Great lesson. I really like how you've created all the space so we, your humble diciples, have to focus on the rhythm and groove to make a simple lick feel and sound right. I want to ask a question about the resolving lick, which maybe applies generally. When I play that tricky three hold bend to the tonic to the second bend on the three hole and back to the tonic, I get a better feel by tongue blocking. But since I learned to bend by puckering, I hit the notes better that way. So in your opinion, is it better to work on getting a better feel puckering or to work on nailing the pitch tongue blocking?
I'm at the point where I can tell when it's not worth asking how to do something. Mastering some techniques just takes time and practice. So given the infinite number of techniques to master, the most helpful thing is sometimes just to know what to focus on. I have an hour a day of back road drive time and another half hour or so a night to practice. In the long run, it seems like it would pay to get the tongue blocking on those subtle two and three hole bends, but I'm a novice so what do I know? I mean, it's all fun but it gets more fun the better you get.
Yours plugging away with harp in mouth, hoping not to have a car accident,
Hi Bill - In my opinion, it'll definitely be worthwhile to spend the time working on nailing the pitch with your tongue on the harp. It might take a little longer to master the song, but you'll end up with a valuable, important new skill.
Thanks for the feedback. It's the 5th chorus I was mostly referring to. It's happening pretty much the way you describe it. I'm getting it, only on certain holes and I can't completely sustain it, but enough for me to feel that it's possible.
Yay Rick! Another Beaut! There's one chorus, (maybe 5 or 6) where there is some very pronounced vibrato. I hope you'll speak to how you developed such a clear, strong, beautiful one. I've been doing nothing else for a week and could use some tips, or at least encouragement :)
I'll have to listen to see which verse it is, but in general, my vibrato is generated from my throat. It's hard to describe how it occurs, but Jerry Portnoy says it's similar to a shallow, voluntary cough. This is probably falls under the category of encouragement more than help, but what happened with me when I developed my vibrato was, I just kept trying to produce that effect with my throat - practicing and practicing until finally, one morning I woke up and I could do it - and it was just automati. Good luck. If you're like me, there'll be some frustration along the way, but if you focus and don't give up, I promise you'll get it.
Just when I think I will never get this, I make some progress and that keeps me going. I'll definitely use your pointers. My tb bending has gotten better as I work on the bends up to the trills. While I sometimes work on separate excercises, I usually focus on techniques in the context of tunes. It helps just to be reminded that it's important to work on drills too.
Thanks for the comment. Just keep in mind that it is of the UTMOST importance to make sure technique practice is not done in context of icks or phrases. When you get the technique down (this goes for any technique), then you can throw it in context with ease and with the appropriate attack, depending on the context. That's the only way to truly nail any technique and be able to use it in context. Drills are essential. When you work on technique IN context, you never have enough time to actually work on correct technique, it becomes just a place to throw in your technique, whether it is done correctly or not. Now you can be a Drill Seeker too! ;)
A recurring issue for me is bending notes while tongue blocking. Do you have any tips on how to practice or develop this skill?
btw I really enjoyed the show at the Pizza Stone last Friday. A great treat to see you perform and an even greater one to see you perform with Steve Guyger.
Hi, and Thanks Bill! It's always fun when I get to perform with Steve. He is one of my favorites, and a good friend.
Bending while tongue-blocking is something you should work on a separate exercise, meaning set aside small amounts of time to practice TB bending. Multiple times, but short durations of time will really help. Keep in mind that while tongue-blocking you really need to be in control of your airstream which is now in the corner of your mouth. Also, avoid the temptation to pull your tongue away from the harmonica while bending. That is the most common issue with people learning this technique. Steady practice on a regular basis will help you control your technique better, than you can make sure you can close your airstream enough to bend each note after you are in better control of what you are doing. Does that help?
Rick, This whole series really gave my bends a workout. But more than that. At one point you said, "This going to be really cool when you get it." Well, I don't have all of it yet but the parts where I've gotten the notes and the feel just feel really cool. Many thanks and let us know if you ever make it to the northeast.
Thanks Bill - I'm real glad you dug the series. As always, the main thing we all need to do to improve is practice. I've been playing forever and still, the more I "keep it in my mouth" (AKA play and practice), the better it feels and the more naturally it flows.
