Pucker vs Tongue Block
Just wondering how many of you out there still use/prefer puckering...do you use it when you submit your Levels of Achievement material? Can you go through all levels just using tongue blocking for octaves, slaps etc and use puckering for everything else?
I would suggest learning tongue blocking and when you're good at that one go and learn also how to pucker, in some case puckering can be useful (speed licks, and blow bending on hole ten).
Some things can only be done with a pucker, like that wiling lick that Junior wells did on Draw 4 where he says:
*Da-di-li-dl-i-di-*a-dl-i-dl-i-dl, etc., bending the note where there's an *.
if you're playing lines that have multiple wide leaps, it can help to use right side TB, left side TO, and pucker in rapid succession.
Wasn't serious about playing the harmonica until I started taking lessons from David. So, for all intent and purpose, I've always tongued blocked. Never learned to play puckered. As a matter of fact, every time I try to play with a pucker, I get lost on the harp within a minute or two. For me, there is something about having the tongue on the comb that tells me where I am whether blowing a note or not.
I use both. I prefer puckering for bending, particularly on the 3. I also prefer puckering for faster runs. But tongue blocking opens up a whole new world of textures and sounds. I'd say find what works for you best and follow that path.
I learned from David before he started teaching all tongue blocked. I use both and switch between them frequently. However if I was able to stay in TB position and do everything I wanted, I probably would. There are several good reasons for this, such as the ability to then to tongue-slap and pull based rhythms - but one of those reasons is NOT so obvious to the beginner.
The deepest "wah" effect whether acoustic or amplified, comes from effectively blocking all escape paths for the sound pressure (or "entry paths" on draw notes). In order to do this we not only need to seal the entire rear of the harp within our cup, but ALSO have to block the unplayed holes on the FRONT of the harp. These are indeed escape paths for sound pressure. If you don't believe it, just tape off the entire rear of the harp and see that it still plays!
For most players, sealing off the front of the harp is done by getting as much of the harp in your mouth as possible on the low side (i.e., tongue block embouchre) and then using your thumb and cheek on the right/high side. If you lip purse, you will have holes open to the atmosphere on both sides of your mouth, and your "wahs" won't be nearly as deep.
Mastering this "fully airtight" cupping with a microphone is the single biggest secret in achieving great amplified tone.
/Greg
That's a really interesting observation, Greg. I noticed that my wah's were much deeper sounding while tongue blocking, but never could figure out why. Thanks for the clarification. That makes total sense.
If you are just starting it's best to follow David's instruction for soley tongue blocking. However I know there are some like me that started learning by puckering, even my bending.Through LOA I eventually picked up the tongue blocking, and now I use both based on what works for me. I still pucker the 1 and 2, 3 and 4 use both, 5 and above tongue block gets better tone. I mainly bend in pucker, but can tongue block bend the 3 half step, the 4, and the 5 quarter. By nature of using the tongue block techniques such as slaps, pulls, octaves, etc you will end up tongue block playing. In some cases it will be very clunky to switch between the two as I have found. You will find difficult if not impossible to go much beyond the first couple of levels without tongue blocking some your playing. If you started in a pucker, I recommend trying to play both types, then decide and strategize which works for you and get the best sounding results when playing a song.
Hope this helps.
BC