tongue blocking

Beginning Student Hob Bosold's latest lesson is now up (http://www.bluesharmonica.com/contributor/hob_bosold). In this lesson we review tongue switching, sliding on the face of the harmonica with one breath and solo harmonica study material. Hob learns how bending works, how to play two-note combinations, shakes, speed licks and how to approach playing with good tone on the high end.

Videos include:
Lesson 3 – Intro
Lesson 3 – Tongue Block Study 1: Walk With Me, Choruses 1-3 Review, Part 1
Lesson 3 – Tongue Block Study 1: Walk With Me, Choruses 1-3 Review, Part 2 continue reading...

In Hob's first lesson we cover holding the harmonica; cupping a bullet mic; throat tremolo; importance of playing softly; playing with a relaxed embouchure; closing the nose for breath control; Solo Harmonica Study 1, examples 1.2 and 1.4; Tongue Block Study 1, example 1.2 and Walk With Me Study song, Chorus 1; Music Theory Study 1, Section 1; and bonus footage on the definition of tone in music, and how to create big tone on the harmonica. http://www.bluesharmonica.com/contributor/hob_bosold

Translation...

When students start working on pulls (found on the upbeat), they forget to slap their other notes (found on the downbeat). This sounds strange... don't do this. The main reason why we tongue block is to use the slap technique, so make it your default... you should have a reason why you're not slapping. Next, when using other techniques, like the pull, don't forget to record yourself and listen back so you can make sure you're not forgetting to use your other techniques, like slaps, dips, flutters, tremolo/vibrato and dynamics. continue reading...

Behind the blade of the tongue (what we'll call the middle-front) is the area used to control draw bends on holes 5 and 6, and blow bends on holes 7 through 10. This area of the tongue requires the most training and time to develop. The middle or back of the tongue is easy to raise and interact with the roof of the mouth. The middle-front has the challenge of working in the area of the mouth where there's a sharp curvature, between the Post-alveolar and Pre-palatal (location 5 and 6 in the diagram here http://en.wikipedia.org/wiki/Alveolar_consonants). continue reading...

Knowing that we use the top of the tongue for our tongue blocking, and we commonly cover four holes with our tongue (the pull articulation for example) and even at times five holes (5-hole octave pulls and pull-slaps), it makes sense to tilt the face if the harmonica (the hole side, what faces you) downward. This downward tilt (10 degrees to as much as 45 degrees) allows the harmonica to match the angle of your tongue, instead of raising the middle of your tongue and pushing it outward towards the harmonica. Experiment with your tongue blocking while using this tilt, you may like it.

A large embouchure is required to play the chromatic harmonica (playing a standard single note has your mouth over four holes... just like the diatonic... but those holes are larger. To play an octave your lips are over five holes... now that's a stretch!). Those that play the chromatic find it easier to achieve big tone on the diatonic harmonica, since they're already used to playing with a wide-open, resonant mouth cavity. continue reading...