What's tough Rick is that when you play something you say is "wrong" you still sound better than me on my best day. I was thinking also that you kind of scoff at yourself when you drop these bits of history, references and stories, but I really appreciate all of that. That and the emphasis on getting the right feel. All that puts the technique in contex. It makes me think that it's ok to approximate the details while you work on the technique if you can get that feel In the meantime. The technique comes little by little with time and effort but either you feel it or you don't.
Anyway, I'm really digging your approach, so thanks.
Thanks for the encouraging feedback! I'm glad it's working for you Bill - My teaching methods are, I'm sure, a little different in that I've not previously focused much on teaching. Consequently the best I can do is give you is my opinions and whatever tips I can think of. The info I have is born of a whole lot of playing experience, but not a whole lot of experience in verbalizing the minutiae or in demonstrating the same thing repeatedly in precisely the same way every time.
I love it when you make a "mistake". Something cool just seems to slip out from somewhere inside. On the rare occasions when that happens to me I'm like, whoa, where'd that come from? You just kinda reach for note and there it is. Kinda scary and thrilling.
Some interesting new challenges for me in this chorus. First, on the opening 8 hole draw, sometimes it sounds like you're catching some of the 8-4 octave. Am I imagining that?
On the warbles, tongue block all of that including the 4-5 draw?
Any tips on getting the hang of bending that 3-4 warble while tongueing? The way you hit that 3 hole bend there is so sweet. Actually as I'm doing this I'm realizing that the eee-ooo-ohhhh technique you taught in the master class helps when tongueing also. Maybe I just have to do this about a million more times.
After the warbles, is that pretty much tongue blocking all the way out. Do you lip purse the 2, 3 and 4 draws leading into the final three octaves?
Last thing for now. It took a while to get the timing all through this piece. Is there or will there be a backing track for this one?
I'm having technical difficulties. I can play and hear the lessons but at some point, not consistent, the sound cuts out while the video continues. If I close the browser, reopen and log in again, the sound comes back...until it stops again. This is happening on both Firefox and Chrome. When I use an IPad with Safari it doesn't happen, at least not yet.
Hi Bill --- thanks for letting us know. My guess is that it is an interaction issue with your computer. Can you email me at --- mike@sonicjunction.com --- letting me know a bit more about your computer
1. pc or mac
2. how old / new is it
3. have the videos ever worked wiht your computer (i.e. is this a new issue)
Thanks and thanks again! With just the little bit of work on TB bends so far I can see/feel the possibilities. Looking forward to the next tune but hands and motuth full of things to work on from this one.
Now that I'm getting a handle on all the notes and timing, I'm realizing that there may be an aspect of my technique that's just not up to the task (there are others no doubt, but you have to start somewhere.). It seems that if I can't tongue block all those bends and scoops, there are many phrases that just aren't going to sound right. In chorus 2 for example, landing back on the 1-4 octave at the end of the first lines is way easier from a tongue block than from lip pursing, even though I have way better control of bends when lip pursing.
It helps to know what to focus practice time on. Is mastering bends tongue blocking a priority? All the way to hole 1?
As always, thanks for the great feedback and instruction,
Regardless of what anyone else may ever say or tell you, the fact is that the harmonica was made to be tongue-blcoked, and especially when trying to play blues style harmonica (at least if you want utilize 90% of the techniques and sound spossible on the instrument and want to have sounds similar to the old masters of this style) you want do some, if not most, tongue-blocking.
Most players start out as pucker players, as I did myself. But don't make the mistake of listening to some of the non-TB players on the internet that will tell you it makes no difference, or that you should just do what is most comfortable for you. The simple fact isthat TB enables you to do so many things on the instrument that are just otherwise impossible. In addition, it will also enhance your playing tone when done correctly.
Bending is the most difficult thing to master on the diatonic harmonica, no doubt. For this reason, I always start my students from Day 1 to work on bending. It takes a long time to be a precise bender, so the sooner you start, the better off you will be. So I would suggest to you to immediately start working on TB bends on a daily basis. Don't wear yourself out and don't have unrealistic expectations. It won’thappen overnight, and for a while you will still revert to pucker bends until it becomes more comfortable with TB. But do begin practicing them ASAP. The sooner you do, the sooner you will be comfortable enough to do it and your body will start incorporating them when you are. At least down to and incuding hole 2, if not 1....but definitely down to hole 2.
