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Dirty-South Blues Harp forum: wail on! >
What creates characteristic sounds?
What creates characteristic sounds?
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jodanchudan
61 posts
Apr 07, 2010
5:10 AM
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I'm trying to figure out what gives various harp players their characteristic sound. For instance, Sonny Terry has the piercing 4 draw and 6(7) blow and Sonny Boy Williamson II tends to clip off phrases he's already established. Clearly they do a lot more than that, so it would be pretty useful to have others weigh in on what they think are these characteristic techniques.
At the moment, I'm getting obsessed with Sonny Boy Williamson I and his sound (and Filisko's version of it on his IC Special album). I hear in his stuff a lot of heavy tongue slaps and dirty-sounding 3(4) draw bends - also a lot of attack. (I also think that Adam often sounds very like Sonny Boy Williamson I.)
Anyway, if you have any thoughts on what makes Little Walter sound like Little Walter or SBW I like SBW I, then please share them - it'd be a big help.
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5F6H
54 posts
Apr 07, 2010
7:52 AM
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Technique & phrasing are individual to players, just as much as their speaking voice. Breaking down the components of what makes who sound like what is interesting (& fun - don't get the idea that I'm saying that I'm above it myself, I'm not), but a lot of it comes down to their personality and the way they head things & in turn communicated. So, to imitate anyone, given enough time & dedication, to a ball-park level might be possible...but really it's just a parlour trick - being who they were is what made them sound like they did.
ST, the Walters & the Sonny Boys are long passed now, so much of what might be offered as "the facts" on how to do it will be speculation. To really nail anyone's sound you have to really immerse yourself in their playing, try things out, record yourself & make critical comparisons...the more & the longer you do it, the better you get at hearing, the more little tricks you will work out. You can also, of course, learn what you can from modern exponents of the styles you want to pursue...they can help you unearth pointers, but really they have learned from "the source" & so can you.
You may also find that pursuing style A, may be detrimental to playing style B...which in turn may cause difficulties in your natural playing.
My advice...listen to all that inspire you, I mean really listen (wake up with a track, go to bed with it, for weeks) then just keep playing, eventually your own 'voice' will come out, even playing well worn licks & phrases you will sound like you, because your own personality will begin to stamp itself on your playing.
Think of it this way, I could get a script that James Earl Jones had read, I could say all the same words & phrases...but how long would it take me to "sound" like him, I mean be indistinguishable? A lot more time than I would care to give it!
Any player of note is usually identifiable, even if you haven't heard the piece that they are playing before...
LW to my ear played light, front of the mouth tone, pretty & sweet, but not the hard, harp deep in the mouth, plenty of slapping type sound. Damn! It was my New Year's resolution to quit speculating! :-)
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HarpNinja
347 posts
Apr 07, 2010
8:01 AM
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I think taking bits and pieces from various players is a great way to go. I almost said start, but that would maybe imply for beginners and that is not what I mean.
Here are some personal examples...
I love Buddha's phrasing, inflection and vibrato; Carlos del Junco's articulation, breath control and use of motif; Jason Ricci's ability to always sound dirty acoustic and amped and his use of scales; John Popper's use of the high octave; Derek Trucks' tone and phrasing.
I've never tried to sound like one of them in particular, and I hardly ever try to learn a full solo from them, but there are those bits and pieces I labor over.
Now when it comes to blues specifically, I do try and rip off riffs from Carlos and Kim Wilson. :)
With the older generations of players, I just listen to enjoy and let whatever soaks in soak in.
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Buddha
1557 posts
Apr 07, 2010
12:48 PM
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it's a matter of what you listen to and where you are at the moment.
I've always played one form of jazz or another and I've always been drawn to the funkier side of things. In MN my jazz was much more bebop-ish but after living in AZ it's more smooth jazzish. Out here almost nobody plays tradition jazz, it's all smooth jazz so I've adapted my sound to that style.
However all of my music is underscored with the purity and beauty of classical and ethnic music.
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"The privilege of a lifetime is being who you are." - Joseph Campbell
Last Edited by on Apr 07, 2010 12:49 PM
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