ 8 7, 7+ 7 7 6 6+ (played in a triplet rhythm)

6+ 5 4, 5+ 4 3, 4+ 3 3" 3+

Note that the 6 turns into 3". If you have a lick that relies on the 3" in the lower octave, it may be a smart choice to play that lick one octave higher so its easy availability as a 6. In this case, the high end version of the lick is much more fluid, requiring less movement. continue reading...

Let's now take some familiar licks and move them up an octave. This is by far the easiest, and most enjoyable, way of getting to know the high end of the harmonica.

First lick of "Juke" by Little Walter (minus pulls and such, just the basic pitches)
3+ 3 4 5+ 6+ 6+ = 6+ 7 8 8+ 9+ 9+

First chorus of "Easy" Big Walter Horton
3 4+ 4, 4 5+ 4 4+ 3
5+ 5 6+, 6+ 6+ 5 5+ 4
4 5+ 4 5 5+ 4 4+, 6+ 5 5+ 4 3' 3" 2 2, 3 4 5+ 6+ slide-to-2 2 1 1

=

7 7+ 8, 8 8+ 8 7+ 7
8+ 9 9+, 9+ 9+ 9 8+ 8 continue reading...

Center your tongue and move it ever-so-slightly back (away from the harmonica) so that you're only covering two holes with your tongue. Again, focus on the convex shape of your tongue, there’s no need to use the tip of your tongue if you use a light touch. continue reading...

We need to take a quick break from the transcription series today for a fellow student in need of help with octaves. continue reading...

Here's a little known fact...

If you play 2 draw and 5 draw at the same time (blocking holes 3 and 4 with your tongue... a standard octave embouchure size) you get G on the bottom (2 draw) and F on the top (5 draw). This creates a great bluesy dissonance that's used often by players.

You probably already knew this, BUT, did you know you can bend the 2 draw G down to F, without affecting the 5 draw F, creating an F octave? continue reading...

It's common for players to use the tip of their tongue to block the two middles holes when performing an octave. Another option, one that I personally use, is to use the top of the tongue, just like you do for your other tongue blocking techniques (single notes, slaps, pulls, etc.) but just using an ultra-light touch so that the top convex shape of the tongue blocks the two middle holes, allowing air to flow on the left and right-hand side of the tongue. Tone is the same, but I'm able to be more relaxed an efficient in regards to moving from technique to technique. continue reading...