Tip of the Day

The first value of having a recorder around you is to capture the cool ideas that come to you. These moments of inspiration can come when...

1) Playing to a jam track and you play a cool idea that you want to remember

2) Listening to a song and a cool lick comes up that you want in your vocabulary

3) A catchy melody jumps into your mind that you sing into the recorder for later decoding on the harmonica

Songwriters have a recording device with them at all times--Inspiration comes at any moment, and a moment not captured is an opportunity lost. I carried a mini-cassette recorder with me for years and though the quality wasn't good, it did the job. Now that smartphones are ubiquitous, the voice memo app that comes with most phones (or an inexpensive recording app) provide much higher quality and are an easy way to store and backup ideas. continue reading...

A tight cup is used in preparation for a Wa or Tremolo in acoustic playing, or when holding a bullet mic for amplified playing. Whether you use the Pinch, End Cap or Two Thumbs Up approach taught in your lessons, each have the common element of an airtight cup (I'm not saying you have to squeeze your hands tightly, but your cup results in an airtight cup). A great way to test this is to hold your harmonica in your normal way... close your cup (in preparation for a Wa acoustically or for deep bass amplified)... drop your harmonica into your lap... continue reading...

If your foot stops or stalls while playing a passage of music, it’s a great indicator that your rhythm is off. Use it as the canary in the coalmine—when your foot dies, something’s wrong.

Dave has some great tips for you today on preparing for a jam session. You can see these new videos in the "Performance Training Study 4" lesson, in "Section 4."

When watching players like Sonny Terry and Rice Miller on video you'll sometimes see them move their hands left to right or fan the harmonica while playing. Though they don't touch the harmonica, this rhythmic movement in front of the harmonica does alter their tone and volume in a rhythmic way. It's hard to call this a full-on tremolo due to its short duration and small tonal change, but it's cool and worthy of mention.

Though not usually taught as a way to produce a tremolo, using the diaphragm in a panting-like movement creates an interesting version of it. Jason Ricci uses this and demonstrates it in his interview on the site http://www.bluesharmonica.com/jason_ricci. Why is this not taught?... it takes less effort to produce a tremolo from the throat (vocal folds opening and closing) and is easier to produce a vibrato by actuating it from the throat. With this said, Jason makes it sound pretty good, so it is a valid option.

Research, Organize, Practice and Execute. Now get climbing.

The most powerful vibrato/tremolo type I've heard came from the late-great William Clarke. He played an intense tremolo or vibrato (very fast tremolo or vibrato with large swing in pitch) and at the same time opened and closed his hands slower than the vibrato, creating a very cool and powerful oscillating effect. Take a listen to "Lonesome Bedroom Blues" from the Blowin' Like Hell release at 2:27. continue reading...

With all vibratos your mouth needs to be tuned to the reed you're playing, and with this type of vibrato you move your tongue in a Ya Ya Ya-like motion to change the pitch (jaw is stationary, only the tongue moves). This is similar to the idea of the Chewing Vibrato in the way that the throat is not used at all. continue reading...