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MindTheGap
138 posts
Dec 26, 2013
12:33 AM
SmokeJS - The rationale for this thread (and/or a forum) existing on MBH is that it is connected directly to Adam's free and paid-for instructional videos - i.e. a place that learners have already come to. It seems natural that they would want and need a place to discuss their progress with people at a similar stage. It's certainly what I want. Some people have mentioned here that they aren't exactly surrounded by harp players to share ideas with.

That's why I'm here: I used Adam's videos. If there is a place where learners are chatting, I'd be interested to but MBH seems like a natural home. We've a handful of contributors at the minute, and I'd encourage you to keep posting, see what we can build.

I couldn't find the correct TalkMusic link either from a search, but definitely interested in that.

Last Edited by MindTheGap on Dec 26, 2013 12:34 AM
SmokeJS
214 posts
Dec 26, 2013
5:28 AM
Here's a link to Talk Music http://talk-music.proboards.com/board/33/harmonica It seems to be a site that might appeal to fans of this thread. If this thread remains just a thread then I think it will become too awkward to use. If it becomes its own MBH forum then I think it has a chance at success though I doubt that's a sure thing. Either way, the other forum also has good sharing and information that we're all looking for and can add to the global harp community.
Edit: I pasted in the link but it comes out as just a copy rather than a link so copy and paste will be necessary.

Last Edited by SmokeJS on Dec 26, 2013 6:46 AM
MindTheGap
141 posts
Dec 26, 2013
7:29 AM
SmokeJS - Thanks, here it is as a link...

http://talk-music.proboards.com/board/33/harmonica

I've registered and said hello (on your thread). I'll enjoy reading. Do you get email notifications? I don't on MBH.
SmokeJS
215 posts
Dec 26, 2013
8:50 AM
No email notifications for me on either site.
Mirco
63 posts
Dec 26, 2013
10:47 AM
I don't think MBH does email notifications. I see no way to modify that. I actually think that's a good thing because it encourages people to check out the forum and maybe enter other conversations.

Not a fan of the talkmusic site. It's too much. This feels more organic and, as MindtheGap says, it's connected to Adam's videos.

Speaking of Adam's videos, what are you currently working on? Like I've already said, I'm a paid subscriber to David Barrett's site, so the vast majority of my playing time is spent on that. But Barrett's curriculum can be really focused on technique and theory, so I like to supplement with Adam's videos. With Adam's videos, I can learn songs and grooves without a lot of prerequisite knowledge.

Right now, I am working on the Advanced Beginner package, specifically "Rock Around the Clock." Adam's videos are really good for giving you a feel for the song and its main riffs. I like playing along to the original Bill Haley.

Question: one of the disadvantages of Adam's videos (from what I've seen so far) is that he will give you the main riff for the song, but it doesn't prepare you for playing the entire thing. For "Rock Around the Clock", what do YOU play during the guitar solo and the instrumental breakdown? How do you finish the song?

I step aside during the guitar solo. On the instrumental breakdown, I'll play a rhythmic 3+ blow (sometimes with a slap) for bars 1-8, and a 4+ blow for bars 9-10. It seems these note choices follow the chord changes and fit well.
MindTheGap
144 posts
Dec 28, 2013
10:42 AM
Re talkmusic - I do now get email notifications from there. It seems a good natured discussion, although more experienced players rather than beginners I think.

Mirco - I don't have that package, but after reading your post I went away and tried playing along the record, that's a lot of fun. 3+ eh? On the break I enjoyed chugging along to the sax rhythm (2-,3- on the I chord and 2+,3+ on the IV).

Myself, I'm revisiting Adam's upper octave vids (starting at GUSSOW.030) as I'm determined to play up there even in 2nd position.
Mirco
65 posts
Dec 28, 2013
8:08 PM
MindtheGap, I really recommend Adam's Beginner and Advanced Beginner packages. For you, probably not so much the Beginner package. But the advanced beginner teaches a few easy songs and simplified versions of others, like Mojo.

Interesting choice of notes on the sax part. Any thoughts on how to finish the song?

