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Mike Caren
Mike Caren Apr 01, 2015

Hi Daniel --- good question.  You will probably enjoy this lesson where Jerry breaks down how to develop and do throat vibrato

http://www.sonicjunction.com/lessons/masterclass-vibrato

My understanding is that it's a matter of building the proper muscle memory and then learning how to increase the speed of the vibrato.  

Vibrato is a technique that can be difficult as you get older due to the speed of the muscle movement.  From what I've learned, this can be a challenge for both harmonica and guitar players.   As with any challenge, it invites innovation and finding a way to communicate the emotion of the music with what you can do -- for a lot of musicians -- this is when they find their own sound.

 

Daniel James
Daniel James Apr 01, 2015

So I have been working on Cold Cold Feeling, Key to the Highway, and She Moves Me. In the lessons, Jerry your vibrato is done with your hand. I've been practicing with a player who is really good, and he has inspired me to work on my vibrato-which he and others who have marvelous vibrato, I believe do throat vibrato.

So Jerry I have been wondering why you do your vibrato on these lessons with your hand?

I also wonder if you and others can give me some pointers on how to do vibrato. I will post a video response to my work with Cold Cold Feeling so you can get a sense for where my throat vibrato is. I don't like what I do. It is not as fast as the hand and does not sound smooth, so I am looking for some direction on how to practice. Any thoughts/suggestions are much appreciated:)

Kurtis
Kurtis Mar 22, 2015

Timothy, thanks for your input. How do your go about finding a collaborator? I thought about asking my cousins if they could contribute...they are both musicians. I'm not sure why I decided not to do that. I guess I was scared to sing the lyrics by theirself because I'm not really a vocalist.

 

Best Regards,

Kurtis 

Timothy Oliveri
Timothy Oliveri Mar 22, 2015

Great advic!  That's generaly how my music partner and I write songs; the feel, the mood, the emotion of the melody tends to come first but often a lyrical chorus and melody come at the same time. We proceed to a versues.   Although we are only humble songwriters in our own hearts, the great Bernie Taupin and Elton John did it differently.  Like on Goodby Yellowbrick Road, Bernie presented Elton with lyrics and somehow Elton turned them into magic.Two separate stages.  No influence from Bernie on the emusic and no influence from Elton on the lyrics. Sounds like a tough way to do it but it shows anything goes.  Have you considered finding a collaborator?  Sometimes that helps.  I'm lucky in that mine not ony has a degree from Berkely, but has real-world chops and feel.  

Jay
Jay Mar 16, 2015

hi corey, still liking the online lessons.

i posted march 16 wondering if you do summer workshops or lessons in person somewhere. i don't see an answer yet, but maybe i'm not looking in the right place.

really like the lessons and am wondering if you do any "in person" teaching during the summer, like guitar workshops, that sort of thing?

best regards

jay

Mike Caren
Mike Caren Mar 15, 2015

Hi Graham --- thanks for the message and sorry for the issue / confusion.  I don't (and didn't) see your Feb 04 post.  When you type in a reponse --- it will show up within a second or two.

To answer your questions

1. Duke and Corey pick tunes based on breadth and exposure to different Artists, techniques and ideas

2. Corey's oldest lesson is Everybody Ought to Change --- Duke's is Blues A Rama

3. Duke and Corey's lessons are listed in chronological order

4. We don't rate the difficulty of the lessons.  Typically the first lesson in each series is the easiest.

I hope that helps and please let me know if you have any follow up questions.

Mike

 

 

gbrereton59@optusnet.com.au

Hi Mike,

I posted a response to your Feb 03 post on Feb 04 but no response after six weeks

Perhaps there is something on the site that answers the questions originally asked?

I've never used a forum before so perhaps I'm missing something?

The questions were -

Is there an order to how Duke and Corey progress lessons?

What is the oldest lesson - That's Alright and Everybody Ought to Change?

Is there an order to how lessons are listed down the page? 

Is there any order or rating indicating difficulty?

Thanks

Graham

Mike Caren
Mike Caren Mar 15, 2015

Hi Graham --- thanks for the message and sorry for the issue / confusion.  I don't (and didn't) see your Feb 04 post.  When you type in a reponse --- it will show up within a second or two.

