Posted Fri, 02/12/2016 - 08:27 by David Barrett Admin
Using the information below...
G7 = G B D F = 1 2" 2 3 4 5 6+ 7 8 9 9+
Am = A C E = 1+ 2+ 3" 4+ 5+ 6 7+ 8+ 10 10+
Bm = B D F# = 1 2' 3 4 7 8 9'+ 10'+
Bbm = Bb Db F = 1' 2" 3' 4' 5 9 10"+
These are the lines I like to play (one note per chord... two beats each)
Example #1 = 1 2+ 2' 2" (leads to 2+ in Bar 9)
Example #2 = 2 3" 3 3' (leads to 3" in Bar 9)
Example #3 = 3 4+ 4 4' (leads to 4+ in Bar 9)
Example #4 = 5 5+ 4 4' (leads to 4+ in Bar 9)
Example #5 = 6+ 6 7 9 (leads to 4+ in Bar 10) continue reading...
Posted Fri, 12/11/2015 - 10:04 by David Barrett Admin
Jimmy Reed's "Baby What You Want Me To Do" is the first song on the School of the Blues House Band Standards List. This laid back shuffle is the most common shuffle chosen by harmonica players due to its relaxed feel. It's a really easy groove to play to, so if you're new to soiling, choose this groove! To generically call for this feel say "Jimmy Reed Shuffle."
The song opens with two bars of the I Chord (one chord) to establish the feel (some musicians say "two for nothing"). The 12 Bar Blues form start with the vocals.
Posted Tue, 12/08/2015 - 09:45 by David Barrett Admin
After a lesson take your recorded files and import them into your computer. Label the files with the lesson date and number them. Listen back to your lesson (I do this the same day) and don't pick up your instrument, but make notes of important topics with their corresponding track numbers and time codes (a time code is simply what time it happens in that track). With this preparation you're ready to get to work on what's important the next time you sit down to practice.
Posted Wed, 12/02/2015 - 09:52 by David Barrett Admin
In yesterday's tip you left a message for two instructors. When there are multiple instructors to choose from it's to your advantage to meet them to find which one is the best fit for your personality, learning style and goals. Most likely you'll speak with them on the phone first, so here's how your conversation might go before the first lesson... continue reading...
Posted Tue, 09/15/2015 - 09:33 by David Barrett Admin
"If you think you got it, record yourself and listen back to see if you 'really' got it" said Rod Piazza in a conversation regarding preparation for the performance of a song.
It's difficult to listen to yourself closely enough while playing to make an accurate assessment of your performance. Make use of the easy tool of recording (most of us have phones or computers that have recording software and microphones built in) for self-assessment. continue reading...
Posted Thu, 09/03/2015 - 07:52 by David Barrett Admin
When the vocals begin, hold the last note you you were playing softly until the vocal phrase is over and then continue playing (this assumes you were playing a chord tone, otherwise you would of had to change quickly to a chord tone). If you were playing a riff (repetitive lick), keep playing that riff softly through the vocal phrase. Holding a note equals inactivity and continuing an already-established phrase (riff) is inactivity. Change is activity and will distract from what's happening with the vocals.
Posted Wed, 07/01/2015 - 07:25 by David Barrett Admin
The top of your tongue is wider. If you find yourself pushing your tongue on the face of the harmonica to cover enough holes for a tongue block technique, use more of the top of the tongue (tip under the harmonica) and go back to using a light touch on the face of the harmonica.
Posted Wed, 05/27/2015 - 08:11 by David Barrett Admin
For most students, the slippery slope of opening the nose while playing the harmonica begins unconsciously. Their body learns that if the nose is opened, the issues of unintentional bending of holes 1 and 2 are fixed. When opened, the tuned size of the mouth cavity that was causing issues with that hole/note is combined with the nasal cavity, creating a cavity that's lower in pitch than those reeds can be bent to, which results in better tone and no possibility of unintentional bending. continue reading...
Posted Fri, 05/08/2015 - 08:56 by David Barrett Admin
I mentioned some benefits of playing softly. One of the key benefits is the longevity of your harps. However, a major epiphany for me as a player was when I realized just how softly and relaxed Big Walter was playing (he’s my favorite classic player). Everyone recognizes Big Walter’s tone as being fantastic. Both Big and Little Walter played softly for the majority of what they played, giving them great dynamic range for when they wanted to “hit it hard.” continue reading...
Posted Thu, 05/07/2015 - 07:30 by David Barrett Admin
We’ve all heard David’s advise… if you want your harps to last longer “Play Softly.” It’s true. Just because that pro you admire plays really hard, it doesn’t mean they’re not breaking harps. I can honestly say if you have a harp fail quickly, it was caused by the operator. We just like to think that the new harmonicas are not being made as good as they used to be or one model lasts longer than another. The worst thing you can do is to play your harps loudly. continue reading...