Last Edited by Mirco on Dec 28, 2013 8:11 PM
Mirco
66 posts
Dec 28, 2013
9:37 PM
As I have previously mentioned, I am playing exclusively the SP20 and the Blues Harp. I like these harmonicas, the way they feel and they way they sound. But! I have recently started to wonder if I am missing out.

I want to try a better harp. Like MindtheGap said, if you have a good harp, you can be sure that it's the technique and not the harp.

Where should I start? Do you recommend something out of the box, like a Crossover? Or should I spring for a customized harmonica (and from who?).
MindTheGap
146 posts
Dec 30, 2013
11:38 PM
Re: Howard Goodall - 'How Music Works'

Frank recently posted a video from Howard Goodall about the pentatonic scale...
http://www.modernbluesharmonica.com/board/board_topic/5560960/5459583.htm

Howard Goodall presented a series on UK's Channel 4 called 'How Music Works' where he takes apart pieces ancient and modern and shows you how they do what they do. Episodes on melody, rhythm, harmony and bass. Here is the episode guide from Channel 4, and you can search for them on YouTube I think. It might get you all exciting about music theory!

http://www.channel4.com/programmes/how-music-works-with-howard-goodall/episode-guide

Last Edited by MindTheGap on Dec 30, 2013 11:40 PM
MindTheGap
150 posts
Jan 03, 2014
4:17 AM
Re: Notating Riffs

When I hear a nice riff or line, I like to write it down otherwise I often can't remember them out of context. I know people do this in different ways from the very formal down to just plain tabs. This is my favourite way - writing down the rhythm in standard notation and putting the harp tabs underneath. With David Barrett's convention of draw/blow e.g. 6+ = blow, 6 = draw. I might quickly record them too to make it easier to remember the precise feel.

It's quick to do, if you can read music at all, much quicker than doing it in a piece of software. I've tried the ABC format , which is very good for other purposes, but too slow for this I think. For full songs I like Adam's grid notation, but that uses too much paper for short riffs.

This is a riff from blueswannabe's demo of the Lone Wolf Harp Reverb Pedal that's running in current thread. Thank you blueswannabe. It can be a major or minor thing. As they say, 'Imitate, internalise, innovate'! Well, just for now, 'imitate' :-)

Interested to hear about what anyone else does for this.

 photo 68fe848c-2198-4b3b-8585-421eac154bd3_zps10cde921.png

Last Edited by MindTheGap on Jan 03, 2014 4:18 AM
Gkastraveckas
5 posts
Jan 03, 2014
7:41 AM
After 3 years of learning from Jon Gindick's Rock n' Blues Harmonica and YouTube videos, I still find myself in the "beginner" range. I can draw bend confidently, kind of fake my way through 12 bars and do a few "solos" and simple licks. I recently purchased some Mel Bay books from the MasterClass series by David Barrett and they have been very helpful with getting me out of the rut. I recommend them to anyone trying to push themselves past the beginner zone.

Mel Bay Classic Chicago Blues Harp #2 Level 3
Mel Bay presents Improvising Blues Harmonica
Mirco
70 posts
Jan 05, 2014
8:48 PM
BLUES BOOKS BY DAVID BARRETT:
Right on, Gkastraveckas. I heard that the Improvising Blues Harmonica books is great. I actually bought it and haven't even started digging into it, because I'm taking lessons through Barrett's website.

MIND THE GAP'S LICK:
That's a nice lick, MindtheGap, and played well. Good single notes, confident dips, and I dig the tremolo. Do you have any experience with slaps? That might add a nice percussive effect to the notes.

NEW TOPIC: Harp players for beginners to listen to and emulate

I was actively listening to some Sonny Boy II today. He's really good at leaving space and playing sparingly to great effect. Simple riffs, but with a lot of hand effects. Maximum impact with minimal effort. I don't know if I have the confidence in my technique to play so sparingly. It takes some courage.

