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Yesterday I stated that your lips should be surrounding four holes. The purpose of this is as follows, with the more important reasons listed first...

1) You can play an octave very quickly with slight adjustment of the tongue (to the center, blocking two holes).

2) Your slaps, pulls, flutters and other techniques where the tongue is off of the harmonica have a much bigger sound, due to there being four holes sounding when the tongue is off instead of three. continue reading...

Place your lips over a four-hole span, using a light touch on the face of the harmonica. Use the top of your tongue just past the tip (called the blade of the tongue) with a light enough touch that the convex shape of your tongue does not completely flatten on the face of the harmonica. Cover the left three holes with your tongue, leaving the right-most hole to sound a single note. Move the harmonica latterly—the focus is to generally move the harmonica, not the face or jaw.

Special Note for Lower Holes continue reading...

"Play everything — no matter how trivial or trite it might be — with dynamics and sound and musical expression."

From: http://arbanmethod.com/wynton-marsalis-daily-practice/ Thanks to Jon Harl for sharing.

Now that you've had a chance to enjoy and analyze Aki's killer instrumental "Bombay Stroll," here are the Chorus Forms (CF) he used. Mr. Aki Kumar, can you please share with everyone on your Facebook page (https://www.facebook.com/akikumar) how these CF came about? As you worked on writing this song, did you experiment with different CF's for each lick/chorus, or have you so internalized CF's now that you played the new lick at the beginning of a chorus and the CF flowed out? I assume that you worked out the first three or so choruses and then improvised by the time you reached Chorus 5? continue reading...