That's a pretty damn good imitation! Can I ask what your aspirations were for learning this so well? To have in your set list? To pay homage? To simply learn something super difficult? I only ask out of curiosity about learning goals among talented players such as yourself... ----------
I had watched Adam's series on how to play Thunky Fing years ago when he released it and found it be a wealth of information including, but not limited to: - Use of the out breath / grunt / cough for effect - 3rd position playing that sounded different - Use of 5 overblow in some kind of musical context - Alternating use of pucker and tongue block techniques - Use of upper register octaves - Use of dance/movement to keep time
Basically, I just found it interesting and infectious. I've always tried to play what I find to be enjoyable. The riff that starts off -4 -4 +5 -5 5ob -6 -7 -8 caught my ear immediately. It has this great quality that makes me really happy when I play it.
But to really answer your question it would be: "We do these things not because they are easy, but because they are hard". The difficulty factor was certainly attractive because it gave me something to work towards. I was at a point where I needed some inspiration / kick in the ass to try harder. I believe this is very important. It's worth noting that I've been "working on it" since 2008.
As for homage, there is definitely an element of that as well. It's nice to be able to pay homage to someone that's inspired you while they are alive to possibly appreciate it.
Nice. I went back and relistened to Adam's version. I was going to complain that maybe you'd used a little too much echo, but it sounds true to the recording (listening to the HCH version). I think the guitar balanced some of the echo on that version. For a harp only version I might turn it down a little bit. Nice playing. :)
Thank you, Dan, for your excellent answer. I like hearing about what makes excellent players "tick", and I've certainly gained some valuable insights from you today!
That was awesome Dan! I love playing thunky fing as well. Ever tried the whole number tongue blocked? ---------- Chad Walker Crescent City Harmonica Club
Very good study! If I heard that without video I'd say it was Kudzurunner seven days a week. Nice timekeeping and rhythm. That's a killer without any backing music. ---------- Pistolkatt - Pistolkatts youtube
You' ve got IT ... It would be interresting to hear a sample on how you will incorporate/have incorporated this in your own playing.
Imitating ... yes ... I like your answers on why you worked Thunky Fing. My aditional two cents on the importance of copying as a tool to advance ones playing is that it means you have an ideal sound, frasing and tone in your head that you want to reach and you can hear those qualities listening to good players ... and you know what you need to woodshed to get there... ---------- The tone, the tone ... and the Tone
Last Edited by S-harp on May 19, 2013 11:41 AM
Nice work, Ridge. On that opening 2d bend: I don't really make two notes out of it, as you do. I just hit the 1d, then the bent 2d, and I led the 2d rise a little in pitch--to the major third, more or less--before hitting the 14d octave. I let the rising 2d bend fill the space.
I'm glad you enjoy the breakaway riff starting on the 4d, with that 5ob in there. I still have to practice and groove it or it's easy to mess up, as is the descending run.
The key thing is that there needs to be an underlying funky beat. Without that, the whole thing doesn't quite move as it needs to. If somebody wants to learn this song, you might go back to one of the first videos of my playing posted on YT. In 2006, Brian Purdy got me to play through an HG1 and filmed the whole thing. There's a lot of delay on this, but you can really hear the inner "bounce":
Last Edited by kudzurunner on May 19, 2013 1:25 PM
Nice Job Dan...I think you captured that funky beat that Adam has going on in his video. I will have to revisit those you tube videos. You both got me grooving now. THanks. Mike
Wow, I can say I am surprised - I thought this thread would go die on the second page.
@Chad - I never tried all of it tongue blocked; I try to do what is practical for myself. Occasionally I may try to play parts with more tongue blocking.
@Pistolcat - Many thanks for that compliment! I was definitely trying to evoke as much of Adam's sound as I can manage.
@S-Harp - I share the opinions you present in the second part of your post. As for incorporating it into my playing, each bit just slowly seeps its way in. Maybe I can come up with a better explanation later.
@Kudzu - After I posted this I went back and re-watched your series and realized how much of this I'm still missing in addition to the points you've made. I certainly have realized I don't create as much rhythmic backing as you do.
I've kind of always gone by a similar rule you've mentioned which was to get it "close enough". Did I get it? Maybe. Will I keep trying to improve it? You better believe it :)
Just returned from a wedding south of the border and despite the fact that my hearing has been virtually eliminated by the loudest Mariachi band in existence, I can still say with 100% confidence, “that rocked!” Nice job.