By the way, JP Allen and Adam Gussow agree that Sonny Boy II is one of the best for beginning harp players to listen to. Adam's list rounds out with Howlin' Wolf and Dr. Feelgood Potts. (Here's my source: http://www.harmonica.com/best-blues-harmonica-players-3230.html?doing_wp_cron=1388983167.5121700763702392578125)

Who do you think?

Last Edited by Mirco on Jan 05, 2014 8:50 PM
MindTheGap
151 posts
Jan 06, 2014
12:58 AM
Mirco RE RIFFS
Good point, although I'm obsessing at the moment about trying to make single notes sound good without lots of slaps and pulls. Hmmm, maybe I should have taken up the clarinet instead. Or maybe the bassoon. When recording these riffs I'm trying to play them simply because they are intended as a memory aid.

Re HARP PLAYERS TO LISTEN TO
Sonny Boy II yes indeed. Ben Hewlett (UK) has an instructional book about his music...

sonnyboy-williamson-ii-blues-riffs

Last Edited by
MindTheGap on Jan 06, 2014 12:59 AM
rogonzab
448 posts
Jan 06, 2014
6:32 AM
The Sony Boy II mention remind me of something.

When I try to learn a song that is not tabed, I search YT videos of player making covers. The most usefull ones are the ones where the player is also a beginer, and this is because they can get the notes rigiht but they cant make it sound so cool that you cant make that sound on your own harp. For Example, I can make a -2b Wawa, but whe SBWII does it it sounds 100% different and that make copy his licks hard, but when you try to copy to another beginer the sound that he makes is more similar to yours, so is easy.

Is that make sense?

I hope that it does.

Last Edited by rogonzab on Jan 06, 2014 6:33 AM
Gkastraveckas
6 posts
Jan 06, 2014
7:39 AM
I totally agree Rogonzab, but I don't focus so much on beginners but other people's covers, their own interpretation. It's like it adds a buffer from the complexity of the original and makes it something I would be more likely to play.
Mirco
72 posts
Jan 06, 2014
3:46 PM
Damn, that is a cool Sonny Boy book. Right now, though, I have a backlog of three harp books and I can't keep up. Eventually, I'll get to that.

Good eye on that one.
MindTheGap
156 posts
Jan 06, 2014
11:34 PM
rogonzab, Gk - I agree with that too. It's great to listen to the masters but when you're learning/copying you need to hear something you have a chance of playing. The experienced players put in so many extra features - that's what makes it sound so good. Actually I like Adam's videos for this - he can break it down and play it simply. Good teachers do that.

Oh, and Ben is good with that too. I have some of his books and they are very clear. Proper teaching materials.

Last Edited by MindTheGap on Jan 06, 2014 11:45 PM
MindTheGap
157 posts
Jan 09, 2014
12:50 AM
Re: LEARNING THE HARP...

Discussing the difference between experienced and less-experienced playing has made me think more about this. I was having some trouble working out why I'm finding blues harmonica so tricky to learn, for such a seemingly 'simple' instrument. OK you have learn bending and possibly overblows to get all the notes you need for this style. But it's not that.

One of my sons learns the drums, and I remember he sounded like a drummer pretty much from lesson one. When he played a simple rock beat, it sounded very much like a rock beat. Of course there's then a million things to learn and improve, but it did actually sound like drums. My eldest son plays guitar in a band, not blues. He's never been interested in being a technical guitarist, but when he plays what he plays, it does sound like guitar. The basic sound is given by his choice of equipment, guitar, strings, effects and amp. The basic unadorned notes and chords sound good and simple parts sound great. I found the same thing with the piano - from the start, when I played a simple beginner's piece it really did sound like piano music.

Contrast this with learning a string instrument. If you've done it yourself or heard anyone else you'll know it's a long time before it sounds recognisably like a violin, viola, cello. Well, cello not so much. For ages it sounds like recognisably like a beginner scraping around. That's because the instrument doesn't do much for you - you have to get the basic timbre right AND the intonation AND add all the note shaping nuances that people expect to hear. I mean on top of playing the right notes in time.

