SmokeJS
222 posts
Feb 11, 2014
7:16 AM
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The just published Steve Cohen book/cd 100 Authentic Blues Harmonica Licks arrived this morning. Very impressive at a bargain price from Amazon. With variations and alterations of some licks I count closer to 146 licks. Some are short. Others are 12 bar. A wide variety of blues styles. I don't hear much tongue blocking other than octaves and splits but I'm becoming more and more comfortable thickening up the sound on my own so the cd will be a good guide rather than something to copy exactly.
Right now I'm working on a chapter of licks in the Winslow Yerxa book Blues Harmonica For Dummies so delving into this new book will have to wait a bit. My pace is a new lick per week to supplement my main focus on David Barrett material. The licks tend to get engrained in your subconscious and come out later almost unexpectedly.
I like this approach though it flies in the face of those who spent their time with a couple of 33 1/3 rpm vinyl records slowed down to 16 rpm. I'll give those guys credit though, they had the perseverance to really work at it and they probably really own the licks they worked out on their own. But for me I think this approach will deliver similar benefits as part of a larger approach.
MindTheGap: This is an approximation of option C.
Last Edited by SmokeJS on Feb 11, 2014 7:41 AM
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The Iceman
1449 posts
Feb 11, 2014
7:32 AM
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I have an opinion regarding the "Blues Licks" approach.
While it does help one get their feet wet in regards to playing, it is a frustrating endeavor for most.
What happens is that in order to move off of that "plateau", one must memorize more licks. It is a long road towards understanding how these musical lines work.
Instead, I have my students learn one or two ideas and then start to get inside them to create their own variations on these. I also help them learn to place these ideas at different beats of the measure, thereby geometrically increasing the usage of these memorized ideas instead of constantly learning new ones.
There is a lot to be said for either approach, but I've found that in the long run, understanding how ideas work is a shorter path up that mountain.
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The Iceman
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CWinter
100 posts
Feb 11, 2014
9:34 AM
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@Iceman
I have a question about your above post. If you place the "idea" or lick in a different part of the measure, as you say, wouldn't one usually have to either increase or decrease not only the amount of notes used, but often the duration of one or more of the notes, in order to resolve on the right beat?
That's the whole point of the exercise isn't it?
I assume that often a lick or phrase will extend beyond one measure into two, three, maybe four. Do you have students do the same thing with a lick that extends beyond its immediate measure?
Thanks!!
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The Iceman
1450 posts
Feb 11, 2014
10:12 AM
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CWinter...
a stand alone idea with merit can, many times, cross a bar line. It creates some interesting musical lines.
Your point of holding a note for a longer duration is one part of the equation.
The idea is to start understanding the "logic" behind a "lick" so that you can start to be a creator in your own right.
To think so metrically (a lick that lasts only one measure, etc) will limit one in his ability to move forward.
Once you free yourself from being rooted metrically, your ideas are free to float over the beats. It is true that there should be an end point in mind so that you can land on your feet, so to speak.
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The Iceman
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Mirco
96 posts
Feb 11, 2014
4:04 PM
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Right on, Iceman. I'd like to add to that idea.
Creating an interesting song is about playing with the listener's expectations. There's a balance between tension and release.
You can play the same lick over and over, but the band will be changing chords, which will sound just as interesting. That tension between you and the band will create interest.
Following the chord changes is good, for a start. But don't let it limit your development.
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Harp Study
11 posts
Feb 12, 2014
10:08 AM
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This is a topic I've thought a lot about lately and seem to have come to a point where I'm not sure what to do to increase my lick vocabulary most effectively.
I might be trying to rush it and just need to give it more time, but it seems like I use the same licks over and over. I've been playing about two years now and wish I had a lot larger lick vocabulary than what I have.
I have a lot of lick books. I learn some of the licks and try to use them for a while to get them ingrained into my mind, but eventually it seems like I just forget them or at least only retain a small percentage.
