Solo Harmonica Study 2- Pulls
I am having such a tough time with pulls. Pulls are introduced in Solo Harmonica Study 2. I am trying to find where they are actually taught on the site, in depth. Is the introduction to pulls in the video for "Gary's Blues" (LOA 4), on the video "The Pull and the Flutter", or is there somewhere else I should be looking?
My understanding of the pull:
1) Slap a single note-- the 4, for instance.
2) Use my tongue to block 1-4.
3) Pull off my tongue to make the sound.
My question is: when I "pull off", am I reversing my breath and doing a draw? Or am I continuing to blow?
Thank you. I have to tell you: this site is amazing. It's comprehensive and I love the way that skills are built in conjunction with each other. I feel like I am making real progress.
Great, glad to hear it. Many of the lessons are written to be a self-contained series, so there are bound to be some technique issues like you brought up, but I'm glad you're cool with jumping around a little bit. I try to be as progressive as possible, but sometimes it doesn't work out that way.
A few months later, and still struggling with pulls. More honestly, I actually stopped working on them because they weren't really necessary until LOA 4 material. I have some confusion as to what is correct.
For example, if I want to perform a 3 draw pull, such as in bar 2 of "Gary's Blues." First, I will slap the draw 3 (so drawing the chord, and then slapping my tongue onto holes 1 and 2). Then, to execute the pull, I will extend my tongue to block hole 3 also, while still continuing my draw airflow. Nothing will sound because all the holes are blocked. Finally, I pull off my tongue. Because I continued my draw airflow, the 123 draw chord will sound.
My confusion, I guess, is that I never stop my airflow. Am I correct in thinking this way?
A second question is that it seems easier if I just slap the draw 3 and then lift and draw the 123 chord (skip the whole business about extending my tongue to block the 3 hole). There must be an appreciable difference to the developed ear, or else you wouldn't be teaching this technique. Does the pull sound better or more percussive than if I just lifted and then played the chord?
"For example, if I want to perform a 3 draw pull, such as in bar 2 of "Gary's Blues." First, I will slap the draw 3 (so drawing the chord, and then slapping my tongue onto holes 1 and 2). Then, to execute the pull, I will extend my tongue to block hole 3 also, while still continuing my draw airflow. Nothing will sound because all the holes are blocked. Finally, I pull off my tongue. Because I continued my draw airflow, the 123 draw chord will sound."
Yes, this is exactly correct.
"My confusion, I guess, is that I never stop my airflow. Am I correct in thinking this way?" Airflow is probably not the best word to use, since air is not "flowing anywhere" since the tongue is blocking all the openings on the harmonica, but the idea is correct that the lungs are creating a slight amount of back-pressure, but only very slight. Most of the air use to song the pull once you're tongue releases from the face of the harmonica is created from the piston-like action of the tongue moving away from the face of the harmonica. Pulls are generally a very soft technique.
"A second question is that it seems easier if I just slap the draw 3 and then lift and draw the 123 chord (skip the whole business about extending my tongue to block the 3 hole). There must be an appreciable difference to the developed ear, or else you wouldn't be teaching this technique. Does the pull sound better or more percussive than if I just lifted and then played the chord?"
Yes, the slight articulation created from the pull is what we're after. You could use the "Lift" you propose as a way to get used to the gross motor movement if you like… I did this in "Temperature" for you, Chorusses 4 and 6, maybe you didn't see the relation, but I used that to help get you ready for the pull.
"Gary's Blues" is one place it's taught, as well as Tongue Block Study 2.5. You are correct on 1, 2 and 3. The general rule is that if you're between blows, you do a blow pull. If you're between draws, it's a draw pull. If it's between a draw and blow, or vice-versa, you choose what feels right to you.