harmonica

You know that Joe Filisko has video lesson at BluesHarmonica.com, but you may not know that he has blues harmonica study songs (with music notation and recording) at his website http://www.filiskostore.com/category/34192016 for sale. If you like having purpose-written songs for the studying harmonica player, these are invaluable.

Let's stay on the Ross Garren theme for today... his second article of "Introduction to Studio Harmonica Work" is now up: http://tightcup.com/introduction-studio-harmonica-work-part-2/

Instructor Ross Garren spends an afternoon interviewing Tom Ball. The interview can be read in the National Harmonica League's magazine "Harmonica World." Here's a video snippet of his interview: http://youtu.be/D7CCPNayShI

Just released this Friday... a quick video on what got Carlos del Junco started on harmonica: http://us.playhohner.com/news/harpin-on-a-riff/

John Lee Hooker's "Boom Boom" uses the same device as Slim Harpo's "Baby Scratch My Back"... the main lick happens before the bar, with the final note landing on the downbeat of the bar. There are two more cool elements in "Boom Boom"...

1) The main lick only changes it's resolution note, to match the chord change.

2) There's a call-and-response happening. In the opening, the band responds to the main lick on the guitar. When the vocals enter, the band and guitar play the main lick and they go back and forth. continue reading...

In most songs we're used to hearing the harmonica and band start together, with maybe a little pickup from the harmonica. The licks fit nicely within the 12 Bar Blues and are generally intuitive to play... to feel where they belong in the form. continue reading...

Just announced today... I'm very much looking forward to this...

Saturday 7 March
9.45pm-10.15pm
BBC RADIO 3

Imagine a town of harmonica players; sounds a bit surreal?
Now Between The Ears gives listeners the chance to hear the harmonica as a truly virtuoso instrument, although never less than an instrument of the people - portable, affordable and playable. As acclaimed poet Kim Addonizio turns student, heading back to blues school - with pen, mouth and a stack of harmonicas at the ready - in search of the sweetest sounds made by the modern day ‘harp’. continue reading...

Take a listen to the first lick of Little Walter's "Juke." Though there's some technique going on, essentially he's playing 2 3 4 5+ 6+ 6+. The 2 (or 3+, we don't know for sure) 3 4 5+ happens before the downbeat of the first bar... this is called a pickup. What is it picking up to?... 6+ in this case... the first note of Bar 1 and the Root Note of the I7 Chord. The second 6+ is a reiteration of the 6+, so it's not new information and not structurally important. continue reading...

"Can what you play (when you don't repeat your "A" lick) still be cool if it doesn't use a theme?" Absolutely. This where the importance of using phrasing can be vague to new improvisers. They CAN play lick, after lick, after lick, and as long as the licks are cool (pitch, rhythm, texture, dynamics, etc.), the solo is cool. But, "Will it be memorable?" No. We can remember the experience of the solo, which in itself IS valuable, but if you want the listener walking away with a cool hook/melody, you need to repeat it enough so that it can stick with them. continue reading...

"What happens when you don't repeat your A lick... can it still be considered phrasing?"

Nope. Repetition is at the core of phrasing. Without repetition you're playing lick, after lick, after lick, after lick.. after lick.. after lick... after lick... after lick.... after lick. Get it? All change is sameness, boring. At the core of all that is melodic, or that which is story telling, a recurring theme must be present. Change cannot happen without repetition.

The Af Af At Chorus Form is a great example... continue reading...