Posted Sun, 09/25/2016 - 08:54 by David Barrett Admin
Join me for an interview with Texas harmonica player Lonnie Joe Howell. Some of you may be familiar with Lonnie through his country harmonica method material (books, CD's and videos). Interview topics include: Lonnie Joe’s Early Years; Texas Harmonica, 2nd Position and Tongue Blocking; Country Tuning; Accompaniment Playing and Breathing; Accompaniment Playing, Part 2; Improvising; and Engaging the Audience
Posted Tue, 09/20/2016 - 10:33 by David Barrett Admin
Beginning Student Hob Bosold plays his performance song with me on bass in preparation for his student concert rehearsal. Hob also learns how to use the accompaniment patterns he’s learned and the solo from the study song “Temperature” to play over an entire track (vocals and solo). Lastly, Hob learns the tongue placement in preparation for learning how to bend. This lesson can be found here http://www.bluesharmonica.com/contributor/hob_bosold
Posted Wed, 08/24/2016 - 14:18 by David Barrett Admin
Another fun way to open a song is to play a twelve-bar boogie line on the harmonica and then have the band join you. Here's what I like to play. Each note is one beat in length (quarter notes). Feel free to add pulls on the upbeat to help it swing.
Posted Sat, 08/20/2016 - 14:17 by David Barrett Admin
Ronnie Shellist's musical career began in 1997 working with singer/songwriter Hugh Fadal from Austin, TX. Blues great Gary Primich was a huge influence on his music as well as Guy Forsyth and Walter T. Higgs who lived and played in Austin in the mid 90's. Thanks to a great blues scene in Austin at the time, Ronnie had an up close and personal experiences in the scene that heavily influenced his ultimate musical direction. His style is a combination of mostly Chicago and West Coast blues influenced by funk and jazz greats such as Grant Green and Maceo Parker. continue reading...
Posted Wed, 08/17/2016 - 09:53 by David Barrett Admin
My personal favorite way to open a song is to play the opening four bars of the I (one) chord by myself, with the band entering on the IV. The band will interpret the tempo of the song from my playing, so there's no need to count anyone in (tempo errors are more likely to happen when you count the band in verbally). You also don't need to tell the band the feel of the song in most cases (shuffle, slow blues, swing, etc.). What you'll play will be rhythmic, and the use of eighth notes (swing or straight) will tell them the groove. continue reading...
Posted Wed, 08/10/2016 - 16:18 by David Barrett Admin
The same approaches that we used from the V (Bar 9) we can use for the Turnaround (Bar 11). Here are these options again, but specifically for the Turnaround.
1) “From the Turnaround, All-in” – You and the band start on Bar 11 and play a turnaround lick
2) “From the Turnaround, All-in” – Same idea as above, but you don’t start until the beginning of the next chorus. This gives you the opportunity to hear what the band is laying down before you play. continue reading...