But practice them daily, in small increments. That's the best way. And...yes yoy=u are correct, once you do these notes/bends/passages TB, all of the TB techniques such as octaves can be thrown in the mix with much more fluidity.
So this means that there are two different ways of creating these two effects? I'm thinking tremolo comes from varying the air flow by the coughing or near coughing action you describe. It comes from the throat or further down. Vibrato comes from controlling the air flow in the way that produces bent notes. It comes from the shape inside your mouth. I find, when I look in a mirror, that the action that produces vibrato causes my tongue to drop back and vibrate. When I extend my tongue to block holes, as when I'm trying to play octaves, I can't get that vibrato without fluttering on the blocked holes. So to get the tremolo on octaves I should focus on near coughing approach?
These effects can be done different ways, (for instance there is also hand tremolo - "wah-wah" effects). The tremolo is about fluctuating the air pressure back & forth so the volume goes up and down....yes a developed and controlled "coughing" type of technique will help do this. But keep in mind, that motion will help get the sound but you want to make sure you are still breathing from your diaphragm. Also keep in mind you do NOT have to drop your tongue back for vibrato or bends, as I am doing this all while tongue-blocking (which I do about 99% of the time). When you bend or do vibrato, you shouldn’t have to rely on moving your tongue to do so. It is all about how you shape your mouth/throat/air chamber according to the note and pitch you want to play or bend to....but PART of your tongue may be involved, not necessarily all of it.
I definitely recognize it in the 8th chorus. I'll focus in on the other spots you've highlighted. Pointing out how this builds tension and release is really helpful. At some point I think Jerry said that tension and release are what really set blues apart from other musical forms so this seems to get to the heart of it.
Thanks for the response. See if you can get a gig at the Iron Horse in Northampton! I like the Town Crier too but it's a two and half hour drive!
The main way that most people usually refer to creating and releaasing tension in blues music (and perhaps the way Portnoy is referring to, I'm not sure) is melodic. With flatted and bent notes...creating melodic tension. It's one of the things that brings all of us who love blues towards the blues, for sure.
The tension I am referring here to is rhythmic (since we are talking about timing), and this is created by swinging either ahead or behind the beat. Both are ways of building up and releasing tension, but these are two different aspects of the music - melodic vs. rhythmic. You can create tension either way, but they garner different results in the mood - and the listener.
Met you briefly at the Town crier last month (terrific show!) I wonder if you could comment more on the idea of playing behind and ahead of the beat. I have a sense of it but it would be helpful to know where some specific examples of each are happening.
Hi - thanks, I love perfoming at the Towne Crier!!
For some playing/phrasing a little behind the beat, look at my third chorus here starting around 5:23. Most of that chorus has that "lazy" behind the beat feel, with my accents and notes of emphasis coming slightly after the beats. And in the eighth chorus starting around 7:30, my second phrase around 7:35 is deliberatley behind the beat to build tension...but there is a lot of the slightly behind the beat phrasing in this song.
In the middle of the fourth chorus starting around 5:55 I push the beat delibeartely also...as well as in the middle of the sixth chorus with the section starting around 6:48.
Keep in mind, these things can be subtle and happen often just in small short bursts of phrases, but when done right really keep the phrases flowing and the rhythmic tension building and releasing, which in turn keeps the groove going strong.
Hey Rick,
Great lesson. I really like how you've created all the space so we, your humble diciples, have to focus on the rhythm and groove to make a simple lick feel and sound right. I want to ask a question about the resolving lick, which maybe applies generally. When I play that tricky three hold bend to the tonic to the second bend on the three hole and back to the tonic, I get a better feel by tongue blocking. But since I learned to bend by puckering, I hit the notes better that way. So in your opinion, is it better to work on getting a better feel puckering or to work on nailing the pitch tongue blocking?
I'm at the point where I can tell when it's not worth asking how to do something. Mastering some techniques just takes time and practice. So given the infinite number of techniques to master, the most helpful thing is sometimes just to know what to focus on. I have an hour a day of back road drive time and another half hour or so a night to practice. In the long run, it seems like it would pay to get the tongue blocking on those subtle two and three hole bends, but I'm a novice so what do I know? I mean, it's all fun but it gets more fun the better you get.