To answer your questions

1. Duke and Corey pick tunes based on breadth and exposure to different Artists, techniques and ideas

2. Corey's oldest lesson is Everybody Ought to Change --- Duke's is Blues A Rama

3. Duke and Corey's lessons are listed in chronological order

4. We don't rate the difficulty of the lessons.  Typically the first lesson in each series is the easiest.

I hope that helps and please let me know if you have any follow up questions.

Mike

 

 

Dave
Dave Mar 14, 2015

Really enjoying the last two lessons on Sonny Boy and Big Walter. Elements of each with a little tweaking can be made into new choruses for the other. While we're doing tributes to the shuffles of the old masters, I'd love to see a Sonny Terry shuffle along the lines of "Blowing the Fuses."

Andy Macdonald
Andy Macdonald Mar 07, 2015

Something I did recently - a very rough recording to get a local gig  - 8pm 21st March at The Grove Inn, Back Row, Leeds, West Yorkshire LS11 5PL, UK with Julian Socha and MGR Band.

Vinny
Vinny Mar 01, 2015

I guess the ultimate expression of this idea is to just start your own band, no matter what level you are at.  Find people to play with that have the same committment and just keep playing together.  Not so easy though.

Daniel James
Daniel James Mar 01, 2015

Wow guys, thank you so much. A lot to think about and some good ideas to move me forward. I'm always amazed at how much I can learn on the internet from people I don't even know!

Vinny
Vinny Mar 01, 2015

I have had a lot of mixed results in this regard.  Yes, there are what are called "jams", and these can be playing with a house band or being put together with other players to do some songs.  I have had great and terrible experiences in both instances.  Let's say, though, the results were so inconsistent that it has not been worth doing regularly.  House bands are mainly promoting themselves, and if what you are doing fits into what they want to do it can be good, if it doesn't it can be terrible.  It's a hit and miss situation. If you're lucky, and find a group of musicians who are good and really like what you do, it can be a lot of fun and gratifying.  Few acoustic opportunities though.  There are some local blues societies, all of which have monthly jams, that can be okay too.  But usually people tend to play with others they already know or are in a band with.  Personally, I think you need to do what Mike is referring to, which is to put feelers out on Craig's list or something to locate similar minded people who are willing to get together.  I think it should be open to solo playing, playing together, jamming, whatever the group wants to do.  Most of the time in these "jams" people are just playing with the same people, doing the same songs, to promote themselves; it's not really that interesting.  I do value the experience of playing with other people.  But for traditional blues, as opposed to blues rock, I have not found many musicians who know what they re doing anyway, especially rythm wise.  I have never found a drummer at one of these events who knew what a triplet was, or a brush, and usually they take over the song because they have no idea how to do anything moderate to down tempo.  You also have to contend with "jam masters" who try and plug you into a formula four piece band format.  I have found that the range of music at these things is very limited.  Personally, I like to work on things; I'm not that big on jamming. If I think there are some compatible people though I might do it.  But I think creating your own social musical group is the most productive approach.  I finds jams very cliquey, not always cordial, and not often about the music.  However, I have met other compatible musicians more often at open mics, one at a time.  You see somebody and you say, "yeah, we're on the same page here, we can play together and at least have some fun."  Jams are typically in bars (although not so often if they are sponsored by a blues society), so it is basically loud bar music and more blues rock than blues.  If you are here on Sonic Junction, you are a serious student of the form, and you will find that there is a lot of what I call "riffs and ignorance" out there. If you are basically a "plug and play" instrumentalist interested in just doing a few solos it can be fun.  But I strongly advise going just to watch first and get the lay of the land, because it is not always worth the time.  Oddly enough these blues foundation societies aren't much better, if at all better.  So I definitely recommend cultivating your own social-musical group.  Then, you can go to a bar and get a night where you can jam and YOU get the bar tab instead of the host band. 

Mike Caren
Mike Caren Feb 27, 2015

Hi Rob --- good question.  We don't support downloading of the backing tracks right now.  We are looking at ways to integrate the backing tracks into our iPhone / iPad / Android Apps this year.  When we have some news, I will post it in the Announcements section of the Forum.

