Ask Instructor David Barrett

Hi David, I'm sorry to bother you with this as I suspect you have answered it before but I haven't been able to find an answer yet: continue reading...

One chromatic study is labelled as beginning, several are intermediate, and one is advanced. As I'm considering adding chromatic to my daily LOA studies I'm wondering how to interpret those labels. Does beginning mean for a relative beginner, say just beginning LOA 5, or does it mean it's the first step for a player who's a solid diatonic player. I can probably take a pretty good guess at the answer but when I see 3rd position Study 2 not appearing until LOA 8 I'm a bit concerned I might be trying too hard?

So the flip side of this coin is to realize that one diatonic harmonica can play in many positions with bending only at the low and high ends? Those would basically be the modes based on the major scale. Counting the major scale that would give us seven positions. 2nd position on the C harp is playing in G. 1st position on the C harp is C so the rhumba I IV and V chords are C, F and G. If we play 4+, 5+ and 6+ for the I chord it's C, E and G. The IV chord is F, A and C from holes 5, 6 and 7+. The V chord is G, B and D from holes 6, 7 and 8.

Hi devid,

I'm working on blow bends and in a couple of week I am now able to blow bend holes 8 and 9 on every harp I have.

Hole 10 instead, I'm able to bend it on G harmonica (seydel classic), Bb crossvorer, C crossover, but on my special 20 results very difficult. Is there any advice, this is a plastic come harp, maybe there something on that reed. I will continue to work on it, now sometimes I get te 10 whole thone bend but very difficult.

Hi David, I've recently joined and am loving the site. I'm just polishing up Walk with me in LOA-1 and have been working through the other sections. The theory is fine and getting there with the scales but I'm not sure how far I should be getting through the solo section? I'm happy down to 1.9 but struggling to coordinate my tongue a bit after that at the moment, and the bass lines section mention describe pulls which confused me a bit too. continue reading...

Inadvertent double post.

Having purchased gear from Greg I believe he's not far from Napa. Any word?

Great introduction to 3rd position but I'd like to switch the jam track up a bit by singing two choruses, playing accompaniment for three choruses as if another instrument was soloing, plus taking two of the choruses in the middle and making them my solo. The problem is the solo is in 3rd position but I only know how to accompany a rhumba in 2nd position. Is there somewhere on the site I can learn an easy 3rd position accompaniment so I don't have to switch harmonicas during the song?

I like the interviews where the player is also a teacher. I think they sometimes provide a little extra insight as they've answered related questions throughout their career so they've seen more of what a student might need compared to the experience of a pure touring and recording pro. So far I'm enjoying Gary Smith, Gary Primich (RIP) and Dennis Gruenling. Are there others you could recommend who fit that model?

David:

I have been listening to some jam tracks to see what I may want to use for the song writing improvising study for LOA5. I had a few questions on backing music choice.

1. Some of the jam tracks I am considering have a quick turn around in bar two and/or go to a one chord in bar nine. Would I follow the band to those chords or move away with the standard chords? Or should I just simply avoid these jam tracks and use something more standard?
2. Most of the jam tracks have the turn around in bar twelve. Should I make sure to follow this chord progression? continue reading...