I also practice learning standard songs; either from books or by transcribing them. However, I never seem to get much of a lick vocabulary from this process other than being about to play the song.
I'm just curious what other people do to increase their lick vocabulary and how they go about retaining and/or being able to use new licks.
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SmokeJS
223 posts
Feb 12, 2014
11:36 AM
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Harp Study, my approach is to work on a new lick a week but to not worry about it later. I've found that some stick with me and some don't. Guessing that's just personal taste. But what's really great is hearing licks I recognize from someone else that seem familiar and I can somewhat replicate. Bottom line for me is licks are just one part of the process and I don't force it.
Last Edited by SmokeJS on Feb 12, 2014 2:25 PM
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The Iceman
1451 posts
Feb 12, 2014
11:51 AM
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Harp Study is a prime example of what I call "The Lick Based Philosophy".
His posting outlines the common results when pursuing "licks". It leads to "Lickamortis"...not happy with the licks you know and the only solution you pursue is "OK, then I need MORE LICKS".
more more more.
It never ends. You learn more, get tired of them (or forget them) and then want to learn more to solve this issue. Neverending.
Better to understand how a musical line works and learn to create your own.
Many postings/books/educational materials and teachers will have all the answers for you, if you just change your orientation by 7 degrees.
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The Iceman
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Pistolcat
582 posts
Feb 12, 2014
12:04 PM
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Ah, but when the student is ready the master will appear.
It's good to learn licks that sound good and scales that fit music. After you have that down in your core you will, almost unknowingly, adjust and branch out and create new lines.
Or, you can go the way with thinking alot right of he bat, finding new phrasings and so on. Either way you need to play and hear a lot of music.
Going, "the Frank way" with making (deeper) a study of a song a really get down to what makes it expressive is yet another way. I think that it's very giving to make up your own expressions in the song you study but perhaps after you nail "the original".
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Pistolkatt - Pistolkatts youtube
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Mirco
98 posts
Feb 12, 2014
3:15 PM
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It's all about using the licks in different contexts. If you have a lick you like and want to retain, put on a jam track and try it out. Try it with different phrasings, maybe changing the dynamics, or presenting the notes in different ways (with slaps, with pulls, in octaves...). Plan to improvise with your licks in this way for 20 minutes per every hour you play.
The next day, try it to a different jam track. Maybe a different groove, maybe a different key.
If you keep this up for a week, with the same lick, you will have it to keep, at your disposal.
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Harp Study
12 posts
Feb 12, 2014
5:12 PM
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Micro that is some sound advice. I am going to try that approach. It is kind of along the lines of what smokejs seems to do as well.
Iceman- I agree with what your saying but I am not sure how to go about learning how musical phrases work without studying musical phrases. I practice scales which help me a lot but the only concrete way I know to start learning phrasing is to study other peoples licks.
Thanks to all for the advice.
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MindTheGap
253 posts
Feb 13, 2014
1:39 AM
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Smoke - ah just seen your footnote about 'Option C' - very good! In that case I feel qualified to join in, which I wouldn't have otherwise.
I'm in the middle of the process, so here's what I went through myself. To start with I bought a book of riffs, and that was fun and definitely a good thing to get a toe hold, but ultimately no help in playing solos. I defintely recognise Iceman's 'riffamortis' - great term!
But I did find it useful for comping, which I do a lot of and like very much. Because comping is more repetitive, you can use the riffs and muck about with them, play them over and over as fills or rhythm backing or basslines or hornlines or all the various ways you need for comping.
I also studied/am studying the scales - which is also good but I couldn't make a convincing solo just by running up and down scales. Just sounds like, well, scales.
Currently, when I listened to tracks, I hear a nice phrase, work it out, jot it down and record my distilled or simplified version. This is a great thing to do just in terms of the exercise. My notebook is filling up. Because I 'wrote them' - ok I nicked them, they are more personal and easier to internalise.