So I think that the blues harp feels more like learning the violin/viola. The harp doesn't do much for you apart from provide a basic oscillation. You have to provide the resonance to make the note sound with a decent timbre, you have intonation issues. And it appears to me that what sets apart experienced playing is that each and every note is being shaped in so many ways - articulation, timbre, envelope, vibrato/tremolo. And then you have the effects like dips, pulls, slaps, hand shaping, wahs, flutters etc. Add to that, microphone technique. I think there are a few notes that do sound right from the start e.g. the 2'' bend is such a characteristic sound that as soon as you get it, it sounds good. It's an early win, which is both good and bad.

At least with the violin, you know it's going to be hard work, it doesn't pretend to help you. But the harmonica is a trickster - it seems to give you easily all the notes on a plate, but in reality you have to work hard to make it sound right. No wonder it takes while.

Last Edited by MindTheGap on Jan 09, 2014 12:55 AM
Gkastraveckas
7 posts
Jan 09, 2014
2:54 AM
Well said MindTheGap, you've obviously put a lot of thought into that. It does seem like such a simple instrument, bout get that Blues sound to come out right is hard work. It seems to me the only way I can impress my friends with harmonica is to play home on the range of oh suzana, the only recognizable harmonica songs for them.
But throw some second position at them with some inaccurate bends and you get these sympathetic looks.
SteamrollinStan
114 posts
Jan 09, 2014
3:26 AM
Do not play in front of anyone full stop. Unless you can play the thing. (MY OPINION)
MindTheGap
158 posts
Jan 09, 2014
3:44 AM
Gk - thank you. Yes indeed. I feel better now, writing it down!

Stan - I don't agree (that's my opinion). It's only by playing to other people I worked out that I wasn't playing it right. But it's a good point to debate - a whole other thing. I don't think you can learn an instrument by hiding away in the shed then emerging as the butterfly from the cocoon. And people can and should enjoy participating in music without being the best. It's not just for the elite. Like sport. Brain surgery is for the elite, music no.

Last Edited by MindTheGap on Jan 09, 2014 3:47 AM
MindTheGap
159 posts
Jan 09, 2014
5:11 AM
Gk - are you sure it's a look of sympathy? It could be a look of wonder. I remember when I started playing the Old Grey Whistle Test sig tune my family thought it was some kind of weird magic. How can that thing (toot-y-toot-y-toot) make that sound? Good to play to friends and family I think - you can get some straight, though often harsh, feedback without the side that you might, just might, get from other musicians! :-) Have you seen the thread about 'Jazz Robots'?

Last Edited by MindTheGap on Jan 09, 2014 5:14 AM
MindTheGap
163 posts
Jan 11, 2014
6:05 AM
Re: Learning TB Bends

Every so often I've tried to learn TB bends, usually after watching one of Lee Sankey's videos! Made a bit of a breakthrough today, just baby steps on the 4'. The first is LB, the 2nd TB honest...

I remember learning to bend LB, when for ages it felt like I had no grip on the reed, I'm just starting to feel that grip again with TB. I've got no idea how I'm doing this, with LB it's reasonably clear how the tongue is arching about, but this? Something in the back of the throat it feels like.

Anyone else working on this? - we could do with a self-help group.

Last Edited by MindTheGap on Jan 11, 2014 6:08 AM
Mirco
73 posts
Jan 11, 2014
10:13 PM
I am not working on this. With the exception of the 1 hole, though, I tongue block exclusively. However, before learning to tongue block, I played for my first 6 months as a lip blocker. I can tell you that the interior of your mouth is EXACTLY the same when bending, either way.

In either case, it matters where your tongue is in your mouth. My suggestion would be to lip block those bends--since you're more comfortable that way--and really try to focus on your embouchure and the position of your tongue. Then try to recreate the same thing, but with your tongue on the harp.

The analogy I like to use is playing the drums. Think of a bongo vs. a tympani. The size and shape of the drum alters the sound substantially. When you want to alter the pitch of your draw, you need to alter your mouth (the resonance chamber in this case).

