This week we're breaking down verse two of "Mr. Lee's Mambo". This lesson primarily features the alternating of licks with little groove chords. We'll be mixing it up a little - skipping holes here and there and occasionally changing the direction of the breath on adjacent holes. We'll also be learning about what's typically called the "mournful" sound (I like to call it the pitiful sound) created with the use of some slight bends and gradual bends. I also touch on the idea of "making sense" in your playing - what I think of as making your playing conceptually conversational. I think the "making sense" element is an essential component of effective playing. And, of course, as always and above all, hold that groove and have some fun!
Rick Estrin
Topics and/or subjects covered in this lesson:
Groove
key of E
A Harp
Rick Estrin
Mr. Lee's Mambo
Print Chords & Tab
A Harp in the Key of E.
Loop 0:27 2nd Verse Acoustically
Loop 1:03 Breakdown of First 4 Bars
Loop 5:03 Slow Practice Loop of First 4 Bars
Loop 5:36 At Tempo Practice Loop
Loop 5:47 Breakdown of IV Chord
Loop 8:52 Slow Practice Loop of First 8 Bars
Loop 10:00 How the Riffs Fit Together
Loop 11:52 V Chord Breakdown
Loop 15:51 Practice Loop of 2nd Verse
Loop 16:16 Slow Practice Loop of 2nd Verse
Loop 16:49 Closing Thoughts
Comments
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Hi Rick !! I think on the V , it s not so Groovy ?!
Hey Andre - Maybe on the IV after the V the phrasing could be a little better, but up until that last lick, the whole verse is really good!!!
Really good job, Tominou! You have all the notes right and the phrasing is very good. I think I'm hitting that "cry" on 5 draw a little softer than you. That might be one reason it sounds a little different. Also, listen closely for when to begin the bend, and how far I'm bending it. The only other thing I can tell you is something I tell myself all the time: "When you're really in the groove, get deeper in the groove, and when you're really swinging, swing harder." Again, really good job! Keep having fun with it!
Wow, I'm happy to read this! Thank you Rick. My wife doesn't understand very well why I spend all my nights (training) with you.., so I'll show her your answer! When I go to work, each morning in my car, I listen your performance again and again to inject your swing in my blood. This peace pleased me as soon as I heard it first time, It's very nice. Reproduce it is another job, I can't count the number of attempts I've done, my phone memory is full of it. I'm never satisfied, it may be a good illness after all in way to progress.
I put another audio record in the previous lesson "first chorus", can you say me what do I have to work on? Thanks again Rick
No, that actually helps. Not dissecting per se, but thinking about say, a shuffle but in your head over laying triplets definitely imparts a feel. The unplayed notes in your head are like the ghost note you talked about in the first chorus. Cool!
Thanks Rick and J.
Yay! I'm not crazy! I don't think I'll be trying to learn to read music. It seems like there's some basic music theory that is helpful but I figure my time will be much more productively spent listening and playing. It's also really helpful to be able to ask you questions.
For a while I've been trying to know what it means to swing. Is this "flex time" idea part of what it means to swing in front of or behind the beat? It seems like it's one of those things that probably can't be expressed in western music notation because I've never heard anyone explain it clearly in analytical terms. It really does seem like an intentional feeling of tension that comes from pushing or dragging in relation to the beat. For some reason it seems easier for me to hear it on this latin beat.
Bill
Below is the technically accurate answer as provided by J. Hansen (my drummer) -
I tried to decipher what he says, and after trying out what I think he's referring to, I see what he means. I don't normally think of dissecting music in that way and I actually don't think he does either, but he has a music degree so he knows these things.
"Swing is a feel based on triplets- each beat divided in thirds. Non-swinging music (like rock, for example) is based on the 16th note, where each beat is divided into fourths. This basic difference between thirds and fourths of a beat results in feel. Triplets have a loose, rolling feel- whereas 16ths feel more even like a march."
And yeah, what I'm referring to as "flex time", (IMO) if it's not essential to, it at least, goes hand in hand with, a swingin' feel.
Hi Rick
So here's a thing I'm noticing and you can tell me if I'm crazy. Each verse is kind of broken up into little pairs of statements, as you point out. But what I'm noticing is that the first statement is right on the beat, then the second statement is kind of dragging behind the beat, which creates a tension and accentuates the Latin feel of the whole thing. I don't know if I'm describing this very well but do you know what I mean? If I knew how to read music I imagine I could break it down mathematically, but I just don't have the language to express exactly what I'm feeling in those answering statements.
Bill
Absolutely! I don't know the technical term for it either, but I know exactly what you're describing. Sometimes I refer to it as "flex time" - dragging a little bit in strategic spots to create tension, and at other times, when it's appropriate, I'll do the reverse - almost rushing or playing more aggressively to create a feeling of urgency. And don't worry too much about not reading music. I doubt this kind of stuff could be accurately written down anyway. It's a feel thing - but yes Bill, for sure! You definitely heard it right! Good ear!
MATE that's a cool tune!!!!!!!!
Thank you, Tim! I hope you have some fun with it!