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Summer Rhumba

mishaikin's picture

Rhumba based on the Rhumba in G backing track from GrooveTrax (Every Groove A Bluesman Need to Know), CD2.

Enjoy listening!



David Barrett's picture

CH1 - Head / great main lick / killer slight change with the 1+ in the IV / killer first chorus
CH2 - Nice use of 3' here
CH3 - Nice choice to use the 1 here... 3' 3" 2 2 is getting a little bit old, but I understand you're using that as a theme
CH4 - Nice lick! / Great sequence for the IV
CH5 - Guitar solo... maybe some light chording would be nice here?
CH6 - Great to hear you trying your hand at 1st Position, very cool. I hear you're still working on your bending, keep it up, it will be a great asset to your playing
CH7 - Head
CH8 - Head

Man, you are really making progress on the harp... it's great to hear. Your understanding of Chorus Forms and your bending control really show off in this composition. A pleasure to listen to.

Lee's Comments

Lee Sankey's picture

Hi there,

Good job with constructing an original melody for the head. The blow 1 in the head at 0:14 made me smile. A bit Paul Delay like. The cut chugs along quite nicely.You have a nice clean tone (0:55) with some excellent tongue blocking techniques.

It also sounds like your letting the reeds vibrate naturally, that's so, so important and you've got it. A good example is the way you hit the octave right at the end of the tune. It's not forced, you're not blowing to hard etc. You just let the reeds do their thing. Great. Keep your core technique along those lines in the future. You hear a lot of players just clunking down on the reeds.

There's also lot's of variation across the piece as well for example the simple chord at 1:27, which works really well.

Some things to consider for the future. Try to tighten up your use of the draw 3. Be able to hit the major and minor more accurately and know which you are going for. You have decent airflow so now think about your vibrato technique. Get the reeds singing a bit more. Your ready. In 1st, sounds like you're trying to the achieve it by blowing harder, this goes against the good core foundation technique you've built so far. You can make reeds sing when quietly quietly. Try to get the oscillation from the throat, jaw and lips. Not easy and will take years to develop something cool.

I hope this helps.

Overall, a strong entry. Thanks,



jodanchudan's picture

Cool acoustic playing and great tone! Strong ideas for each chorus, which sound differentiated. Nice work!

Steve's comments

Steve Baker's picture

Nice raspy full tone. It's a good head, simple but catchy. The impro is simple too but it works. This is a good example of using what you've got to good effect. However, the timing is sometimes wobbly and you often start your phrases on the first quarter beat of the bar, which can tend to make them sound similar even if the notes are different. I like the change to 1st but the bending control on the high notes needs some attention. You have tone, if you work on your timing and phrasing you'll notice a big improvement. A good effort.

Summer Rhumba

robfraser's picture

Great! A well thought out composition- Good chorus forms, technique and use of 3 draw bends. The switch to 1st creates a great interlude before the head comes back- cool!

Nice groove.

marcos's picture

I like the laid-back feel, and the idea of the "silent chorus" followed by the high-end surprise!
Good job!

Oh yes!!

hank stefaniak's picture

Noce tone and crisp articulation here makes your melody lines fit the groove. Nice variation from chorus to chorus and good use of techniques IMHO. Well done!!