harmonica

Yesterday I shared with you the important tip of using a yawn to create an embouchure conducive to creating big tone. Today I share the second element of how I create big tone on the harmonica... it's the word "radiant." This helps me to both play softly and direct warm/radiant air through the harmonica. Playing softly is at the core of controlled technique and the ability to play with dynamics (playing softly as your default provides a large dynamic range in performance). continue reading...

Use a slight yawn… this drops your jaw slightly (opens your mouth cavity), drops the middle/back part of your tongue (most important... this the #1 cause of poor tone, even if everything else is in alignment), raises your soft palate (so that no air goes through your nasal cavity) and opens your throat (gives you a larger tone... noticeably more bass).

Just announced...

10th Harmonica Masters Workshops
Trossingen, November 4th - 8th 2015
http://us7.campaign-archive2.com/?u=16e053fd13650d3df590bb67c&id=203e64e...

The Harmonica Masters Workshops have been taking place in Trossingen since 2003. Initiated by musical director Steve Baker, with world-class instructors and a full supporting program of sessions and concerts, they are now regarded as the leading educational event for blues harmonica in Europe. continue reading...

Once you can tap your foot in time while playing (this takes practice in your formative years), it can be the best indicator of when your rhythm gets off. If your foot stutters or stalls, this indicates a part of the song you don't own the rhythm of yet. Practice this part of the song in isolation until you can comfortably play the passage without your foot hesitating.

P.S., it doesn't matter whether you tap the front of your foot (ball), back (heel), alternate between the two or tap both feet alternately... as long as something is tapping consistently.

Have a great weekend everyone!

In this lesson Ryan and I work on Accompaniment Study 7: Tramp Bass Line; Transitions; Walking Bass Lines; Solo Harmonica Study Final Ideas; Tongue Block Study 5: Blues for Paul deLay (all choruses); Music Theory Study 3, Sections 6 and 7.

I nice interview with Jason Ricci in Blues Blast Magazine's latest issue http://www.bluesblastmagazine.com/issue-9-19-may-7-2015/

If a reed doesn’t produce any sound it could be broken. But first it might be stuck with dried salvia or way too much spit in the harp. Do not try to force the reed free by blowing or drawing hard on that one hole (if the reed suddenly releases, this powerful force can break the reed), OR stick something in the hole to free the reed. Play a gentle chord (include the offender in the chord), blow and draw, with a big flow of air. continue reading...

Kinya Pollard (the HarpSmith) has provided a lot of very good instruction on harmonica repair, upgrades, and upkeep on the website. Please make note that for repairing and modifying harmonicas that you have to look at and adjust a lot of reeds to be able to do a professional job. continue reading...

I mentioned some benefits of playing softly. One of the key benefits is the longevity of your harps. However, a major epiphany for me as a player was when I realized just how softly and relaxed Big Walter was playing (he’s my favorite classic player). Everyone recognizes Big Walter’s tone as being fantastic. Both Big and Little Walter played softly for the majority of what they played, giving them great dynamic range for when they wanted to “hit it hard.” continue reading...

Harmonica customizer Jon Harl and I often discuss issues commonly experienced by my students and his customers… most often being focused on playability, tone and most commonly longevity. He works on some of my student’s harps and it’s common for me to receive a note from him like, “Please nudge your student to play softer, he’s killing his harps!” I asked him to write some Tips of the Day. Hearing from a person that works on harmonicas daily brings an interesting insight into proper technique. Thanks Jon!

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