Yours plugging away with harp in mouth, hoping not to have a car accident,
Bill
Hi Bill - In my opinion, it'll definitely be worthwhile to spend the time working on nailing the pitch with your tongue on the harp. It might take a little longer to master the song, but you'll end up with a valuable, important new skill.
Thanks for the feedback. It's the 5th chorus I was mostly referring to. It's happening pretty much the way you describe it. I'm getting it, only on certain holes and I can't completely sustain it, but enough for me to feel that it's possible.
Yay Rick! Another Beaut! There's one chorus, (maybe 5 or 6) where there is some very pronounced vibrato. I hope you'll speak to how you developed such a clear, strong, beautiful one. I've been doing nothing else for a week and could use some tips, or at least encouragement :)
Bill
I'll have to listen to see which verse it is, but in general, my vibrato is generated from my throat. It's hard to describe how it occurs, but Jerry Portnoy says it's similar to a shallow, voluntary cough. This is probably falls under the category of encouragement more than help, but what happened with me when I developed my vibrato was, I just kept trying to produce that effect with my throat - practicing and practicing until finally, one morning I woke up and I could do it - and it was just automati. Good luck. If you're like me, there'll be some frustration along the way, but if you focus and don't give up, I promise you'll get it.
Thanks for a great set of lessons Dennis.
Just when I think I will never get this, I make some progress and that keeps me going. I'll definitely use your pointers. My tb bending has gotten better as I work on the bends up to the trills. While I sometimes work on separate excercises, I usually focus on techniques in the context of tunes. It helps just to be reminded that it's important to work on drills too.
thanks. I'm learning a lot from this series.
Thanks for the comment. Just keep in mind that it is of the UTMOST importance to make sure technique practice is not done in context of icks or phrases. When you get the technique down (this goes for any technique), then you can throw it in context with ease and with the appropriate attack, depending on the context. That's the only way to truly nail any technique and be able to use it in context. Drills are essential. When you work on technique IN context, you never have enough time to actually work on correct technique, it becomes just a place to throw in your technique, whether it is done correctly or not. Now you can be a Drill Seeker too! ;)
Hi Dennis,
A recurring issue for me is bending notes while tongue blocking. Do you have any tips on how to practice or develop this skill?
btw I really enjoyed the show at the Pizza Stone last Friday. A great treat to see you perform and an even greater one to see you perform with Steve Guyger.
Thanks,
Bill
Hi, and Thanks Bill! It's always fun when I get to perform with Steve. He is one of my favorites, and a good friend.
Bending while tongue-blocking is something you should work on a separate exercise, meaning set aside small amounts of time to practice TB bending. Multiple times, but short durations of time will really help. Keep in mind that while tongue-blocking you really need to be in control of your airstream which is now in the corner of your mouth. Also, avoid the temptation to pull your tongue away from the harmonica while bending. That is the most common issue with people learning this technique. Steady practice on a regular basis will help you control your technique better, than you can make sure you can close your airstream enough to bend each note after you are in better control of what you are doing. Does that help?
Love the raunchy boogie! This is going to be fun (and probably kick my butt.) Planning to cruise up 91 tomorrow night and catch you at the Stone.
Thanks! Hope to see you..and have fun with the tune!
Rick, This whole series really gave my bends a workout. But more than that. At one point you said, "This going to be really cool when you get it." Well, I don't have all of it yet but the parts where I've gotten the notes and the feel just feel really cool. Many thanks and let us know if you ever make it to the northeast.
Bill
Thanks Bill - I'm real glad you dug the series. As always, the main thing we all need to do to improve is practice. I've been playing forever and still, the more I "keep it in my mouth" (AKA play and practice), the better it feels and the more naturally it flows.
Thanks for shining a light on some of the things that make James Cotton's playing so powerful and unique. He's long been one of my heroes.
Cotton's got his own way of milking the maximum emotion out of the harp. He always gets to me in a big way.
