technique

The blade of the tongue is the front of the tongue, just behind the tip. This part of the tongue is used for tongue blocking an octave and for standard single-hole tongue blocking. When performing an octave, your lips surround four holes and with a very light tough, the natural convex shape of the blade of your tongue covers the middle two holes (if you press your tongue on the face of the harmonica too hard you’ll block all four holes, so a light touch is important). continue reading...

A tight cup is used in preparation for a Wa or Tremolo in acoustic playing, or when holding a bullet mic for amplified playing. Whether you use the Pinch, End Cap or Two Thumbs Up approach taught in your lessons, each have the common element of an airtight cup (I'm not saying you have to squeeze your hands tightly, but your cup results in an airtight cup). A great way to test this is to hold your harmonica in your normal way... close your cup (in preparation for a Wa acoustically or for deep bass amplified)... drop your harmonica into your lap... continue reading...

When watching players like Sonny Terry and Rice Miller on video you'll sometimes see them move their hands left to right or fan the harmonica while playing. Though they don't touch the harmonica, this rhythmic movement in front of the harmonica does alter their tone and volume in a rhythmic way. It's hard to call this a full-on tremolo due to its short duration and small tonal change, but it's cool and worthy of mention.

Though not usually taught as a way to produce a tremolo, using the diaphragm in a panting-like movement creates an interesting version of it. Jason Ricci uses this and demonstrates it in his interview on the site http://www.bluesharmonica.com/jason_ricci. Why is this not taught?... it takes less effort to produce a tremolo from the throat (vocal folds opening and closing) and is easier to produce a vibrato by actuating it from the throat. With this said, Jason makes it sound pretty good, so it is a valid option.

With all vibratos your mouth needs to be tuned to the reed you're playing, and with this type of vibrato you move your tongue in a Ya Ya Ya-like motion to change the pitch (jaw is stationary, only the tongue moves). This is similar to the idea of the Chewing Vibrato in the way that the throat is not used at all. continue reading...

The vibrato needs a bit of airflow to activate all of its moving parts, so it doesn't work at very low volumes. For this reason, practicing going from a low-volume tremolo into a vibrato is time well spent. The practice is straight forward, start playing a note as softly as possible, using a tremolo of course, and as the volume increases enough to use the vibrato, switch to a vibrato as smoothly as you can (not allowing the vibrato to kick start and start swing hard and fast... the goal is a smooth transition). continue reading...

The throat vibrato is generally easier to produce at a faster speed. Though powerful... think Paul Butterfield... that intensity is not always appropriate. Gary Smith has a silky-smooth slow vibrato and I remember him saying to me at age 16 that slowing it down was really a challenge... and it was. It took me about a year to produce a good vibrato and another couple of years to slow it down.

The mouth and tongue (in their relaxed state) are influenced by the throat tremolo to produce the vibrato. What I feel when I slow my vibrato down is that I simply slow down my tremolo. continue reading...

Now that you're working on the different vibrato types, it's time to match them all up. Play your throat vibrato on 1, 2 and 3 draw and then chewing vibrato on 3". Work on matching the depth (how low the note bends) and duration (the time between bends) of the chewing vibrato so that it matches that of the 1, 2 and 3. Do the same for your chewing vibrato on 7+, 8+, 9+ and 10+ to match the vibrato on your 4, 5 and 6 draw. You don't have to play them the same all the time (musical context will dictate this), but it's good technique to have an even approach across the range of the harmonica.

The same Chewing Vibrato you experimented with yesterday can be used on blow bends. To prime your embouchure, play a 8+ and then 8'+ a couple of times to feel where the sweet spot is for the pitch of the 8+. Now play the 8+ and move your jaw up and down and the vibrato will be there. The same applies for the 9+ and 10+. The first time I heard of this as a technique was in an audio cassette instruction by Gary Primich. Have a great weekend everyone!

The 3' sounds great with a vibrato, but for most players the 3" swings too much in pitch and is not a very pleasing sound. When performing the 3" try moving your jaw up and down to produce the vibrato. The more you move your jaw the larger the change in pitch. The speed of the jaw movements depends on how fast you want the vibrato. This is commonly known as the "Chewing Vibrato."

If you would like to see and hear me demonstrate this technique visit the lesson "Tremolo & Vibrato" at http://www.bluesharmonica.com/lessons/tremolo_and_vibrato