Now I feel I'm within sight of sometimes being able to create a solo on the fly that isn't just joined up re-hashed riffs, or playing notes that fit but don't mean anything. I can start to to work out a (very simple) musical idea. Just on the cusp mind, so on a very good day I can get 24, maybe 36 bars or so that sound coherent.
I hear some of the riff ideas popping out, but it's not a conscious 'play that riff now', more like I notice them appearing. And often not verbatim, but varied in some way.
Does that make sense to anyone, whose a bit further down the road?
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MTG
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MindTheGap
254 posts
Feb 13, 2014
1:54 AM
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...Ok, as a great believer in putting your money where your mouth is, here is a link to my first post on the 'HarmonicaBoogie' jam site. They provide backing tracks, and you jam to them and send in your recording. I hummed a little tune to myself, and then played it straight off, so you can judge my fine words (above) against my actions :-) When I listen back I think it is rudimentary but basically sound, and is the outworking of working on all those riffs and scales.
(it's 128 Shuffle Street mindthegap-BeelzeBob)
http://jamq.org/jamqueue/harmonica/hbmainstage/listeningpost.php
Credits: Backing Track Beezlebob on HarmonicaJam.com
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MTG
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The Iceman
1453 posts
Feb 13, 2014
6:02 AM
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MTG is using a more effective technique than buying a book of licks...
He is creating his own book of licks through his transcriptions - a more powerful way of approaching this scenario.
Harp Study sez "I agree with what your saying but I am not sure how to go about learning how musical phrases work".
It is not through learning more and more licks, but taking a few that you know and permutating them as suggested by some of the postings above.
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The Iceman
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Cotton
14 posts
Feb 13, 2014
9:29 AM
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What a great Thread-- As a 1.3 year student, Harp Study expresses my feelings/problems exactly. Iceman, you help many more people than just the ones you respond to.
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Harp Study
13 posts
Feb 13, 2014
9:50 AM
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MTG: Thank very much for your post. I found it very encouraging and thought it has some wonderful advice. I also enjoyed your harmonicajam posting. As you said simple, but effective.
Iceman; Thank you for your words of wisdom. I will try to incorporate them into my practice routine and change my approach to being a better improviser.
Lastly, I completely agree with what Cotton said. Normally I just browse through the forum reading and rarely post, but I find this forum to be such a great tool. Thanks to everyone on it and to Dr. Gussow for starting such a wonderful thing.
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Frank
3820 posts
Feb 13, 2014
4:12 PM
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One way to consider this is...to look at the notes that make up the lick.
Say you notice that the notes used are (thinking in the key of C) and starting on the 2 draw-
G,B,D,F
And you begin to notice that a lot of other great licks are also formed out of those same notes.
What this is telling you is that when you are improvising... you need not play the licks you learnt...You can make up your own licks by just using the same notes.
Point is, it is understanding the notes used that made up the lick- that are some of the most important bits of information that you as an aspiring improviser need to internalize.
So- it is the notes the player used to create the lick, "not the lick itself" that have the power to get you from point A to Z.
A life long journey is learning how to bring to life those notes your way... how to give them your voice, your rhythm, your dynamic vision.
Yes, learn licks to help strengthen your playing, inspire you and give you some confidence.
But learn the notes used to create those licks to give you freedom to improvise your own music :)
The good news is it is a lot of fun discovering the power that notes hold.
The bad news is...if you try to rush the process - the only thing you'll discover is frustration and disappointment.
Learning to improvise convincingly is a Marathon - you must pace yourself - cause you can't force musical competence into existence.
It will happen, in it's time...let it happen naturally - like the seasons :)
Last Edited by Frank on Feb 13, 2014 4:56 PM
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colman
295 posts
Feb 13, 2014
5:09 PM
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I looked at blues as language and licks as words.after you learn enough words to speak you can get creative and speak your own mind and than sing the language.also listening to the little walter etc. dialects you can`t miss the blues as it is...
