Posted Fri, 05/16/2014 - 07:54 by David Barrett Admin
This is the harmonica player's standard way of performing a tremolo and is the basis for the vibrato that we'll cover later. This technique is produced at the vocal folds, where you open and close your airway. Performing a slight cough (without engaging your diaphragm) will give you the feeling of this technique. Your goal is to isolate your vocal folds so that the listener never hears a coughing sound (you are exhaling, but it's a smooth and even stream of air, not a burst of air from the diaphragm for each tremolo piece). continue reading...
Posted Tue, 05/13/2014 - 08:11 by David Barrett Admin
Using a tremolo or vibrato is one of the most important techniques for players of wind and string instruments to utilize to add soul to their playing (which is mimicking the human voice by the way, if you didn’t already figure that out). To start our series let’s first define that there are three components that make up this sound we call tremolo or vibrato. First, a definition... Tremolo is change in amplitude (volume) and vibrato is change in pitch. continue reading...
Posted Fri, 05/09/2014 - 07:46 by David Barrett Admin
This comes from Joe Filisko's B1 Blues Room student newsletter...
WBEZ's Sound Opinions recently discussed the legacy of Chess Records, with nods to harp legends, Muddy Waters, Willie Dixon, Chuck Berry and more. This is definitely worth a listen: http://www.soundopinions.org/show/440
Posted Thu, 05/08/2014 - 08:18 by David Barrett Admin
I've had the pleasure of playing with Keith a couple of times. Keith is a very nice guy and has a cool approach to the harmonica that's both classic and open-minded at the same time. Here's his video interview...
Posted Wed, 05/07/2014 - 09:19 by David Barrett Admin
Here's a list of killer instrumentals with strong heads.
“All Corned Up” Jim Liban, Hot Tongue and Cold Shoulder
“The Bounce” Rod Piazza, Alphabet Blues
“Hittin’ Heavy” William Clarke, William Clarke, the Early Years, Vol. 1
“Red Top” Gary Primich, Mr. Freeze
“South Bay Beatdown” Gary Smith, Blues for Mr. B
“Harp Shuffle” Mark Hummel, Harmonica Party
“Blues For Big Nate” Jerry Portnoy, Red Hot ‘n’ Blue
“Club Zanzibar” Kim Wilson, Kirk Fletcher, Shades of Blue
“El Gado Rumba Azul” Curtis Salgado, Hit It ‘n Quit It
“Ashburn Blues” Dennis Gruenling, Jump Time continue reading...
Posted Tue, 05/06/2014 - 07:46 by David Barrett Admin
If you have a veracious apatite for learning songs (good for you!) and want more than what I've written for you on BluesHarmonica.com, Joe Filisko has some great study songs at http://www.filiskostore.com. He uses a different notation system than I, but it's common in the harmonica world to develop the skill to read multiple notation systems since there's no standard.
P.S., I really like "Rice Cool Blues," it uses chords, single notes and some bending that's fast, but used not too often.
Posted Mon, 05/05/2014 - 09:26 by David Barrett Admin
In Friday's tip I spoke of the hook, which is a catchy lick that's played by the rhythm section and BECOMES the groove.
The other most common way to play a catchy lick is to use it as the main lick in a head. The head is the same structurally as any other chorus in a song, it's just the BEST one. The lick is repeated within that chorus, using one of the Chorus Form structures I teach in Improvising Study 1 (http://www.bluesharmonica.com/lessons/improvising_study_1_chorus_forms) to make it memorable. continue reading...
Posted Fri, 05/02/2014 - 08:31 by David Barrett Admin
For a groove to be special, it's generally based on a cool lick, played by the rhythm section and sequenced throughout the chord changes (this is where the lick is moved up or down to be played on the other chords)... this special lick is known as a Hook. Here is a list of cool hooks that lay very well on the harmonica. To learn how to play these on the harmonica visit: http://www.bluesharmonica.com/lessons/accompaniment_study_8
“Blue Midnight” Little Walter (Bass Line)
“I Found A New Love” Magic Sam
“Driving Wheel” Junior Parker
“Just to Be With You” Muddy Waters continue reading...
Posted Tue, 04/29/2014 - 09:33 by David Barrett Admin
Every song starts with a spark of an idea. Most of the time the spark is a cool lick that has a catchy rhythm and/or note combination that you match to a groove after its creation. Sometimes you sit down to write material for your band or a CD project and you think about exploring different grooves (shuffle, swing, two-beat, rock-beat, rumba, etc.) to add variety and spark some new directions. Sometimes you have a mood in mind.
Let's take some time and explore these different ideas this week. Listen to these three examples for their mood and let's discuss their ideas tomorrow. continue reading...
Posted Wed, 04/23/2014 - 08:25 by David Barrett Admin
Our best tool for bettering our playing is to record ourselves and listen back with a critical ear. If you use this tool correctly, by the time you send your final recording of a study song to me, it should be pretty dialed in. I shouldn’t be making comments about missed notes, they should be more about technique, tone and approach. When listening back to your recording, use your finger to follow along with the provided music/TAB and mark areas that need improvement. continue reading...