harmonica

Elder Roma Wilson train imitation lesson with Joe Filisko is now up under the "Train Imitation Study 2 - Artist Studies" at BluesHarmonica.com

In this Performance Training study I'll help prepare you for the process of joining an existing blues band or starting your own. No harmonicas are needed for this lesson, but download the PDF to reference as we go through the points in this lesson. This lesson is for all skill level players, but is generally focused towards upper-intermediate and advanced players. 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.

Curley Fox train imitation lesson with Joe Filisko is now up under the "Train Imitation Study 2 - Artist Studies"

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...

Mark Ford had a strong impact on the Bay Area blues harmonica scene in the early 1970’s, starting with the release of the Charles Ford Blues Band on Arhoolie in 1972, which is now considered a modern blues classic (Robin Ford on guitar, Patrick Ford on drums and Stan Poplin on the bass). His powerful amplified tone and mastery of the entire range of the harmonica (he’s known for his killer licks above Hole 6 in 2nd Position) has caused him to influence many generations of blues harmonica players around the world. continue reading...