It sounds good, MindtheGap. I always think that you have great tone.
MindTheGap
166 posts
Jan 12, 2014
3:47 AM
Mirco - Yes, I suppose you must be right. It just feels different, or how you get there feels different. I've read other people say they 'bend from the throat' but it's been proved I think that the tongue is always involved. It's often the way - what you feel you are doing is different from is actually happening. I find that with dancing for instance :-)

I do like LB bends, but in TB bends I have a new toy and I am going to play with it. Although I had pretty much gone for LB, I'd rather do it out of choice than because I can't TB bends.

Given your comments about Riff-0025 above I re-recorded it with some (syrupy?) adornments including some slaps. I'm trying to get the tone as sharp as possible with as little breath as possible. And timbre variations. Seriously I've been putting lots of work in around acoustic tone and I feel something's happening. All encouraging comments are welcome.

I'm competing with the sound of my fan heater. It's cold in the shed.

Last Edited by MindTheGap on Jan 12, 2014 4:18 AM
Shaganappi
75 posts
Jan 12, 2014
8:55 AM
MindTheGap per your Jan 3 post:
Or use Beat Tab and do all the notation, notes AND rhythm in a single more compact QWERTY line.
/x x [x1][23']/4'4- - [4+4]/[321]1 1 x /
And even more compact if the convention is an underline instead of 4+. See:
https://sites.google.com/site/btabnotation/
The Tab section has more examples.
Mirco
75 posts
Jan 12, 2014
2:23 PM
Great, great video from Ronnie Shellist on how to approach a solo. Though he doesn't really mention it directly, it underscores the importance of repetition in our playing:
http://www.youtube.com/watch?v=8wCcTyLB2MQ&list=WLE-fNcLnb0p2FWnakpRKI_RDz3JoeVvFL

On a similar note, repetition in jazz:
http://hum.lss.wisc.edu/jazz/repetition.html
MindTheGap
168 posts
Jan 13, 2014
3:44 AM
Mirco - thanks for the post on RS, I think that's a brilliant lesson. What I particularly like is that it gives the learner (I mean me) the opportunity to play a solid-but-simple thing, then add complexity as things progress.

Going back to my drum-learning son, I'm envious because he could start making music with others pretty much as soon as he could lay down a decent beat, then adding fills and other complexity as technique grows.

Definitely going to try this stuff out. All things point to getting those GrooveTrax too - mostly I've been playing to actual songs, but a dictionary of grooves sounds like a good proposition.
MindTheGap
174 posts
Jan 18, 2014
5:00 AM
Re: Beginner's Amp Equipment - Tubes vs Transistors vs Digital.

My initial aim was always to play amplified, and I needed some kit to learn how to do it, then actually do it. Always a problem to work out what to get, how much to spend at this stage. For not a massive outlay I've now got a Lone Wolf Harp Break pedal, a little 5W tube amp and a stick-type mic. With this I can play with other people. For quite practice I have a little NUX Mighty 8 digital amp. Here is a short comparison of them - all recorded with a SM57-clone mic into Audacity...

1. 5W amp cranked up.
2. Clean amp + Harp Break
3. Nux modelling amp



The noises-off aren't from the typing pool, but a son practicing on his silent drum kit.

They sound much more different in the room, but mic'd up they are doing similar things, no? I did a blind tasting with my ever-helpful family, and they liked the first two best.
Mirco
76 posts
Jan 18, 2014
2:04 PM
Sounds nice, MindTheGap. I'm starting to think that you have no place in the Beginner's forum.

I think that there are subtle nuanced differences to each take, but these would escape anyone who is not a musician (or maybe even a harp musician). For all intents and purposed, they sound very similar, and I think that any of those rigs would suitably impress a non-harp enthusiast. For my taste, I like the last setup best.

I haven't gotten to the point of experimenting with equipment yet. Working on acoustic tone. However, when I feel like I need to practice amplified, I have the Bottle of Blues mic (which sounds quite nice) and a vintage Turner mic. My amps are a Smokey battery powered amp and a Fender Champion. I don't need equipment to play out, because I only play at jams. I live in an apartment, so I don't often practice amped.

