Tip of the Day

Joe Filisko and Eric Noden have been busy in the studio creating two new albums that will release in 2015. On the Move by Joe Filisko & Eric Noden and Solid Ground by the Eric Noden Band. Listen to a track from each album here: http://www.rootsduo.com

Tremolo (change in amplitude) is what most of our classic blues harmonica players used (pre-1960). Vibrato (change in pitch) became popular in the lat 1960's. If a classic player used a vibrato they tended to have a strong vocal vibrato as well (Howlin' Wolf is a great example). Players that are heavily influenced by Paul Butterfield (many are) they'll tend to use a strong vibrato. continue reading...

When James Harman shares his perspective on being a professional musician, it's worth listening to, he's been doing it successfully for a long time.

https://www.facebook.com/photo.php?fbid=10152476833956647&set=a.10151956...

The use of tremolo/vibrato is greatly emphasized in your lessons and submission critiques. It's used so much that it can be a dramatic effect to not use it. Listen to the opening of "Blue Midnight" by Little Walter and notice how haunting it sounds to not use it in the opening lines.

Focus Notes and Texture go hand-in-hand. As each chorus passes, you're keeping track of what you've played. You're not trying to remember every lick, it's more of a simple scorecard of what focus notes and the textures you've used.

For example...

Let's say you've played three choruses so far. Chorus 1 focused on the 1 draw and you used single notes. Chorus 2 focused on the 2 draw and you threw in some dips, slaps and pulls. Chorus 3 you focused on the 3 draw, mostly emphasizing the bluesy sound of the 3' and didn't use any new textures. continue reading...

I stated yesterday that once you play a focus note for a chorus that it should be mentally crossed off... not to be started on again for the rest of the song. BUT, you can use it again after a number of choruses if you present it differently. For example, if you played the 4 draw earlier using the standard slap, you can present it later with a flutter, shake, octave or powerful two-note combination. So, presenting notes with different "textures" (combining a focus note with other notes) you expand your ability to keep your solo fresh and interesting. More on textures tomorrow.

To sum up the concept and importance of focus notes...

1) Focus notes are the notes of your I7 Chord, G B D F if you're in 2nd Position on a C Harmonica. This gives you the hole numbers 1 2" 2 3 4 5 6+ 7 8 9 9+ continue reading...

Not only does the use of a focus note answer the "what do I play next" question, it helps us to move around the range of the harmonica. A common trap new improvisers get into is overplaying their comfortable note range, commonly holes 2, 3 and 4. If you play a 2 draw focus note one chorus, then cross it off in your mind and don't start on that 2 draw again for the rest of the song. If the next chorus you play a 4 draw focus note, then it too is no longer an option in subsequent choruses. continue reading...

Sneak Peak - Rob Roy Parnell on Accompaniment Playing
http://youtu.be/LX4Ti1Ze_XI

A student asked this question this morning: "Can most bluesy licks be used over any of the three chords but are there some licks that are just more suitable for the IV chord?"

The answer I feel is worth sharing...

"Yes, you are correct, most bluesy licks can be used over any of the three chords, and there are some licks that are more suitable for the IV7 Chord, and especially the V7 Chord. continue reading...