Ian
140 posts
Nov 23, 2015
4:37 PM
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Hi,
I'm struggling at the moment to get clean, individual notes, within a triplet that involves 2 notes, with at least one bent, on one hole .
So let say the pretty simple 4 draw bend, to 4 draw to 5 draw.
How do you get that distinctive 3 note sound? The majority of my efforts sound like I'm scooping in to it unless I slow it down (but then it's not a triplet!) .
I would have assumed that the answer was to tongue the notes, but after following Adams 'baby please don't leave' tabbed lesson I noticed that none of the triplets are tongued.
Hope that made sense?
Thanks
Last Edited by Ian on Nov 23, 2015 4:39 PM
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arzajac
1705 posts
Nov 24, 2015
4:11 AM
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Practice. Break it down. Start by just playing the first note clean (4d bend). Hit it bang on pitch without scooping.
Then add the second note. Just practice that - you will sound like a truck backing up. Do it backwards and forwards - cleanly. If you can only do it slowly, that's great! It means you can do it and the only thing you need to work on is speed. That comes with practice.
It's a lot easier to play something properly but slowly and add speed rather than playing it sloppy at high speed and try to clean it up.
Once you can hit those two notes cleanly at a higher speed, add the third note.
It's a lot easier to play the 4 draw bend as a single note because when you release the bend, you fall into the 4 draw. Compared to the 3 draw bends, it's a piece of cake.
Once you master this lick, follow the same strategy to master some runs using the four notes of the 3 draw. You think overblows are hard? Ha! The three draw is where it's at!
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Custom overblow harps. Harmonica Combs and Tools.
Last Edited by arzajac on Nov 24, 2015 4:29 AM
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PropMan
65 posts
Nov 24, 2015
4:53 AM
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"it's a lot easier to play the 4 draw bend as a single note . . .compared to the 3 draw, it's a piece of cake."
Truer words were never spoken.
I worked so hard on hitting the half step and full step bends on demand that I am almost unable to play the 3-draw UNbent. I can play it of course but I NEVER do. It just never occurs to me and it's in none of my go-to licks.
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Ian
141 posts
Nov 24, 2015
2:29 PM
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Thanks arzajac. So, if we take my example again, when you break in to the 4 draw from the bent 4 are you just drawing a 'plain' note with no tongue articulation?
It's the tendency to reverse scoop (is that a term?) that I'm struggling to avoid. I can hit the 4draw bend straight, No issues... Its just coming out of it to the straight 4 that's getting a bit grey.
Thanks again guys
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528hemi
471 posts
Nov 24, 2015
4:16 PM
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Ian,
Try articulating from the back of your throat..like saying
coo ca ca
Hope this helps
528hemi
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arzajac
1706 posts
Nov 25, 2015
6:10 AM
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Ian, it's legato. I don't really think there is a best technique to play legato. Not one particular tongue maneuver anyway.
The most helpful thing I can offer is to play legato, you must play less staccato. (I'm not trying to be funny.)
To me, the close connection to the vocal tract is a key feature of the diatonic harp. We use the same part of the brain to play harp as we do to speak.
When I learn to pronounce a new word in a foreign language, I'll break it down into syllables and try to get used to which one gets more or emphasis. But I won't even think about how I position my tongue to say the word - that comes automatically (It's autonomic.)
Your mileage may vary. I hope that helps.
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Custom overblow harps. Harmonica Combs and Tools.
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HarpNinja
4151 posts
Nov 25, 2015
6:37 AM
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Hmmmm....I don't think I would articulate the lick you used as an example. In this case, practicing it and building speed is the best way to get it into your muscle memory.
I remember this very lick being something I had to woodshed a long time. It is the crux of a lot of Jason Ricci's playing.
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Mike
My Website
My Harmonica Effects Blog
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Ian
143 posts
Nov 25, 2015
7:17 AM
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Thanks guys.
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ME.HarpDoc
37 posts
Nov 25, 2015
11:39 AM
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Ian, If you get the transition clearly from 4D bend to 4D you may be to speed up the triplet using U blocking. Then all you have to do to hit the 5D is shift your lower jaw slightly to the right (assuming you're holding the harp with the low register on the left) without having to move the harp at all.
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Ian
145 posts
Nov 25, 2015
5:34 PM
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Been working with your suggestions and advice today and it's getting better. Definitely faster and cleaner.
As it feels like it's been a really good practice exercise, do you guys have any other triplets that work a couple of bends that are 'difficult'? (but sound cool ;) )
Thanks again... Your help is very much appreciated. (imaginary beers all round!)
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hvyj
2830 posts
Nov 27, 2015
10:57 AM
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Ian: don't make this more difficult than it has to be. 4D' 4D 5D are the last three notes of the blues scale. So...first order of business is to practice the blues scale until you can play it clean and accurately. That gives you the muscle memory to handle the movement from note to note.
Next work on hitting draw four bent without scooping or sliding into the bend. After you've got that down, all you need to do is stop your airflow for an instant and release the bend before you restart your airflow to play four draw unbent. You do that with your throat or diaphragm NOT the tongue. But you must release the bend while the air stream is stopped.
Now, to do this with proper speed and synchopation you must first practice it slowly with accuracy. Never sacrifice accuracy for speed when you practice. Once you solidify your accuracy start speeding it up and you may be surprised at how easy that becomes.
Last Edited by hvyj on Nov 27, 2015 11:14 AM
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