Thanks for sharing. I need to start using this forum as a place to share recordings and get feedback. Maybe I should sign up for Soundcloud?
Mirco
77 posts
Jan 18, 2014
2:06 PM
Last night, I watched the first part of Leonard Bernstein's "The Unanswered Question." There are six parts. Great stuff, if you are interested at all in theory (which we all should be). Adam sometimes talks about how his one semester of jazz guitar made his entire career possible. Theory opens up the possibilities.

http://www.youtube.com/watch?v=MB7ZOdp__gQ
Gkastraveckas
8 posts
Jan 29, 2014
9:07 PM
Been learning about three years, what do you think? I really appreciate constructive criticism.

https://www.youtube.com/watch?v=dx-i093ccV4&feature=youtube_gdata_player

https://www.youtube.com/watch?v=ylo3lh_YzGo&feature=youtube_gdata_playereen learning 2-3 years, what do you guys think. I really appreciate constructive criticism.
Gkastraveckas
9 posts
Jan 29, 2014
9:17 PM
Sorry, is this how I embed?



MindTheGap
202 posts
Feb 01, 2014
1:51 AM
Gk - Firstly, thank you so much for posting these. It would be great if more learner/beginners posted their stuff here too. As a fellow learner I don't feel qualified to comment on the content - although I am very interested to hear from you about what you like/dislike about them, what you are trying to work on etc. If you could add some detail that would be excellent.

So, in return, let me post this. What I've been struggling with is communicating a pulse through single-note lines. The experienced players of talk about 'beginners thin tone' but I think just as marked is the ability to carry the beat just on the harp. I'm talking about single lines here, not vamping. It's a feature I hear and admire in the experienced players - it sounds natural, but doesn't seem to be a 'given' at least for me.

When I play with a group (listening back to recordings) my beat is ok, but on my own it's weak. This was a bit of a surprise as I've not had a problem before with other instruments (bass/guitar/piano) - as ever the harp give special challenges.

Anyway, in this clip I'm trying to play the Tramp groove with some other bits of fills and trying to communicate the pulse without too much support from chucks and vamping. I believe I've made some progress, and this clip is the state of play.

I play first with the metronome, then repeated without. In audacity you can see from the trace where you are hitting the notes e.g. unintentionally hitting behind or ahead of the beat. That's not all there is to it, but it's a helpful thing.

I expect that many others don't have an issue with this, in which case, lucky you! Hopefully this may be of interest to someone.

Last Edited by MindTheGap on Feb 01, 2014 1:58 AM
harpcat
3 posts
Feb 01, 2014
4:49 AM
Rank amateur here. I get nervous practicing in front of my cat, never mind my wife or son.
Mirco
83 posts
Feb 01, 2014
9:25 AM
MindtheGap is right about posting stuff here. I need to socialize my playing more.

The following is an effort to improve my improvisation. David Barrett advocates taking licks and playing them with varying degrees of repetition in the 12 bar structure. So I took the I from Adam Gussow's transcription of Floyd's Hotel and tried it in Barrett's different "Chorus Forms."



I am definitely too hesitant at times, and my timing is off at points. Also, there's a two bar lick-- Walter's "Juke"-- that does not fit with the rest.

Thanks for any feedback.

Last Edited by Mirco on Feb 01, 2014 9:27 AM
Mirco
84 posts
Feb 01, 2014
9:37 AM
Gkastraveckas: A nice strong chord sound is the first thing I noticed. On your original, you did a good job of accompanying yourself by playing rhythm harp behind your melody. That's something I wish I could do at this point. It's kind of Adam's forte, right?

MindtheGap: You have such a good confident tone on Tramp2. It's also clear that you know about the importance of repetition in your playing. Do you have the chance to play out at jams at all? You could plug something like this right in when it's your turn to solo.

harpcat: I used to think that confidence came with time and when skill level improved, but I have been playing for a little over a year now, but the confidence hasn't appeared. I think performance confidence is a trait completely separate from your ability to play. It's something I need to work on.

