Hey Sonic Junction -
I'm back, and this time we've got the first lesson on the piece we posted last week - John Lee "Sonnyboy" Williamson's "You Don't Love Me That Way". This lesson contains tons of texture - mostly in the form of "dirty playing" "double stops" or "intentional slop". For some of you there'll probably also be some unfamiliar feeling breathing patterns. Don't get frustrated - Be patient with yourself. If you want to learn to play authentic sounding, blues harmonica, the tools contained in this series are going to prove invaluable. This lesson also features some vocal sounding hand action, some tongue slapping, and as always, there's a big emphasis on staying in "the pocket" and feeling that groove! Also, regarding current special circumstances, one possible upside to this social distancing/shelter at home deal is, many of you will be able devote more time to working towards perfecting your harp playing. So, have fun with it, and no excuses!
Stay safe and healthy, and I'll you next week.
Rick Estrin
Topics and/or subjects covered in this lesson:
Chicago Blues
Print Chords & Tab
Bb Harp in the Key of F.
Loop 0:00 Introduction to the Series
Loop 1:17 Intro Run-Through
Loop 1:50 Breakdown of V Chord and Turnaround
Loop 9:58 Slow Practice Loop of V Chord and Turnaround
Loop 11:00 Breakdown of I Chord on First Verse
Loop 16:46 Intro and I Chord Practice Loop
Loop 17:12 The Importance of Nuance and Detail
Loop 18:15 Slow Practice Loop of Intro and I Chord
Loop 19:10 Closing Thoughts
Comments
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Repeated, focused listening is the #1 thing that's going to get anything you're trying to learn where it needs to be first - in your head. A lot of people (myself included when I was first learning) get (understandably) too excited when they first hear a passage they want to learn - I found that listening closely and repeatedly for awhile at first, would help me get a lick or a passage in my head with more accuracy - saving me the time and trouble of having to re-train my muscle memory as much - Anyway, that's my theory for one reason why people end up approximating stuff instead of nailing it.
I've watched this intro segment 20+ times and worked on it. Anyone who thinks they can play this correctly after a few listens is either fooling themselves or is incredibly talented. I'm thinking it's not the latter.
Did you figure out to go from 3 draw to 2 draw to 3 blow to 4 blow on your own or did someone show you? Seems like that's a key Jlw lick that I probably would have gotten wrong forever.
I had to go back and listen to see what you were referring to, but I might've actually come up with that specific thing, but it feels like something JLW would do. The value of using both 3 blow and 2 draw is something I didn't realize until I had been playing awhile. All the masters used both the 3 blow and 2 draw and played them off of each other. The variety of ways to use those holes in conjunction with one another is practically endless. Using both opens up all kinds of groove options AND you'll be breathing through the harp. Playing cross harp especially (3rd too), involves using a lot of draw notes. 3 blow is an opportunity to expell some air. Joe Filisko told me the basis for using those holes together may be the old timey Fox Chase, Lost John type solo harp pieces.
There aren't any comments since 2020, and it's now almost 2024, but having this achive of Rick Estrins decades of dedication to his art, and having him break it down and explain it, it's so priceless. None of the original greats did anything like this. They didn't share much and were somewhat guarded about their knowledge and idiosyncrasies. Like he said,we are lucky.
Thanks Wayne - It's a different world. You're right, when I was coming up, no one would show you anything.
If someone can learn something from me, that's great - They still need to put in the work, but hopefully I can help save them some trial and error.
Hi Rick !! Hope the video s gonna work ?? and if yes ... give me your comments ...
That one worked! You have all the notes right - Maybe close your hands a little more on the beginning of the wah wah part - not too tight, stay relaxed, but just close them a little more before you open them - I think it'll give you better articulation. Good job, Andre!
Yeah Robert, that 3 blow/2 draw interplay is key.
And regarding Little Charlie, it still doesn't seem real that he's gone. He was a true musical genius, and it was a blessing to be able to work with him all those years.
Nice intro, Rick. I really like the cool interplay between the blow
and draw notes, something I need to work on. Looking forward
to the rest of the series!
On a somber note, I was saddened to learn of LIttle Charlie's passing. He was
one of the greats and you two were a great team.
Hi Rick !! there so much stuff in that lesson !! ... I m shy to put on line , I just got everything in place .. I think ?? Hahaha , I love your lessons Man !!
Thanks Andre - You don't need to be shy! You've made a lot of progress!!!
great song, great lesson and great style of teaching. I am looking forward for the next part.
Thanks Mats! There's a lot of good information in this series!