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MindTheGap
259 posts
Feb 14, 2014
12:56 AM
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Frank, colman - I think the question for us beginners is: if I practice this thing or that thing, will I likely end up, for instance, being able to improvise freely? You know it's going to take a long time, so you want to be doing the right things from the start.
If you want to learn classical piano, there is a well-trodden and proven path. And as a learner, you don't have to work out your own one.
So I could ask: if I learn and play lots of riffs, or learn the notes that make them up, or hum phrases then play them or listen to LW or learn whole songs verbatim - is it likely that the ability to improvise will emerge from all that?
In my post I wasn't attempting to give an answer to this, coz I have no idea, just reporting what I've done so far and how I've noticed an improvement. I enjoy decoding phrases I hear - is the side effect to become a better player?
I think these questions are sometimes taken as looking for cheap shortcuts - but that's not so. More, if you know you have a long journey you want to start pointing in the right direction.
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MTG
Last Edited by MindTheGap on Feb 14, 2014 1:02 AM
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SteamrollinStan
118 posts
Feb 14, 2014
1:25 AM
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I spend way too much time reading, watching, listening, commenting, all I should be doing is working hard and perfecting some of the things I am able to do, but as the saying goes, practice makes perfect, 80% playing and practice, 20% reading etc, atm its more like 99% bullcrapping and 1% playing.
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Rubes
796 posts
Feb 14, 2014
2:42 AM
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Head to the shed Stan.......
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Old Man Rubes at Reverbnation
Dads in Space at Reverbnation
Benny and Rubes at Reverbnation
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Gipsy
42 posts
Feb 14, 2014
1:25 PM
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I'm a firm believer in the 10,000 hours rule. Practice what you want, how you want, when you want, and after 10,000 hours you'll be proficient. Simples.
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Rick Davis
2962 posts
Feb 14, 2014
3:20 PM
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Heck, all my licks are beginner licks!
Building up our harp vocabulary is important. We learn how the phrases relate to the chord progression, and we are able to modify them and improvise.
There are iconic signature blues licks that we all should master. I ordered the book.
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-Little Rick Davis
The Memphis Mini harp amp
The Blues Harp Amps Blog
The Mile High Blues Society
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Frank
3828 posts
Feb 14, 2014
5:56 PM
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I'll bet that is a GREAT book - surely there is gold in them there hills :)
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dougharps
557 posts
Feb 14, 2014
10:22 PM
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I think there are a lot of approaches to improve our playing and improvisation.
I didn't take the "learn lots of licks" approach, though I certainly did work on some licks or lines that jumped out at me in music I heard. A lot of them over the years.
Unless you get stuck just copying licks, I doubt that it can hurt to have learned a lot of them. I would think it is good practice, and the lines are there in reserve. But I would advise against trying to construct a solo in your head using set memorized licks. It wouldn't flow...
I think that in a solo you really need to learn to work off the music in progress, in the moment. Take part of the melody and elaborate on it. Or take a part of the song, maybe a "lick" or "hook" from the vocals or from another instrument. Repeat it creatively and elaborate on it. Take it, mess with it, change the order of the notes, change the timing, change the octave you play in, and come back home at the end of the solo and tie it back to the song.
Above all, immerse yourself in the music, not just licks that you learn.
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Doug S.
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dougharps
558 posts
Feb 14, 2014
10:42 PM
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@MindTheGap
I liked your improvisation on the backing track. It was simple, but clean. Not too busy, and left some space. Nice variations.
One suggestion: On a song that long you have a lot of space. In many songs 24 bars is all you can hope for. With this many verses there would be room to change when you come in on the 12 bars, and room to leave gaps and break up the progression by changing the times you play and the times you are quiet. You could even cross from the end of one 12 verse and play some into the next, then leave some space.
Just some other ideas to consider.
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Doug S.
