accompaniment

The more active you play, the softer you need to be. The more repetitive you play, the louder you can be (within reason of course).

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.

Whether you're improvising or accompanying, if your lick focuses on the 2 draw, you can play it through the IV7 Chord as well and it will sound good (like the A A B Chorus Form for example).

The simple theory is that the 2 draw (referencing a C Harmonica in 2nd Position, Key of G) is G, the Root Note of the I7 Chord. 2 draw is also the 5th of the IV7 Chord, so it works there as well. If your lick also includes the 3 draw, remember to obey the 3 Draw Rule and bend it down to 3' when on the IV7 Chord.

Interview with guitarist/vocalist Eric Noden (of Joe Filisko & Eric Noden) where he shares his insights on playing in a duo setting is now up at Accompaniment Study 9 lesson (http://www.bluesharmonica.com/lessons/accompaniment_study_9)

The Ultimate Jam Track series is another great collection of killer blues backing tracks. Like Jimi Lee's jam tracks, the musicians are steeped in the tradition of the blues and are inspiring to play with. There are three CDs available and they're all great http://www.ultijamtracks.com/blues.html

Yesterday I was communicating with an experienced player that recently began studying at BluesHarmonica.com. He sent in a study song submission and one of my suggestions was to play softer. He sounded good, but I could tell he was pushing the harp louder than he needed to. He replied that he's been playing with a band for a while, which is what I expected. Here was my response. These points are important for amplified players to keep in mind.

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Yes, playing with a band tends to bring your “default” volume up. Here’s how Little Walter did it... continue reading...

A student asked about the V-IV-I area (Bars 9-11) part of the 12 Bar Blues in regards to accompaniment. It's commonly an active area and he was wondering how to approach this area without grabbing too much attention (interfering with the vocals). Here are some general guidelines for everyone. Remember... no rule book exists, but here is what I have personally observed in my studies...

1) Playing Chord Tones is best

2) Repetition is better than activity continue reading...

Join me for Intermediate Student Ryan Walker's latest lesson where we cover Accompaniment Playing Study 5 (bluesy 7th Chords), Improvising Study 4 (V-IV-I Transition Licks), Solo Harmonica Study 3 (Bass Lines with Pulls) and Music Theory Study 3 (Playing in Minor).

In a standard 12 Bar Blues, with our most common vocal AAB rhyme scheme, fills are found on the last two bars of each four-bar line (of which there are three). These fills happen on the I (one) chord. This makes fills generally easy to play due to there being no chord considerations to be made.

In a non-12 Bar Blues progression this may not be the case, and this is true for "Key to the Highway."

Play fills to Little Walter's recording in the following manner... continue reading...