What's tough Rick is that when you play something you say is "wrong" you still sound better than me on my best day. I was thinking also that you kind of scoff at yourself when you drop these bits of history, references and stories, but I really appreciate all of that. That and the emphasis on getting the right feel. All that puts the technique in contex. It makes me think that it's ok to approximate the details while you work on the technique if you can get that feel In the meantime. The technique comes little by little with time and effort but either you feel it or you don't.
Anyway, I'm really digging your approach, so thanks.
Thanks for the encouraging feedback! I'm glad it's working for you Bill - My teaching methods are, I'm sure, a little different in that I've not previously focused much on teaching. Consequently the best I can do is give you is my opinions and whatever tips I can think of. The info I have is born of a whole lot of playing experience, but not a whole lot of experience in verbalizing the minutiae or in demonstrating the same thing repeatedly in precisely the same way every time.
I love it when you make a "mistake". Something cool just seems to slip out from somewhere inside. On the rare occasions when that happens to me I'm like, whoa, where'd that come from? You just kinda reach for note and there it is. Kinda scary and thrilling.
Hi Jerry,
Some interesting new challenges for me in this chorus. First, on the opening 8 hole draw, sometimes it sounds like you're catching some of the 8-4 octave. Am I imagining that?
On the warbles, tongue block all of that including the 4-5 draw?
Any tips on getting the hang of bending that 3-4 warble while tongueing? The way you hit that 3 hole bend there is so sweet. Actually as I'm doing this I'm realizing that the eee-ooo-ohhhh technique you taught in the master class helps when tongueing also. Maybe I just have to do this about a million more times.
After the warbles, is that pretty much tongue blocking all the way out. Do you lip purse the 2, 3 and 4 draws leading into the final three octaves?
Last thing for now. It took a while to get the timing all through this piece. Is there or will there be a backing track for this one?
A gazillion thanks. I love this piece.
Bill
I'm having technical difficulties. I can play and hear the lessons but at some point, not consistent, the sound cuts out while the video continues. If I close the browser, reopen and log in again, the sound comes back...until it stops again. This is happening on both Firefox and Chrome. When I use an IPad with Safari it doesn't happen, at least not yet.
I'd appreciate any help. This is frustrating.
Thanks,
Bill
Hi Bill --- thanks for letting us know. My guess is that it is an interaction issue with your computer. Can you email me at --- mike@sonicjunction.com --- letting me know a bit more about your computer
1. pc or mac
2. how old / new is it
3. have the videos ever worked wiht your computer (i.e. is this a new issue)
I will stick with you until we get it solved.
Thanks and thanks again! With just the little bit of work on TB bends so far I can see/feel the possibilities. Looking forward to the next tune but hands and motuth full of things to work on from this one.
B
Yup, a little focused work goes a long way with this technique stuff! :)
Hi Dennis,
Now that I'm getting a handle on all the notes and timing, I'm realizing that there may be an aspect of my technique that's just not up to the task (there are others no doubt, but you have to start somewhere.). It seems that if I can't tongue block all those bends and scoops, there are many phrases that just aren't going to sound right. In chorus 2 for example, landing back on the 1-4 octave at the end of the first lines is way easier from a tongue block than from lip pursing, even though I have way better control of bends when lip pursing.
It helps to know what to focus practice time on. Is mastering bends tongue blocking a priority? All the way to hole 1?
As always, thanks for the great feedback and instruction,
best,
Bill
Hi Bill - great question, and observation.
Regardless of what anyone else may ever say or tell you, the fact is that the harmonica was made to be tongue-blcoked, and especially when trying to play blues style harmonica (at least if you want utilize 90% of the techniques and sound spossible on the instrument and want to have sounds similar to the old masters of this style) you want do some, if not most, tongue-blocking.
Most players start out as pucker players, as I did myself. But don't make the mistake of listening to some of the non-TB players on the internet that will tell you it makes no difference, or that you should just do what is most comfortable for you. The simple fact isthat TB enables you to do so many things on the instrument that are just otherwise impossible. In addition, it will also enhance your playing tone when done correctly.
