tone

Stuff You Should Know releases on Tuesdays and Thursdays and is one of my favorite podcasts to listen to. On Tuesday the subject was "Bridges: Nature Abhors Them" and at 48:21 they speak of mechanical resonance in regards to the Tacoma Narrows Bridge disaster. Believe it or not, the understanding of this will help you to become a better harmonica player. continue reading...

Yesterday I shared with you the important tip of using a yawn to create an embouchure conducive to creating big tone. Today I share the second element of how I create big tone on the harmonica... it's the word "radiant." This helps me to both play softly and direct warm/radiant air through the harmonica. Playing softly is at the core of controlled technique and the ability to play with dynamics (playing softly as your default provides a large dynamic range in performance). continue reading...

Use a slight yawn… this drops your jaw slightly (opens your mouth cavity), drops the middle/back part of your tongue (most important... this the #1 cause of poor tone, even if everything else is in alignment), raises your soft palate (so that no air goes through your nasal cavity) and opens your throat (gives you a larger tone... noticeably more bass).

I mentioned some benefits of playing softly. One of the key benefits is the longevity of your harps. However, a major epiphany for me as a player was when I realized just how softly and relaxed Big Walter was playing (he’s my favorite classic player). Everyone recognizes Big Walter’s tone as being fantastic. Both Big and Little Walter played softly for the majority of what they played, giving them great dynamic range for when they wanted to “hit it hard.” 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...

I mention this often, because I mention this often in my private teaching and in your submissions on the site in regards to your tone. Let's focus on your mouth cavity... your tone chamber. If your tongue PUSHES on the face of the harmonica, not only does the tongue encroach into the hole(s) you're intending to play (narrowing it's passage and creating poor/bent tone) but the body of your tongue commonly comes with it, moving forward and commonly upwards in the mouth, robbing your tone chamber of volume... low/small volume equals thin, wimpy tone... high/large volume equals big tone. continue reading...

Here's a simplistic, but effective way to incorporate your hands while playing. Go to http://www.bluesharmonica.com/lessons/solo_harmonica_study_2 and study Ex. 1.5. While playing single notes, open your hands. When playing chords, close your hands (cupped). Playing this way emphasizes the melody (louder and brighter in tone) and de-emphasizes the chording (softer and more muted/bassy). This accentuates the impression that two harmonica players are playing.

Last week I spoke of how the middle and back of your tongue is to be lowered to achieve good tone. If you've been reading the forum posts on BluesHarmonica.com you've probably noticed a theme... when students are having issues with notes sounding airy, flat, not at all or squealing... my answer to them is that their tongue is located in a place in their mouth that's offending that reed (commonly trying to bend the note). The fix is to make sure the middle and back of their tongue is lowered. continue reading...

Close your mouth and yawn. This will give you the sensation of what it feels like when a professional harmonica player with big tone plays the harmonica. The jaw is slightly lowered... middle and back of the tongue is lowered to the floor of the mouth... throat is slightly ballooned open... and soft palate is raised to close off the nasal cavity. continue reading...

A student asked in the forum this morning how to achieve good tone while bending. I thought I would share my answer with you, it's a common question. continue reading...