Thanks for sharing.
Gkastraveckas
10 posts
Feb 01, 2014
7:13 PM
Thanks for the kind words.

Mirco, I like how you said Mind had "confident" tone, that's a really great way to put it and all I could think when listening to it.

Mind, I think you're right, we should all be posting a lot more of what we're working on, help build solidarity.

Also I've noticed lately that this thread is really slowing down, let's all work harder to keep this going. I am making a resolution right now to post something or at least comment one a day. I know we all love hearing from each other, so let's make this work!

And Mind, is that tongue blocking I hear?
MindTheGap
204 posts
Feb 02, 2014
9:50 AM
Gk - Re the thread, good thinking. We need to put some effort in to keep it alive, and hopefully grow. You are doing your bit by posting. As you wish for feedback: I think that solo harp + singing is one of the most impressive things, so nice work. Lots of good stuff in there to my ear especially the octaves/splits near the start. This is just my preference, but I'd like to hear you with less distortion on the that setup - I wonder what that would sound like? On the acoustic one, lots of good note shaping, I particularly like that. If you played the same thing slower with more time lingering over those notes I bet that would sound good too.

-re your question, yes I both TB and LB. I like them both: LB for the tongue articulation t-t-t and TB for the slaps and pulls.

Mirco - I have DB's books too, so I recognise the 'Chorus Forms' thing. You seem to get more confident during the piece both with the main riff and the variations. I'm working on that repeated groove/call and response thing from Ronnie Shellist that you posted up a while ago. That's working for me as a structure.

I think it's hard starting a lick on that 6+ as you can't add much inflection. I suppose a small dip, or TB-with-slap, or maybe some hand effect. What I didn't realise at the start was how much the experienced players shape every note to give it colour. It's a job of work to do it.

Thanks for the 'confident' comment, appreciated. My current hero is Ian Collard of Collard Greens and Gravy. I love this music, and his playing in particular. Now you would call that 'confident' - clear groove-driven lines, really something to hear...

http://collardgreensandgravy.bandcamp.com/


----------
MTG

Last Edited by MindTheGap on Feb 02, 2014 9:53 AM
MindTheGap
205 posts
Feb 02, 2014
9:57 AM
hi harpcat - what kind of thing are you playing to your cat at the moment? It would make a great Youtube video - you know: internet, cat, harmonica = millions of views :-)
Mirco
86 posts
Feb 02, 2014
10:07 AM
Is it possible to dip the 6+? I don't know anything about blow bends yet.
Gkastraveckas
12 posts
Feb 02, 2014
1:58 PM
Mind- thanks a lot, I appreciate the kind words. I normally never use an amp, I don't even know why I was. that's the only full song I know actually. I checked out that collard greens and gravy page, it's great stuff I even bookmarked it.

Mirco- I think confidence can improve your playing, giving you the freedom to try things you normally never would.I'm not just taking about performing, sometimes I even embarrass myself when I'm alone
Gkastraveckas
13 posts
Feb 02, 2014
2:26 PM
f anyone is interested, here I am stumbling through Blues With A Feeling for the first time in public. Acoustic
Gkastraveckas
14 posts
Feb 02, 2014
5:03 PM
this is another song I've been tinkering with fire quite a while, it's inspired from the first few rhythm measures of whammer jammer back when I was naive enough to think it would be easy to learn. Remember everyone, let's try to post as much of our stuff as possible, embarrassing or not.
Gkastraveckas
15 posts
Feb 02, 2014
5:12 PM
By the way, in keeping my resolution to keep this thread more active, where is everyone from?

I'm from New London, CT USA
Mirco
87 posts
Feb 02, 2014
10:40 PM
I am living in San Jose, CA. It's a great area for the blues. Rick Estrin, Mark Hummel, and Aki Kumar play regularly around here. David Barrett has his School of the Blues here. Last week, I was fortunate to see Kim Wilson play a set at a local club!

Here's an original instrumental I wrote this weekend:

I'm trying Barrett's chorus forms. Any way to add more variety while still maintaining the repetition of the chorus forms?

