blues

In Hob's latest lesson he plays the entire tongue block study song Temperature (focus on slaps) for me and I critique. I teach hob the bending technique of the dip and how to breathe through his nose as a pressure relief valve while playing the harmonica (as well as learning how to close the nose on inhale notes so that he doesn't fill up with air). He learns what the note layout is on the major diatonic harmonica and why the notes were ordered in the way they are. Finally we talk about the difference between 1st and 2nd Positions and we play common accompaniment lines in the 12 Bar Blues. continue reading...

Overbend instructor Ross Garren just released an interview with Mark Hummel here http://www.rossgarren.com/interviews

Three classes have just been opened to the public (my private students get first dibs). Info below...

5/15 - Rhythm Training & Dynamics (Class Size: 10 / Seats Left: 4 / Rate: $145) continue reading...

You might already be familiar with Akarsha (Aki) Kumar from the recent CD "It Takes Three" with Aki, Gary Smith and myself (David Barrett), or the Contributor Videos Aki submitted in the early days of BluesHarmonica.com (2009). Aki was one of my students, and I'm proud to say one of my most dedicated and now accomplished students. He's been a professional player in the California Bay Area now for ten years, currently runs two of the most successful jam sessions in the area and has been featured on numerous CD's for the prestigious Greaseland Studios label. continue reading...

There's a tendency for new benders to push their tongue hard on the face of the harmonica, using it as a type of anchor for the humping of their tongue. Tension in the front of the tongue, or the pushing of the tongue forwards onto the face of the harmonica, commonly causes thin and airy tone while bending. continue reading...

Let's use an example of a common error when performing a memorized piece of music to a backing track or live band. Let's say that you accidentally rest for 5 beats after a phrase instead of the required 6. You've worked on your song so much to memorize it that you have the spacing worked out between each lick so well that if you're not saving some of your mental power for listening to the band as you play to make sure that you are where you're supposed to be in the form, then you'll most likely stay out of time for a loooong time.

Here's a tool you can use... continue reading...

Here are some tips to help you relax when playing the harmonica. Attention to these elements will improve your tone (tense muscles create a restricted airways = poor tone) and speed (tense muscles are slower, especially in regards to drag when pressing your hands, mouth or tongue onto the harmonica).

1 - Take a couple deep breaths. This relaxes your entire body, importantly your neck and shoulder muscles, which tend to hurt after extended play. continue reading...

Well that's it, these are all of the songs that students of School of the Blues first learn before they start to add their own song selections into the mix. I recommend you look at the listing I provided (https://www.facebook.com/bluesharmonica/) and make note of the different types of grooves that are represented... these are the grooves you'll most likely play in an average set. continue reading...

In this submission Gary has us "Thinking on our Feet," taking what the other player gives us when trading solos. We trade 12's, 4's, 2's, 1's and even... to our great surprise... 2 beats!

Here's what I like to play. Reminder, Bar 9 is four beats on the V7 and then two beats for the bVI7 and then two beats back down to the V7.

#1 - 3" 3' 3"

#2 - 4+ 4' 4+

#3 - You can also play an arpeggio (notes of the chord played one after another). The V7 Chord being 1 2' 3" and then 4' for the bVI7 and back down to the 4+ for the V7.

As always, the key practice point is to loop that part of the song and play it hundreds of times until you come up with two to three combinations that you like and then memorize them so that they'll be waiting for you when you play this song.