Posted Wed, 01/02/2013 - 13:18 by David Barrett Admin
When I describe the pull technique in Tongue Block Study 2, I state to stick your tongue out slightly to cover the entire face of the harmonica... this creates what Joe Filisko calls a "Full Block," a position where nothing is open and no reeds/notes are sounding. The tongue then release off of the face of the harmonica to create the pull technique (the chord sounds). continue reading...
Posted Tue, 01/01/2013 - 09:07 by David Barrett Admin
Tip of the Day: Happy New Year Everyone! Pick ONE skill set that you want to focus on this year... where you can look back on December 31st and say to yourself, "I've come a long way!" Turn it into "habit" by picking to practice at the same time each day... a time that you know you can keep. Don't think where you'll be on December 31st (product), just get on the daily path of discovery and really ENJOY the PROCESS. For me... this year it's the bass. Here's a picture (http://www.facebook.com/bluesharmonica) of the practice room I setup over the holiday break to make practice convenient. continue reading...
Posted Mon, 12/31/2012 - 10:10 by David Barrett Admin
If when performing the pull (taught in Tongue Block Study 3) you hear a secondary sound, immediately after performing the pull, then you're adding an extra, unneeded articulation.
You're either using the "K" articulation immediately after the pull or closing and quickly opening the glottis (sometimes referred to as a "glottal stop") immediately after the pull. Both actions are not needed and creates a slightly strange "chicken cluck" sound. continue reading...
Posted Fri, 12/28/2012 - 14:18 by David Barrett Admin
If you're already putting in plenty of daily practice on the harmonica - OR - You've been playing the harmonica for a long time and it's evident that you need a broader understanding of music in order to work better with other musicians - OR - You want to dig deeper into writing music with all of the instruments involved - THEN - it's time to cross train! continue reading...
Posted Thu, 12/27/2012 - 17:24 by David Barrett Admin
If you're serious about your studies, practice time is not flex time.
It's easy to use it as flex time though... you don't HAVE to practice and often a busy week turns into a week of no, or very little, practice. If you stop thinking of practice as flex time, but as a part of your day that's non-negotiable, then you'll be amazed at your progress. You'll also look forward to that part of your day... a time of focused distraction for the daily grind.
Posted Wed, 12/26/2012 - 10:33 by David Barrett Admin
It's common for me to request students to use more dynamics... louder-louds and softer-softs... when critiquing their work. I sure try to use as much dynamics as I can in my practice, performance and recording... though sometimes the odds are stacked against you. continue reading...
Posted Wed, 12/19/2012 - 10:18 by David Barrett Admin
Dynamics are generally thought of as just a change in volume. If you like to play amplified, you have a great volume PLUS tone tool right in your hands. Experiment with not only changing your volume, but your tone as well by experimenting with how tightly you cup the mic ("tight" is not so much how much muscle you use to grip the mic, but how well you make the harmonica disappear into your cup... minimizing leakage... the less leaky, the more bassy/muted). Experiment with the following combinations...
Overly Tight Cup (Very Muted & Bassy) + Normal Volume -or- Play Softly -or- Play Loudly continue reading...
Posted Tue, 12/18/2012 - 08:55 by David Barrett Admin
Though not thought of as an "Essential" representation of his work, I love the spirit of this live recorded set... playing, stage banter, slightly out-of-tune guitar... the whole package! Close your eyes and you're transported to Theresa's in 1975.
Posted Mon, 12/17/2012 - 09:47 by David Barrett Admin
As musicians, we look forward to the day that the culmination of all of our studies and efforts on the bandstand lead to a signature sound... one that's recognizable within seconds of playing. The 1965 release of "Hoodoo Man Blues" represents this for Junior Wells.