Steve Lauder
Steve Lauder Feb 25, 2015

Hi Daniel

I have found a lot of open stage venues can be dominated by loud players - but do some research. I found that not all open stages are the same. Most open stage venues have a house band with some creditibity. Note the players that are loud and who is not - ask to only go on stage with those you are comfortable with - perhaps just the house band. I understand that this may not be a luxury. In my area guests are generally limited to 3 songs unless they are amazing. This helps maintain order, gives the amateurs a chance and limits the crazies. After all there are paying customers in the house. Don't be afraid to ask players to lower there volume. The hand signal is to lower a flat hand close to the stage floor - Git down. Hopefully there are a number of open stage venues in your area to chose from. Keep at it. Look in the classifieds for others looking to get together. I stick to my own age group which helps but is no guaranty.  

Mike Caren
Mike Caren Feb 25, 2015

Hi Daniel --- great question / discussion.  It was work for me.

I met a group of musicians through work many years ago and we had a jam once a month where we played a couple familiar tunes, some new ones and a couple of our own compositions.  It was a great experience as we all brought something a little different to the table and it was mostly about practicing, playing and creating together.  Our end goal for the night was a recording of a couple songs (mostly live --- maybe one with over-dubs).

I think it worked because it was about creating --- and we enjoyed creating with each other.

Looking forward to other peoples thoughts (both what worked and what didn't).

Daniel James
Daniel James Feb 25, 2015

So like everyone I imagine, I want to grow, develop, and get better. I have done most of my learning alone, listening to music, studying lessons, practice, etc... But I know I need to play with others to fully develop to the point I can play for others and share my playing. I have had lot of trouble with this. I have been to a bunch of jams and really can't play at that level-come up with something on the fly to fit in with an unfamiliar song. The one time I did play at a jam, I couldn't hear myself. It was also VERY loud, and it wasn't a scene that I would want to frequent and invest a significant amount of time attending. I have played with others here and there, but have been unable to find a steady partner/group of others. Currently I am playing with someone who is much better than I am, and am moving in some new and good directions.

My question however, is what recommendations do Sonic Junction members have for meeting and playing with others?

Daniel James
Daniel James Feb 23, 2015

Wow Dennis! Thank you so much for the response. That is some amazing guidance and a very helpful direction for me to take. Thank you so much!

Dennis Gruenling
Dennis Gruenling Feb 23, 2015

Ultimately, each player has to choose what feels right for them, which is usually a combination of how it physically feels to your mouth, how it feels when it responds to your breath, and the overall sound of the harp.

It's true that many of the top blues players (for generations) play Marine Bands. I think because nothing feels or sounds quite like them, but it is all a matter of personal preference. I much prefer the wooden comb harmonicas over anything else, and the Marine Band model reeds and reedplates have a certain sound that many players feel has a certain "edge" to them. Just my thoughts on the subject :)

rob
rob Feb 22, 2015

Curious if it's possible to download the backing tracks as mp3 files (or something similar). While it's great to be able to hit play and jam along it would be great to be able to download a decent sounding file and work up a bit better personal recording attending to levels and the like... Thanks.

Boyd R
Boyd R Feb 21, 2015

The marine Band must be a real good harp, All the top people play it

Boyd R
Boyd R Feb 21, 2015

I guess i well stay with Lee Osker then. I think lee osker is a good harp

Dennis Gruenling
Dennis Gruenling Feb 21, 2015

They don't make a Marine Band with a plastic comb. One of the key signatures of the Hohner Marine Band model is the wooden comb. I believe the Special 20 used to say "Marine Band" somewhere on the coverplates, but I'm not sure why they did that, or what made it a "spin-off". For all of it's great attributes and things that make it attractive for generations of players, the wooden comb did turn a lot fo people off since it could swell if it got too wet, but the new Marine Bands are sealed and much better, so those days are thankfully gone.

Boyd R
Boyd R Feb 21, 2015

Do they make a marine band with a plastic combs. and do you think they are better then A Lee Oskar. been thinking about the marine band

Dennis Gruenling
Dennis Gruenling Feb 21, 2015

I have to admit, I don't clean my harmonicas as much as I should...but after the first few years of playing, they didn't get gunked up much either. Regular cleaning is good for any harmonica. Take it apart, clean the comb and reedplates, then re-assemble. Wooden comb harps just need more TLC since the combs have the potential to get damaged easier, whereas plastic or metal combs can be washed and cleaned with less care.

Boyd R
Boyd R Feb 21, 2015

I know  Maurine Band are good harmonica, But how do you keep clean

 

 

 
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