tongue

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...

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...

In Beginning Student Hob Bosold's latest lesson he plays the Tongue Blocking Study 1 study song "Walk with Me" to the jam track, learns about the slap and lift technique in the study song "Temperature" and receives his LOA-L1 pin.

Anyone working on tongue blocking techniques will benefit from the use of the Tongue Block Trainer. I use the TBT in my lesson videos at BluesHarmonica.com so that students can see what I'm trying to get them to do. I also give the TBT to each of my private students at School of the Blues so that I can ensure that their tongue is doing the techniques properly. You can see more details about the TBT at the Filisko Store here: http://www.filiskostore.com/page/480389598

Beginning student Hob Bosold's latest lesson is now up. In this lesson we cover: Tongue Block Study 1: Walk With Me, Page 1 Review; Page 2 Review; Solo Harmonica Study 1: Examples 1.2 to 1.7 Review; Major Scale and Finding where you are on the Harmonica; Solo Harmonica Study 2: Example 1.6 and Music Theory Study 1: Section 2 Review (Bending Focus)

Use a lighter touch. The gasket seal of your lips and tongue on the face of the harmonica work best when they're soft and supple. This is especially important when you perform tongue block techniques like the pull... with the slightest amount of pressure you should be able to close all of the holes in your embouchure for the start of the pull. This also helps when sliding on the harmonica... you're quicker and will have less abrasion due to the tongue and lips gliding across the face of the harmonica, not getting stuck in the holes as you move.

The top of your tongue is wider. If you find yourself pushing your tongue on the face of the harmonica to cover enough holes for a tongue block technique, use more of the top of the tongue (tip under the harmonica) and go back to using a light touch on the face of the harmonica.

If you've read it once, read it again... this paper is as important to advanced players as it is beginning. The more we can understand how the harmonica and mouth works in the bending process the better. In Ross' Overbending Study 1 he'll be referencing the concepts from this paper, so you'll want to review it to fully understand how the reeds work in the overbending process. https://www.bluesharmonica.com/sites/bluesharmonica.com/files/mri_bendin...

Center your tongue and move it ever-so-slightly back (away from the harmonica) so that you're only covering two holes with your tongue. Again, focus on the convex shape of your tongue, there’s no need to use the tip of your tongue if you use a light touch. continue reading...

An alternative to the Flutter Tongue is the Side Flutter, where your tongue moves side to side. I commonly see three ways this is approached...

1) The tongue moves side to side on the face of the harmonica. When the tongue is to the right, the low note sounds (D for example on the C Harmonica when performing a 1 draw/4 draw side flutter). When the tongue moves to the left, the high note sounds (4 draw in this case). With a light touch on the face of the harmonica and a relaxed tongue, the tongue moves side to side quickly, jumping between the two octave D's. continue reading...