Tip of the Day

This is one of our two most common articulations used, the other being TA. Tongue blockers don't commonly use TA since the tip of the tongue is on the face of the harmonica... so KA is an important one. With this said, KA isn't commonly used for blows. For the newbie’s out there also be aware of the fact that this part of the tongue/mouth is where bending commonly resides for the lower holes, so get in and out fast so that you don't accidentally bend as you articulate. Play the lick below with all KA's except for the blow notes, use a slight cough.

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Though a cough and a throat pop (which is basically a stronger throat tremolo) are virtually the same, the cough is exclusively used for blow notes. A general rule of thumb is that the only articulation we use for blow notes in a post war Chicago blues style is a cough. TA's and KA's tend to sound a little bit too "mouthy." So, experiment with a string of blow notes in improvisation and use some coughs to make them pop out. A word of caution though, the audience can hear those coughs, so use them sparingly.

Let's now take the same lick (in a swing/shuffle rhythm) and use our throat to articulate. You'll use the same set of muscles around your vocal chords/folds that you use for the throat tremolo. Start with a blow tremolo to get attuned to the feel of this, then move to draw. After that try that same tremolo very slow and controlled... this will develop your sense of what it is to control those muscles so you can use them for an articulation. Try our same lick as yesterday using a throat pop to articulate each note. continue reading...

An articulation is anything that closes off the air stream for a moment and then quickly opens it up to rush air into the harmonica to emphasize a draw or blow note. Though not a true articulation, let's start with "HA," which is in the greater articulation family due to the fact that it does emphasize a given note with a volume change. Try this lick in a swing (shuffle) rhythm just breathing... no pumping of the diaphragm (HA)...

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Now try "HA" on each note and notice how it gives life to the phrase.

It sounds simple, but if you rely on a few harp keys a lot  (most players use three harp keys the most) it's a good idea to have backup harps of those. If not, you'll want to be comfortable with playing in multiple positions, so if a harp goes out you can still cover that key in a performance with other harps in other positions. For example... your coveted A Harp in 2nd Position puts you in the Key of E and it goes out. What options do you have?

1) Stay away from the hole(s) that's bad
2) Use a D Harp in 3rd Position or an E Harp in 1st Position.

When sitting in don't start with your fastest, most demanding tune. When you first go up you'll be: a little anxious, not used the mic you're holding; the sound of the amp; volume on the bandstand; and slightly dry mouthed until your nerves mellow out a bit. Start with a more relaxed tune that has more space between phrases, or event better, back a vocalist.

To quote Mark Hummel from his interview, "Work the strengths of the band. If they can't do a good shuffle, then don't call a shuffle." Simply stated and great advice. If the band you're playing with is not the highest skill level (tons of them out there), then be cautious to call grooves or openings/endings/breaks that are not super-common... you're just asking for grief. Work towards the strengths of the band and you'll both have a good time playing and you'll look and sound good. continue reading...

If you were invited to sit in with a band, don't wait for your turn, play and then leave... this just shows the band it was all about you. Make a point to stay the rest of the show, or at the very least for an hour after being called up. This shows them that you're there to support them, just as they supported you by having you come up.

I didn't mention this before... but when first coming on stage, if the stage isn't too crazy, shake each player's hand to introduce yourself... say your full name and await to hear theirs back... try to remember their names (write their names down after you get off the bandstand as well so you can say hello to them by name next time). After your time is done on the bandstand shake everyone's hand again and thank them by name. continue reading...

Do you have some ending licks memorized? I hear a lot of players improvise this part and not realy get it. Remember that our improvising comes from "been there done that" licks and if you haven't tried and memorized a number of good ending licks it ain't going to happen.