As I am the singer in my band, I can't get to play accompaniment harp a lot. However, every now and then our guitarist sings a song or two. As I haven't been practicing that a lot it is a bit difficult area for me.
I have David Barrett's excellent book on accompaniment playing, but book is always a book.
Here's one song we played in our last gig. I pretty much improvised what I was doing, just keeping in mind to play repetitive patterns that won't stick out - and then every now and then making little variations.
Do you have any suggestions what I could have done differently or what I could try out the next time we play this song? What kind of chords and patterns to use etc..?
Good stuff. I think your comping is quite nice. Not over-done at all, which is sometimes the case.
(Hopefully) constructive observations:
* I would suggest literally backing up on the stage when the guitar guy is singing and you're comping. You can then step forward to take your solo, and trade with him.
* The overall tempo and feel is hurried and could swing more. Too much "tick tick tick tick" from the drummer, not enough "ticka tocka ticka tocka" if that makes sense.
* Try to spend more time facing the audience, rather than facing the guitar player (I do the same thing).
My hat's off to you, though!
Last Edited by on Jan 06, 2012 2:42 AM
I agree with every comment you made. Unfortunately the venue was such that it didn't make sense to switch positions with the guitarist as he only sang two encores songs.
The tempo and comment on the swing is also true.
It's funny I didn't realize at the time being that I was spending so much time towards the guitarist. I guess it was also because I was standing so front that it would have otherwise seem that I'm the lead and not the accompaniment player. So I was kind of making the guitarist as the focus instead of me...
Any suggestions on different kinds of comping patterns etc?
apskarp - I'd second what MJ said about swing, tempo and groove. Your band does come across as blues chords over rock rhythms - nothing wrong with that, but personally I find those grooves very limiting for harp, or at least my style of playing. If yiou want to go more blues-sounding, getting the drummer to emphasize the 2 and 4 would be a good start. And listen to some Sam Lay, Fred Below...
As for accompaniment, I think you did fine. Personally I like to mix up the riffs, and syncopate against the groove -but here there was little space (sonically, rhythmically) to play against.
Perhaps add some tongue blocking to the 2 draw note to give it more emphasis and variation.
Your basic riff on the I and IV is playing the 2 draw on the 1 beat, the "and" after the 2 beat, the 3, and the "and" after the 3 beat.
Try a few variations - a extra blue third on the "and" after the 1 beat - a quick 2d" to 1 draw on each of the 4 half-beats after the first two 2 draw notes - change the 2 draw on beat 3 to two blue thirds played quickly - Play triplets against the 4:4 beat
On the V - IV there's not much space to play much more than the octaves you're doing. Perhaps articulate the rhythm rather than hold them. You could also play the Ray Charles "what'd I say" turnaround to this 4:4
3d' 2d 4b 3d' 2d / 2d 2d" 1d 1d
Quite hard to write this sort of thing intelligibly - hope it makes some sort of sense.
When I comp behind vocals, which I do pretty much all of the time, I am VERY concious of volume level and volume of notes played. Less is surely more in this case. When not playing straight blues tunes, which I rarely play in my two current gigging situations, I think "long bow violin" and "keyboardy" thoughts. Some times one strong long held note with tasteful hand vibrato in the background can really add a nice "layer" in the mix. When not behind vocals I also like to think "horney" :-) Sax and Trumpet like attack/runs. I want to always sound like a harmonica so I use minimal effects but I really strive to not play too many "typical" harp lines if possible. I save them for the straight blues and three chord rock stuff. ---------- Warren Bee Marketing & Harmonica Raconteur
Sorry if I went off topic by not relating my thoughts directly to blues music. One point I would make in this regard is that the more intimate you get with the words, flow and message of the song the more you can "emote" and add fresh ideas. If it is a fresh/never heard song for you keep your harp silent for a while and open your ears wide. Nothing wrong with making your entrance mid song. This can add "drama" and anticipation for the crowd. The audience watching you "soak up" the first part of the song and waiting for you to "kick in" can really make an improv look and sound rehearsed. ---------- Warren Bee Marketing & Harmonica Raconteur
Thank's for your excellent comments GH & Harptime!
@GH I'll try out those suggestions GH, perhaps I'll do more woodshedding with accompaniment even thoug it's not my main thing..
@Harptime Insightful comments. It is hard for me to just hang around there on the stage while others play music, but your comment on "soaking up" really opened something for me. That is indeed a powerful element on the music... And kind of a "meditative" practice that can really make you to create something for that specific situation...