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MindTheGap
261 posts
Feb 15, 2014
4:19 AM
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Doug, thanks for the kind words and the suggestions. As you can tell this is really far too many rounds for me to improvise over at my level, but that is the nature of the harmonicaboogie thing. They pitch it as you are doing your practice and sharing it with a sympathetic crowd. Seems like a great idea.
Your suggestion of 'changing were you come in' is a particularly practical one, and I'll give that a go on my next effort. Playing over the 12-bar boundary - yes a bit tricky at the moment, but I'll going to note these things down and try them out.
My point here was that I just played it and wasn't consciously stitching together riffs, which feels like a step forward.
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MTG
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MindTheGap
262 posts
Feb 15, 2014
4:44 AM
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...I should say since I've started writing down riffs and phrases I hear and like, it does have a downside. Yesterday I was listening to a preview of Adams audiobook biog (sounds great btw) and had to break off at the part where he meets Nat Riddles for the first time and throws out a little thing - well, I'd call it a cadenza if ever there were one. I had to figure out what he played. Can't play it myself naturally - one day - but I worked it out...ok, good, now on with the book...
It's getting hard to just listen to music without hitting pause/rewind.
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MTG
Last Edited by MindTheGap on Feb 15, 2014 4:46 AM
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Frank
3830 posts
Feb 15, 2014
5:50 AM
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MTG writes…
I hear some of the riff ideas popping out, but it's not a conscious 'play that riff now', more like I notice them appearing. And often not verbatim, but varied in some way.
Does that make sense to anyone, who’s a bit further down the road?
--------------------------------------------------------
Yes, I understand…. What you’re describing is approaching playing music as fearlessly and effortlessly as possible!
And it will become, like you described – where… you’re not even conciously thinking in terms of riffs or licks at all…But rather just letting the music happen in real time and trusting it.
You can do this when your practice sessions are solid, focused, intentional and not rushed! So when you do "play music" you are prepared to improvise :)
Your mindset won't be riff/lick based...
Your mindset will be “Phrase Based”… “Rhythm Based”… “Dynamics Based” and these will be interspersed and spontaneous according to what and how you want to speak through your instrument.
So the riffs or licks that do appear in your playing- will simply be “byproducts” of expressing your feelings and emotions… and they will happen naturally in your musical conversations / improvisations.
I like the term you used (decoding phrases) too…
Whether its your own or someone else’s music… decoding phrases is a GUAREENTEED way to become intimate with the music and internalize it…thus “knowing it” and “owning it” on a personal level which will make an actual concrete impression on you as a musician.
As opposed to learning music, or its concepts, on a ‘superficial level’… were what is learnt is fleeting and often a waste of valuable time.
Last Edited by Frank on Feb 15, 2014 6:32 AM
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dougharps
559 posts
Feb 15, 2014
7:30 AM
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Frank, you mentioned something I neglected to mention:
DYNAMICS! dynamics...
Corky Siegel gave a lecture here 5 or so years ago all about using dynamics. Not focused on harmonica, but focused on all music performance. Immediately after the lecture I began incorporating dynamics into my playing. Bringing the band's music and your music up and down in volume adds a lot of interest to a performance.
It would be more difficult with a backing track, though...
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Doug S.
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DukeBerryman
153 posts
Feb 15, 2014
9:08 AM
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When it comes to licks, it doesn't matter where you start, just where you end up. As long as I know I'm headed to a resolution note, I'm good. Same thing applies to rhythm - I love coming in at the weirdest times, but always ending on the right beat.
In other words, I spend a lot of time thinking backwards: how do I want this to end, so where do I start.
