Having taught this for many years in conjunction with harmonica, the first thing I suggest to the student is how to feel comfortable on stage "not playing".
In other words, I try to excise that compulsion that harmonica players seem to have to be playing all the time in one fashion or another, as well as when they solo the compulsion to have harmonica in mouth and always be playing throughout.
It's not easy to deal with that nervous energy on stage - what to do with yourself, your hands, your harmonica, etc.
So, learning to relax while "not playing" on stage opens up the door to listening to what is going on and being there with it in the moment rather than be thinking about what you are going to play next.
Most important (I think) is to flow and feel the groove, letting your body reflect it. Kim Wilson is one of the best examples, as he has a tremendous sense of groove at all times (reflected in his playing, of course) and has great dance moves when not playing. Also, his whole body radiates happiness at what he hears in the moment.
Mark Hummel also lets his love of the music radiate when he is not actively playing.
Charlie Musselwhite has that cool slightly raised eyebrow amused look.
Rick Estrin has that total hilarious fun presence.
---------- The Iceman
Last Edited by on Sep 11, 2012 7:11 AM
Ha ha, last year we played at a festival out in the forest. It was a scene where an anti-logging blockade had been in place for a long time and the camp was well established, hundreds of native forest protection people attended. our finale "hot sexy men" was fairly new and I didn't yet have a harmonica part. "strip!" suggested the band leader. I was sufficiently in the spirit to go along with the request. I quickly developed a harp part for the song after that though. Now almost every time I have to share the stage with guys from the audience who come up and get their gear off during that song (though usually just their shirts) ----------
Last Edited by on Sep 11, 2012 7:33 AM
I usually just stand near a monitor in my best Captain Morgan pose and continually thrust my hips. ---------- Mike VHT Special 6 Mods Quicksilver Custom Harmonicas - When it needs to come from the soul...
Iceman wrote: It's not easy to deal with that nervous energy on stage - what to do with yourself
For nearly 15 years, I was a one-man show, playing to groups of paying customers. A typical show was from 2500-3000 people. No, not as a musician, but as a public speaker. There are plenty of analogies that can be drawn.
There were two critical elements that had be constantly updated and rehearsed: Content and Body Language. Here’s a couple of interesting statistics.
People BELIEVE: 7% of what they’re told 10% of what they read 83% of what they see.
Seeing is in fact, believing. Maybe that’s why David Copperfield makes a fortune by fooling our lying eyes. We, as humans, desperately want to believe our eyes.
To be a credible performer, it’s not just about the music. You have to look and act the part on a stage. And, at a venue, you’re always on stage, whether you’re playing, bellied up at the bar, during a break, in casual conversation or on the stage and not playing.
@TheIceman 'In other words, I try to excise that compulsion that harmonica players seem to have to be playing all the time in one fashion or another, as well as when they solo the compulsion to have harmonica in mouth and always be playing throughout.'
Playing in 'high-octane blues jams' as i do frequently you have to take your opportunity or you will be left out. When not soloing then I feel I can always do some rythym behind, or fills to enhance. Especially if there is a horn section!
But I do get your point. Maybe it is the individual player's ability which should dispose the amount of stuff they play.
Experience counts in this respect, and not being a frontman I would not rip me shirt off. If you are the leader, and singer, and harp player, then do anything to please the crowd.
If you don't looked interested, what make you think the audiance will be? It's a small thing we all can do and it does make a more proffessional appearnce. It also means you will catch any cues that are sent out. ---------- theharmonicaclub.com (of Huntington, WV)
I am in a band where I am paid to look as disinterested as possible. When I solo, I explode from Eeyore pose into superman. The audience mostly loves it, but I have had many an audience member try and coach me on how to be more professional when waiting my turn.
"In other words, I try to excise that compulsion that harmonica players seem to have to be playing all the time in one fashion or another, as well as when they solo the compulsion to have harmonica in mouth and always be playing throughout."
Mick Raphael has mastered the finesse of simply standing on stage and enjoying his job, whether playing or not.
I get a lot of time not playing on stage since my guitarist is a badass soloist. I just move and groove and get into what he is doing. I do enjoy it and nobody wants to see a statue on stage.
I am enjoying reading these posts, as sometimes its awkward to know exactly how to compose oneself while on stage. Good thread and responses. This is practical knowledge that can actually be applied in real life settings
I also have that job of being requested to look disinterested. To the pint of having a chair and newspaper, playing computer games, chess, backgammon. Then getting up to do my thing, and switching off again. These days though I have too much to do musically for that to work. Sometimes I'm requested to pull costume changes during songs where I get a break. Like everyone in the band has some part of certain songs where they don't have to do much. So they pull a costume change in that space. Except the hard working drummer. Even he changes his singlet though. Our frontline is so theatrical though, it is easy for me to slip into the shade if I want. Not such fun though. ----------
While generally I have an instinct to call "poser" on blues guys in shades (Rick E. and Rod P. excluded), I've found that I really feel more comfortable "hiding" behind them. Also, when I play a solo, I tend to clamp my eyes shut, or (when I try to keep my eyes open) I sport a sort of I've-just-come-out-of-a-coma-and-now-I'm-taking-a-dump expression. Not pretty.
Personally I don't like it, but as a "costume" i can deal with it. Hawkeye's entire band do it. As personal style I couldn't deal with it indoors or at night. Unless the lights are very bright. ----------
great topic, iceman. it took me years to feel comfortable not playing. as harmonicanick suggests, part of the problem is that the jams and open mics many of us grow up in teach us bad habits. when you're always fighting to be heard amongst a crowd of hostile guitar players who wish you weren't there you tend to be a little pushier than might be musically appropriate (and yes, i'm aware there's a feedback loop in that situation).
in my last band, i was trying to fit harp into very tightly arranged original tunes that hadn't had it before. it was a struggle at times, but i learned to accompany, and to play sparely, in ways that embellished the music. i learned to be happy that the song sounded good, not that i did. it was a hugely valuable lesson.
in my current band i play much more, as we jam a lot more. and i'm comfortable laying back and letting my bandmates shine. partly this is because i know my playing is respected and appreciated; i have nothing to prove here. partly it's that i really enjoy listening to these guys, and standing onstage is "the best seat in the house". i consider myself really lucky that i get to be a part of this whole thing, so i make it a point to enjoy every minute.
a related question: what do you do for the songs you don't play on? we have a few that i don't do for various reasons. i generally leave the stage and sit down and enjoy the song. i feel that my non-playing presence is a distraction and prefer to just vacate and let them own the spotlight. feels right to me.
When i was in a band i'd 'arrange' to have the nonharp songs in say groups of two or even three beforehand and then i could vacate the stage for the duration.Then when you come back on people are pleased to hear the harp again.(hopefully) Our set list of about 50 toons had 10 with no harp which worked out fine. I saw a band last week with a very good bar room player but he played harp in evry song,it was too much even for a harp fanatic like me. I guess i think of amped blues harp as Tabasco sauce a little goes a long way.
Last Edited by on Sep 11, 2012 7:33 AM
