dynamics

Listen to "In Memory," the song featured in today's release of Recording Study 4. The pitch content of what I played and the textures I used in which to present them are of course important, but dynamics are center stage in this song to convey emotion. The use of dynamics (primarily volume change) is what's commonly missing from players in their first five years of study. The addition of dynamics easily doubles the emotional impression on the listener... I can't emphasize this point strongly enough. continue reading...

Another comment I give daily in my teaching is to play softer, especially when playing amplified. Play at 40% of your capable volume as your normal volume. This gives you great dynamic range for expression later in the song. Little Walter did this and it worked for him. Have a great weekend everyone!

I was playing to a slow blues jam track many years ago and was frustrated at the way I sounded.

I went to my well of inspiration and listened to slow blues solos performed by Gary Smith. I noticed that the last note of each of his phrases was held (with a vibrato commonly) and the volume decayed slowly until the next phrase. It didn’t sound as if he actually stopped any of his last notes… they either disappeared into the mist of the noise floor of the band (maybe he was still playing, but I couldn’t hear it?) or he decayed to the point of almost stopping and he started his next phrase. continue reading...

Listening to Kim's "Hunch Rhythm" I'm sure you noticed that he didn't reserve dynamic change for only chord change, he also would...

1) Start a lick soft and then finish LOUD

2) Start a lick LOUD and then finish soft

3) Start a lick soft, then go LOUD and back to soft

4) Start a lick LOUD, then go soft and back to LOUD

5) Play punctuated note(s) VERY LOUD to surprise and excite you continue reading...

One of the many areas Kim Wilson excels at is in his use of dynamics. Take a listen to "Hunch Rhythm" from his Tiger Man release. The opening chorus is the AAA Chorus Form and then the 2nd Chorus is A B/A C and as he gets into the 3rd Chorus and onward he drops Chorus Form use and focuses heavily on dynamic and textural change. Listen carefully to this on a good sound system or headphones and notice how well he uses dynamics. After doing this, listen back to the track you recorded yesterday and see if you can add MORE dynamics... louder-louds and softer-softs.

Yesterday's dynamic change works best with live musicians that can react to your dynamic change. Our next two tips (today and tomorrow) works with both a live band or jam track.

Now use chord change as your trigger to change volume.

Play the I Chord (first four bars) at a given volume. When you reach the IV Chord (Bars 5 and 6) play at a different volume (louder or softer). When the I Chord returns in Bar 7, once again change your volume. Change again for the V-IV-I lick (Bars 9 and 10) and then again for the Turnaround (Bars 11 and 12).

Give this a try with your favorite jam track.

Listening to Little Walter's "Off the Wall" you noticed that he played each chorus at a different volume. He started off very strong and then dropped his volume low for Chorus 2. He then brought his volume way up again for Chorus 3 and then down for Chorus 3, and so on.

The turnaround is the most recognizable location in the blues and is a great place to remind us to change our volume. continue reading...

Now that you've recorded yourself to a jam track, listen back to your use of dynamics (volume change). Did you stay at the same volume the entire time?... if you did, it's not uncommon, but it's time to fix this.

Varying volume is the strongest tool available to us to convey emotion to the listener. Along for the ride is tone. As we change our volume, our tone and how our rig (mic and amp) responds changes. This is why we use the term "dynamics" and not just volume change... when we change the volume, many other factors are dynamically changed with it. continue reading...

Are you a loud player? Most likely you're compensating for your lack of technique by playing loudly. Take a study song you know well and each day strive to play it softer and softer, until you can play it at a whisper-quiet volume. You'll find your bending to improve from this exercise as well as of course your dynamic control (we ALL can use work on that one).

P.S., volume is the #1 killer of harmonicas. Are you guilty of harpslaughter?