Ask Instructor David Barrett

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...

Hi Dave.

When practicing T.B. Study 1 Ex 1.2 Standard Tongue Block. Do I use ( H.U.L.) on every + note ? and witch way do I go T.B. + 6 ( H.U.L. ) on the left or T,B. H.U.L on the right? I am covering just 7 or both 7 & 8 or just move the tongue there w/ no H.U.L.

Thank You

What a great back to back set of videos on improvisation. Joe's lesson and then the two with Gary Smith to really hit it home!! If you intentionally 'released 'these to reinforce each other, thank you, it worked!!

I can see the development in a full song but what about at a jam when you get 12 or 24 bars. Do you still take a 'simple' theme and slowly add to it for the first 12 and then add a little more for the second 12 (if you get it)? Or do you take more 'freedom' for the 12 bars?

This stuff is coming at a perfect time for me - because it is really hitting home and making sense.

I keep looking at it, and I don't see the Dave Barrett signature logo. Come on, sell yourself man!

Sweet looking amp. Bet it sounds sweet, too. Nice job!

Are there some rules of thumb about when and when not to play the 7 draw? I hear players - Gary Smith, for example - glissing up to it briefly or using it as a passing note (or is it passing tone?) on a run down the harp. I know as well that you used the 3 draw unbent - very briefly - as a cool dissonant note in My Blues. Would you treat the 7 draw in the same way ie. sparingly and either as a passing note or deliberately dissonant note?

David,
Can you suggest a Backing Track for Blues with Big Nate..
the same very heavy slow beat.....its a great song....

David, in the Performance Training / Grooves lesson, you and the band talk about soloing over modal blues and how it can easily become noodling. I'd like to get a few examples of good blues harp solos over a modal beat to help me figure out how to structure them - can you recommend any?