Ask Instructor David Barrett

I know a little theory so that's a good thing though there are times when a little knowledge can be a dangerous thing!

If we follow the circle of fifths clockwise I can see why playing a C harp in G is called 2nd postion and why playing it in D is 3rd position. That would lead me to conclude playing a C harp in A is 4th position. I understand all these possibilities are actually modes of the C scale which give us different types of major and minor scales depending upon where the whole and half steps end up falling. continue reading...

Hi, David:

For the improvising study in LOA-5, I created an original instrumental using the five chorus forms. In the past couple of weeks, though, that instrumental has evolved. It's now a stronger, more interesting song but no longer has all the different chorus forms.

When I submit for LOA-5, should I submit the original version of the song (the one with all the chorus forms)?

Hi David,

I'm trying to find the two as yet unlocked artist studies, but don't want to open my email everytime I want to load the studies.

I tried using the search option here on the site but can't find them that way either.

Can you give me a tip of how to find them?

(As you have zillions of students asking billions of questions each day, I'll remind you that I have just recently unlocked level 2 loa). :-)

Regards,

Chris (Gully)

I'm reasonably familiar with the Juke riff in 2nd position so I decided to try it in 3rd. With the F# being necessary I can only play it at the low end. The bend to the A then release to the B on the 3 hole is a bit of a challenge but coming along. As I can't fully replicate the riff higher up where there are no bends due to the lack of a F# I've been playing just the last couple of notes up there then comparing my 3" to see if it sounds similar to 6. My question is do you recommend this kind of comparison to your students? Is there a video? Thanks!

Hi there, I have a few questions regarding different things.

1) I'm learning The Strut at this moment, and I have a difficulty with the 3/4 dip with

a Seydel harmonica, problems which I do not have with my lee oskar in the key of D, nor do I Have

that problem on any other harmonica (all my others are Manjis), it just feels "stuck" when I try to dip it in a

fast and flowing manner. I tried working on my embochure for that specific harmonica but continue reading...

Hello instructor, I have a few questions:

1 - About amp settings on the band stand: We should set the Bass on 10 and the Treble on 0 (rule of thumb) but when you mic the amp, and the signal goes to the mixing table, does the sound man also have to set the channel to Bass 10 treble 0, or he should leave on the "flat position"? Should i tell him anything or should I leve him decide what it´s best for the situation? Because we rally want the people to hear that "bassy sound" right?

  continue reading...

Hi.  In Solo Study 3, examples 1.3 and 1.4, I assume all the single notes are to be tongue-blocked and all the two-note harmonies not tongue-blocked.  Is that correct?

Hi David, just I quick one: in solo harmonica study 2, exercise 1.4, is it acceptable to use 2 draw where you have tabled 3 blow as I'm finding it helps with my triplet runs? Just wanted to check if there was a technique reason for me to use the 3 blow?

Cheers!

Will

So David, how do you get vacation when you seem to work 7 days a week on the site? Do you just lay low for some time or do you tend to warn everyone in advance? Don't get me wrong, every one needs vacation, but when you're not around for a day or two we notice.

Blues Creepin' Over Me is the best song so far. It sounds like the blues I hear in my head when I think blues harmonica. You go over it fairly quickly but given its relative simplicity that's not surprising. Hoping there's more like this down the road. Your teaching video without vocals is great and I would have liked an audio copy to put into iTunes so I could take it with me but the one with vocals will be just fine.