Hey Sonic Junction!
This week we're picking up with verse 6 of "Lightnin". This verse has lots of wah wah hand action, some strong, growling bends with a gradual release, and a slightly crazy, extreme trill/warble. That warble can have a really startling effect, but it's the kind of thing that probably should only be used sparingly for some left field spicing! Stay in the pocket and Keep your attack strong and focused for maximum emotional impact. Have fun, and I'll see you next week!
Rick
Topics and/or subjects covered in this lesson:
Chicago Blues
Print Chords & Tab
A Harp in the Key of E.
Loop 0:23 Run-Through of 6 Verse
Loop 1:00 Breakdown of First 4 Bars
Loop 4:00 IV Chord and Turnaround Breakdown
Loop 9:45 Practice Loop and Review
Loop 10:35 Slow Practice Loop
Loop 11:22 Closing Thoughts
Comments
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Actually, you didn't say, but that's really encouraging too. What's so frustrating is that I can only do it for about 5 seconds at a time and then my tongue just spazzes out. I guess there are some muscles that need to be built up. And of course you think you've got it going and then you need to dump some air. The world just doesn't appreciate how devilish this instrument is :)
I can identify. It's elusive. If you work on it daily, it will come - After that, it's good to continue working on it. There're days when my tongue feels pretty sluggish.
Hey Rick.
A while back I was bemoaning my inability to get the side to side tongue flutter and was feeling resigned to never getting it. You encouraged me not to give up. Well, I still can't do it clean enough or fast enough, but it's gotten to the point where it's beginning to happen and I'm believing I can get there. I heard an interview with Kim Wilson once where he said playing was a lot more fun once he learned that move. I recognize it now all the time listening to you, Dennis, and other players. Ray Norcia has a really sweet, clean tongue flutter. I'm a big believer that patience and persistence will get you where you want to go, but this one really felt out of reach. Thanks for the encouragement in my moment of despair :)
Bill
I probably told you this before, but some people can just naturally do that flutter, and some can't - I was a person who couldn't, and had to work on it a lot. I believe Kim was too.
Man, I feel like I could study this one piece for the rest of my life. It's so cool how every verse has something new and one or two things that repeat but with some little variation that makes it really different. The idea of shaping the notes really clicked for me. I think somehow in my twisted brain I have some kind of picture of what I'm playing that isn't just what holes or bends I'm on. In fact, I'm finding playing chromatic really hard because I only know where I am by the sound/picture and I never know what hole I'm on. There's so many more!
On the opening wah-wah, are you scooping up a little on each 2-hole draw in addition to the hand affect? On the crazy trill, would it be right to say you're going back and forth over more than just two holes? Maybe four?
Thanks so much Rick. I'm getting quite an education.
Bill
Hi Bill, you're correct - many notes are not only notes. In my mind, a more accurate description might be syllables - though even that isn't a perfect description. But yeah, when they're really pronounced, they're formed with slight bends working in conjunction with hand effects. PS. Playing chromatic too hard does work too well. You can shape notes in a similar way to how you shape on a diatonic, but you have to finnesse the shapes in a different, less forceful way - The range of the amount of air pressure that you can use and the way in which you use it, requires a different touch and feel.
that's not easy. Sounds great
Thanks Boyd - It gets easier with some practice.