Last Edited by Mirco on Feb 02, 2014 10:41 PM
MindTheGap
206 posts
Feb 02, 2014
11:55 PM
Gk - Excellent! That's a gutsy performance. Good strong rhythm. Listening to it we always know where you are - I like that. I think it benefits greatly from the foot stomp. If I ever did a OMB thing I'd have foot percussion of some kind. Could you do the 2nd one again with a foot stomp too?

Mirco - again you seem to get more confident as the piece progresses. Re variation, just yesterday I had a lesson specifically about rhythm (my thing at the minute, did I mention? Yes I did :-)) and one of the ideas was really working the variation in rhythm of the same small set of notes vs adding variety with new note choices. E.g. taking the same melodic phrase and consciously placing it at a different point in the bar, or varying the rhythm within the few notes. Thelonious Monk cited as someone to listen to here. The advantage for the beginner is that it reduces the technical difficulty of moving position on the harp, which can lead to the hesitancy you talk about. I.e. you can get comfortable with the smaller set of notes, and so play them boldly. Does that make sense? Personally I like this, as I would rather play something simple and well than something complex (lots of notes) and poor. Complexity can be added later.

I'm from near Oxford, England. I don't think that Kim Wilson has played here for a while.

Re confidence, I think you are right Mirco. There are plenty of stories of top performers of all kinds plagued with stage fright. Independent of ability, age etc. It's a natural thing, something to be managed.
MindTheGap
210 posts
Feb 03, 2014
5:48 AM
Mirco - this clip is the kind of thing I'm talking about, recorded after the lesson. This is couple of 12 bar rounds using a very few notes. The first round positioning the riff to emphasis the 1st beat, the second round putting it on the 2nd beat. When I play it back - it's the simple stuff that has the rhythmic drive to my ears. Fireworks can be added later as technique permits. See what you think.

Putting the same riff in other places does interesting things to, e.g. 2&, 3& etc. Rich pickings I think.

Gkastraveckas
16 posts
Feb 03, 2014
1:18 PM
Micro, sounds good, Mind is right about your confidence as you progress. Do ever try any warm up exercises before playing? I personally don't know any but I know YouTube is full of them. Also I'm pretty clueless when it comes to musical terms, what does chorus form even mean?
As far as variants while keeping the same pattern, on page 13 I think of Dave Barretts classic blues harp 2 he goes through 12 bars alternating lines from "bluesy" to "light"basically repeating the line using the blow note equivalents.

Mind, it wasn't that ballsy because there is practically no blues and definitely no harmonica players in my town so they have no idea if it's bad. The foot stomping I think I saw in a live sonny boy 2 video
Mirco
88 posts
Feb 03, 2014
3:55 PM
Gk: I agree that the foot stomp adds a lot to the performance. Having a beat behind the melody helps the audience latch onto something quickly and participate in the song.

I actually do warm up before playing. The recording you heard was after I'd been playing a while. My normal warm-ups are different things. Maybe I'll focus on technique (right now, it's hitting specific bends, but it might be octaves or slaps, etc) or I'll play a song that is easy for me or I'll just improvise a few bars.

MindtheGap: If it's something that Thelonious Monk made part of his playing, it's worth paying attention to. I'm listening to a lot more jazz. Great phrasing and improvisation.

CHORUS FORMS:
"Chorus forms" is the term David Barrett uses to describe repetition in playing a chorus. Basically, there are different forms that a chorus (once around the 12 bars) can take.

For example, the AAA form is a structure where you would play a riff for the first four bars, then repeat it twice. AAB would have the first riff, repeat it, and then play a different riff. There's also the AAA with fills, AAB with fills, and ABAC forms.

That's the basics. David Barrett goes into a lot of detail, and provides excellent example, on his website (bluesharmonica.com) or in his book "Improvising Blues Harmonica." I highly recommend both.

Listen to something like "Rocker" by Little Walter and notice the use of the AAA in the first chorus, or "Juke" for the AAB in the first chorus.


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