Bending is the most difficult thing to master on the diatonic harmonica, no doubt. For this reason, I always start my students from Day 1 to work on bending. It takes a long time to be a precise bender, so the sooner you start, the better off you will be. So I would suggest to you to immediately start working on TB bends on a daily basis. Don't wear yourself out and don't have unrealistic expectations. It won’thappen overnight, and for a while you will still revert to pucker bends until it becomes more comfortable with TB. But do begin practicing them ASAP. The sooner you do, the sooner you will be comfortable enough to do it and your body will start incorporating them when you are. At least down to and incuding hole 2, if not 1....but definitely down to hole 2.
But practice them daily, in small increments. That's the best way. And...yes yoy=u are correct, once you do these notes/bends/passages TB, all of the TB techniques such as octaves can be thrown in the mix with much more fluidity.
Thanks!
So this means that there are two different ways of creating these two effects? I'm thinking tremolo comes from varying the air flow by the coughing or near coughing action you describe. It comes from the throat or further down. Vibrato comes from controlling the air flow in the way that produces bent notes. It comes from the shape inside your mouth. I find, when I look in a mirror, that the action that produces vibrato causes my tongue to drop back and vibrate. When I extend my tongue to block holes, as when I'm trying to play octaves, I can't get that vibrato without fluttering on the blocked holes. So to get the tremolo on octaves I should focus on near coughing approach?
Thanks for all this feedback.
Bill
These effects can be done different ways, (for instance there is also hand tremolo - "wah-wah" effects). The tremolo is about fluctuating the air pressure back & forth so the volume goes up and down....yes a developed and controlled "coughing" type of technique will help do this. But keep in mind, that motion will help get the sound but you want to make sure you are still breathing from your diaphragm. Also keep in mind you do NOT have to drop your tongue back for vibrato or bends, as I am doing this all while tongue-blocking (which I do about 99% of the time). When you bend or do vibrato, you shouldn’t have to rely on moving your tongue to do so. It is all about how you shape your mouth/throat/air chamber according to the note and pitch you want to play or bend to....but PART of your tongue may be involved, not necessarily all of it.
hey Dennis,
What's the difference between tremolo and vibrato?
Thanks,
Bill
Hi Bill! GREAT question...many people don't understand or talk about this, but to the best of my knowledge...
Tremolo is when there is a fluctuation in volume (or air pressure which results as a fluctuation in volume).
Vibrato is when there is a fluctuation in pitch (the note bends back and forth).
...and of course it is possible to use both techniques at the same time, depennding on how they are done.
Thanks!
I definitely recognize it in the 8th chorus. I'll focus in on the other spots you've highlighted. Pointing out how this builds tension and release is really helpful. At some point I think Jerry said that tension and release are what really set blues apart from other musical forms so this seems to get to the heart of it.
Thanks for the response. See if you can get a gig at the Iron Horse in Northampton! I like the Town Crier too but it's a two and half hour drive!
Bill
The main way that most people usually refer to creating and releaasing tension in blues music (and perhaps the way Portnoy is referring to, I'm not sure) is melodic. With flatted and bent notes...creating melodic tension. It's one of the things that brings all of us who love blues towards the blues, for sure.
The tension I am referring here to is rhythmic (since we are talking about timing), and this is created by swinging either ahead or behind the beat. Both are ways of building up and releasing tension, but these are two different aspects of the music - melodic vs. rhythmic. You can create tension either way, but they garner different results in the mood - and the listener.
HI Dennis,
Met you briefly at the Town crier last month (terrific show!) I wonder if you could comment more on the idea of playing behind and ahead of the beat. I have a sense of it but it would be helpful to know where some specific examples of each are happening.
Thanks,
Bill
Hi - thanks, I love perfoming at the Towne Crier!!
For some playing/phrasing a little behind the beat, look at my third chorus here starting around 5:23. Most of that chorus has that "lazy" behind the beat feel, with my accents and notes of emphasis coming slightly after the beats. And in the eighth chorus starting around 7:30, my second phrase around 7:35 is deliberatley behind the beat to build tension...but there is a lot of the slightly behind the beat phrasing in this song.
In the middle of the fourth chorus starting around 5:55 I push the beat delibeartely also...as well as in the middle of the sixth chorus with the section starting around 6:48.
Keep in mind, these things can be subtle and happen often just in small short bursts of phrases, but when done right really keep the phrases flowing and the rhythmic tension building and releasing, which in turn keeps the groove going strong.
Does that help?
Thanks - Dennis
Logged out and back in and everything works now.