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Frank
3834 posts
Feb 15, 2014
12:02 PM
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MTG...your song on Harmonicaboogie.com - is off the charts good brother, way to go...Players who stick around on that site long enough have all gotten really good at learning how to construct songs and improvise... and I know a few players who got exceptionally GOOD rather quickly by participating on that site, you will be pleasantly surprised at the progress you will make as you continue to record your playing and share it there :)
Last Edited by Frank on Feb 15, 2014 12:07 PM
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MindTheGap
267 posts
Feb 16, 2014
12:32 AM
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Frank - thanks for the +ve words and encouragement. Are you sure you were listening the right track there? :-) I'd like to think mine was in the 'competent' category. Competent would be good. There are some players posting very good things, plenty to learn from. I wish I'd found it a year ago.
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MTG
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Frank
3838 posts
Feb 16, 2014
5:56 AM
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MTG – relative to what you state you were out to accomplish, I’d say you pretty much nailed it, so that’s why you got kudos from me ?
Fundamental Musical Clarity is at the heart of becoming a structurally sound player…
In other words this is the foundation that gives wings for experimenting successfully with deeper musical concepts… putting “meat on the bones” so to speak.
When in learning mode...Concentrating on [rudimentary awareness] is a wise thing to do! Realizing that this is where the Power to sound Really Good comes from.
To make fundamental concepts seem competently =STRONG= in a musical setting is far from an easy feat...
How can one progress to the next level, without achieving quality results out of first using the rudiments of music proficiently.
So working hard/smart on becoming a solid/sound...fundamental player will give you the vision needed to actually advance in your playing > without bringing sloppy, weak and incomplete abilities along with you.
Being a great fundamental player does not equate to being an immature player…
Being strongly grounded in the rudiments of music making are the hallmarks of an accomplished player.
I’m not claiming you’ve arrived and the Good Lord knows I have many fundamental concepts yet to Master…I’m acknowledging that you are achieving what you are setting out to do – so keep on doing what your doing because it is working.
harmonicaboogie.com is an ideal place to experiment and seriously strengthen many things…ex: positions, dynamics, singing, song construction, style, personality, etc. etc…Skies the limit with how far you want to take your musical vision there. The site is a proven TOOL for advancing in musical abilities.
Last Edited by Frank on Feb 16, 2014 6:22 AM
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MindTheGap
268 posts
Feb 16, 2014
7:29 AM
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Frank - thank you, again. In your first line this is exactly the kind of precise criticism I am after in general. Not 'how good am I?' (which is no help) but 'I'm trying to do a particular thing here, I've practised, here are the results, does it work? Is it weak or strong?'
Doug's was the same: review, and how to improve. Not to say that +ve words of encouragement aren't gratefully received, we are only human.
But sorry we seem to have diverted the thread.
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MTG
Last Edited by MindTheGap on Feb 16, 2014 7:30 AM
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Frank
3856 posts
Feb 18, 2014
3:53 AM
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Save your harpboogie admissions for a record of your playing - here are a bunch from those good ole days :)
Experiments and accidents at harmonicaboogie.com
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MindTheGap
276 posts
Feb 18, 2014
8:14 AM
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Thanks Frank - some wild and free things in here! Get it Started!!!
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Mirco
106 posts
Feb 18, 2014
9:17 AM
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Mind the Gap, that is some great playing and much better than I could do. Someday, I'll get to your level.
However, I have some suggestions. As Frank said, I think, there is a lot of space. In between your main lines, you have a bar or two of space. You might want to put some quick fills in there.
Also, I think that you could vary your approach to your main line, with some more use of vibrato, dynamics, or slaps.
Always an inspiration to listen to you. Thanks!
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dougharps
560 posts
Feb 18, 2014
12:10 PM
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I mentioned that he left space, and I meant it as a good thing. In my opinion it isn't just what you play, it is what you don't play, too. For this song, some space can contribute to the overall groove and the nature of the song. He played some nice variations on his melody, too.
I agree that use of vibrato, dynamics, or slaps could be used to enhance the song, but overall, I liked it.
Now if it were supposed to be a fast rock song he would need to play more notes to convey rock energy.
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Doug S.
