improvising

Students that come to me to study improvising commonly say that they feel that they’re good players, but when playing a couple times around the form they run out of ideas. The issue is that players commonly have enough vocabulary, but they’re using up all of their ideas too quickly. I teach them how to use phrasing (how the repetition of a lick within a twelve-bar section is important for developing a memorable solo) and to understand that soloing is not all about fireworks, it’s about telling a story. continue reading...

Last week's tip focused on how repetition is the key element in making your improvising and songwriting memorable. Here are a few examples of famous classic blues harmonica instrumentals... note that repetition plays the key role in making the head (the opening 12 Bars) memorable. This happens just as much with modern instrumentals, but you most likely already have these songs in your collection for convenience of review. continue reading...

Let's continue with more memorable quotes from artists...

At my 1998 Harmonica Masterclass Workshop, Charlie Musselwhite was fielding questions from students and just answered a question about playing on the high end of the harmonica. The next student asked, "But what happens if you play a wrong note?" and Charlie said, "Well, I'm only one hole away from the right one." continue reading...

The listener wants more repetition than the player is usually willing to give

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.

If the 3 draw B (or 3 draw quarter tone bend as discusses yesterday) is an emphasized note in your first lick of the 12 Bar Blues progression, and you wish to continue the chorus with that lick as a theme (think Chorus Forms as taught in the Improvising Studies), then when the lick is repeated over the IV7 Chord you should bend the 3 draw down to 3' Bb and 3" A over the V Chord.

Here's the basic theory...

I7 = G B D F (referencing C Harmonica in 2nd Position, Key of G) and 3 B is the 3rd of the chord. continue reading...

In this podcast at 20:04 tenor saxophonist Joshua Redman talks about the commonly-referenced "flow" state, and more importantly when the flow state is not happening http://www.wbgo.org/checkoutjazz/saxophonist-joshua-redman-joins-the-bad...

Listen to "In Memory," the song featured in today's release of Recording Study 4. The pitch content of what I played and the textures I used in which to present them are of course important, but dynamics are center stage in this song to convey emotion. The use of dynamics (primarily volume change) is what's commonly missing from players in their first five years of study. The addition of dynamics easily doubles the emotional impression on the listener... I can't emphasize this point strongly enough. continue reading...

For those that weren't able to make the CD release party, here's Aki and I improvising a tribute to Little Walter.

David Barrett and Aki Kumar pay Tribute to Little Walter
https://youtu.be/y0hCpyiBAmg

The theme in “Gary’s Blues” is presented in the first two notes, the 3+ eighth notes. This eighth note figure is restated throughout the song. You see this at the end of the first line, with the 4+ 3 played in the same eighth note rhythm. The second chorus starts with these 3+ eighth notes and you see them again in the third bar of Chorus 3… and at the end of Bar 4. This repeats in other places, but I think you get the idea. This type of thematic element is not commonly noticed, but it’s no doubt part of what makes a song cohesive. continue reading...