Ask Instructor David Barrett

Hi David. I have been tongue blocking for years, but I just started TB bending and tongue switching on the 1 hole when I discovered this site a few months back. I am having a hard time with the one draw half step bend. All my other bends are developing nicely, but something about that tongue switch and low hole haven't quite come together. Feels like the size and shape of the chamber in my mouth is just not the same with the tongue switch. Feel like I don't have anywhere to pull the bend and hard to arch my tongue. continue reading...

David, I have a chance to pick up a 1960 Fender Princeton (5F2-A circuit). The amp is in good condition, and has only had some minor cap work (signal caps). I was watching the new interview you posted with Dennis Oellig and I thought he said something about the Princetons being crap for harp.

Is this true? continue reading...

could you help me with a problem?

If I play a tongue slap on hole 1 to get a powerfull and stong hole 2 I can hear the reed's hit the coverplate.
If i play the chord on the pull of hole 1,2,3 I hear the same sound.
Its sounds like a tap. ( i think its only the first reed) the sound of metal against metal.
Also if bend hole 1 with alot of force ( to get a big tone/sound) I hear this sound.
I got a marineband deluxe and a hohner crossover harmonica and i got the same problem with both harmonica's

Its very annoying and it forces me to play with less volume. continue reading...

dave, was wondering if you could suggest a jam track for highway 59 from the cd we are the blues. thanks

I'm trying to figure out how to play Evan's Shuffle at the moment (much harder than I thought! I've given up trying to transcribe it - instead, I've slowed it down and chopped it into a series of mp3 files, a phrase-chain at a time). What I'd like to know is how do you figure out when someone's playing the 2 draw or the 3 blow? I can sometimes figure out when it would be too awkward to play the 2 draw in a particular lick, but I can't tell from sound alone. Second, do you have a transcript of the tune in any of your books - I want to check I'm not inventing my own incorrect version!

Just came across these on a forum and watched a video of Richard Sleigh playing one. Very cool sound. As much as I could gather gives me these impressions: 40 reeds, octaves in Richter tuning (double holes for all of the 10 standard holes), all reeds valved, available in all keys.

Questions that come up in my mind (once I find it): still can play all bends? Blow and draw? Useful in blues? If not, what genre would these be useful in?

Just haven't heard about these before. Thanks for any response if someone has one or has played one.

When you talk about how to tell the band to play "My Blues," you don't mention the quick change. Does it need to be stated (here specifically, or in general)?
Also, it the two beats of IV in the 11th bar something the band needs to be told specifically? Or will everything work out if they play a straight 12-bar?
I'm thinking the quick change doesn't matter here, since it looks like the harp notes would fit anyway. But then there's that 1+ or 1+/4+ octave on the third beat of the 11th bar....

Thanks.

If the amp fairy appeared at the foot of your bed tonight, and said she would give you the vintage amp you most desired - which one would it be?

In layman's terms, if you could resurrect any vintage amp from the past, the one you considered the "greatest harp amp" of all time - what would it be?

Just curious to explore the mind of David Barrett...

Dear David, how would you explain to pucker players how to do pulls?
Just open up the embouchure to multiple holes on the upbeat? As you said on another topic, like spitting?
Thank you

Paolo

Dave,

I'm having a bit of trouble with my flutter on the chromatic. I have a pretty nice even and soft flutter with my Seydel diatonics, but when I try to do the same on my 270 Deluxe, it comes off sounding choppy and hard, with a much sharper attack. I'm really not hitting it any harder than with my diatonics, but it just isn't sounding the same. Why is this? Is there something about the construction of the chromatic that requires a different method for some techniques? (BTW, boy that thing takes a lot of wind compared to the diatonics!) continue reading...