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MindTheGap
278 posts
Feb 18, 2014
2:13 PM
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Mirco, Doug - thanks to both of you for taking the trouble to listen and comment, all gratefully received. This is proper criticism - detail that a person can work with.
I've listened to the advice about playing more sparingly, and it works by giving time to think of and cue up the next phrase. So I can play the phrase with some more conviction, or simply make fewer mistakes. I like the end result of that. I can also understand that all variety is spice, and a more mature player can work that around much more. Sparse here, dense notes there. All stuff to work on.
And you are correct about the dynamics etc. Again, a more mature player would have enough processing power left over to add these in. Currently I can only do that if I learnt the piece, rather than improvising it.
Micro, are you going to try your hand with harmonicaboogie? Be good to see you there!
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MTG
Last Edited by MindTheGap on Feb 18, 2014 2:18 PM
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The Iceman
1458 posts
Feb 18, 2014
4:38 PM
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Hey MindTheGap...
try this -
Imagine each note is as dense as a bowling ball.
Since they're bowling balls, you can't toss a stream of them. You have to pick and choose the few bowling balls that will get you the best result.
Each of these notes should have the same weight and density as a real bowling ball ... sonically, of course.
When you play them, back them up with a personal conviction of NO DOUBT.
It's fun to do this.
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The Iceman
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Mirco
107 posts
Feb 18, 2014
9:23 PM
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Intimidated by the level of playing at the harmonic boogie.
How should I get started? There are so many tracks. Do I just pick anyone or is there more method to it?
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MindTheGap
279 posts
Feb 19, 2014
12:37 AM
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Iceman - Ta. Definitely something in this, around conviction. When I started recording myself, the thing I noticed immediately was how playing throw-away notes sounded especially unappealing. e.g. fills or flourishes for the sake if it. They seem good at the time, but actually just sound like fluff - yuck.
With your bowling-ball idea, is the exercise to play each note at the same volume? Happy to try that. Ideally I want to be able to play both quietly and loudly, but with equal conviction. So pick a rack of quiet bowling balls, then a rack of loud ones? If you see what I mean.
When I was a kid, the only place we saw ten-pin bowling was on US tv shows, e.g. the flintstones. Seemed very exotic. Now, they are in every town.
Last Edited by MindTheGap on Feb 19, 2014 2:25 AM
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MindTheGap
280 posts
Feb 19, 2014
12:50 AM
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Mirco - They seem a welcoming bunch over there, and ready to normalise their comments on your work to your individual level. Have a read of Rick's advice on criticism, where I think he gets it spot on...
http://jamq.org/jamqueue/harmonica/hbmainstage/jamfaq.php#ConstructiveCriticism
...so if you introduce yourself and explain where you are at I think that will be fine.
Re backing tracks - well, I chose the first one in the list. But you can choose whatever appeals to you, perhaps you'll find one that fits something you play already, and that would be a good way in.
I think the only 'fail-mode' would be people not commenting at all on your recordings, I don't know if that happens. Frank said that it was a busy place when he was doing it.
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The Iceman
1459 posts
Feb 19, 2014
6:43 AM
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MindTheGap...
Early on you should make each note sound the same in regards to volume and density. Play slowly. Make sure the inhale and exhale notes sound "equal"...in other words, the listener should not be able to determine whether you are inhaling or exhaling...they should just hear a solid note.
Play each note as if you are totally proud of the sound with a "NO DOUBT" attitude.
(Some like to imagine Big Walter)
I've also had success getting students to imagine they are a 300 lb black man or woman filling the world with each note.
Once this is firmly absorbed, take this attitude to all notes at all velocities.
One huge well placed note with NO DOUBT is all you need to excite the listener.
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The Iceman
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MindTheGap
283 posts
Feb 19, 2014
7:39 AM
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I get it. Recording in Audacity, where you can see the signal amplitude, has shown me how the notes naturally vary in loudness for the same amount of air - so I guess it's a job of work to bring them into line.
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MTG
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