playing

Let's use an example of a common error when performing a memorized piece of music to a backing track or live band. Let's say that you accidentally rest for 5 beats after a phrase instead of the required 6. You've worked on your song so much to memorize it that you have the spacing worked out between each lick so well that if you're not saving some of your mental power for listening to the band as you play to make sure that you are where you're supposed to be in the form, then you'll most likely stay out of time for a loooong time.

Here's a tool you can use... continue reading...

It’s challenging to perform a piece of music. There are techniques (precise bending, tongue blocking, articulation, etc.), movement (conjunct and disjunct), dynamics (volume and tonal), rhythm (individual licks and their chaining together into phrases) and everything else involved in playing a particular piece of music well. continue reading...

Moving this hook to 1st Position you probably noticed an issue with the IV7 Chord.

The I7 is C Bb C, which is played on 4+ 3' 4+, no problem, it sounds good.

The V7 is G F G, which is 2 2" 2 and 6+ 5 6+, again, sounds great.

The IV7 is F Eb F. F is not a problem (2" and 5), but Eb is only found on 8'+, 1OB (1 overblow) and 4OB (4 overblow). For this reason, many players will not choose to play this common hook in 1st Position.

There is an option though! 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 more active you play, the softer you need to be. The more repetitive you play, the louder you can be (within reason of course).

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...

This article is the second installment in a series Ross Garren has been working on for the Lone Wolf Blues Company's blog, Tightcup.com, on the ins and outs of studio harp playing http://www.sheriffsofschroedingham.com/ross/introduction-to-studio-harmo...

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)

Longevity
The #1 killer of harmonicas is loud playing. Each reed vibrates at a fixed speed. As you play louder, the reed doesn't vibrate any faster, its arc increases, placing greater forces at its flex point (the base, at the rivet end), causing earlier metal fatigue. Custom harmonicas require less air to sound, and players will commonly play softer due to this, making custom harmonicas last longer that standard harmonicas.

Savings continue reading...

I'm often asked about the value of using custom harmonicas. Today I'll state why playing a custom harmonica is not necessary or may not be a good choice for you. On Monday I'll speak of why players (including myself) choose to play them.

1) Most professional players started moving to custom harmonicas in the 1990's due to the low quality of harmonicas being produced during that time. Construction and quality control is currently better than it's ever been in the harmonica's history... you no longer have to play a custom harmonica to be a great player. continue reading...