4:12, 4:18, 4:24 in this lesson. Again at 8:16, 8:25, 8:32. Again at 8:45, 8:51, 8:57. The last set is the most pronounced.
I went back and listened to the performance and realized, as you say, that those ghost notes aren't there, or at least not audible. It occurred to me that you might not do that so much when you have the guitar rhythm to lean on, but it definitely helps me keep some focus on the groove when there's no accompaniment. Sometimes you have just a little click or chuck, very short and sharp - seems like you're keeping the beat without even thinking about it. Probably a good habit for me to develop. I hear lots of that in both Walters playing.
Yes, as I stated in my original reply, I do this as a reference for the beat/groove since there is no guitar accompaniment in during the breakdown. Strictly for reference of the groove.
It is a good habit to develop, but of course it's a good habit to BE ABLE to do, not to do all the time. In some situations (such as in this song) I felt it was not approriate to play like that, it was a more uptempo rock & roll feel, and I didn't want what I play to become too much, which can easily happen at this speed if I start playing rhythmic fills in addition to all the other stuff.
It is GREAT to be able to do this and have the skills (rhtyhmical skills, and technique skills) to do this. It's very important as any type of musician to be able to keep good time and rhythm, since most of what you play is based off of exactly that. It is more part of what I focus on in "Buffle Off To Shuffalo" and in my "Horton Shuffle" study piece as well, since Big Walter did a lot of this. Thanks for the question!!
It sounds like a number of ghost notes in there where you're balancing breath and/or keeping the rhythm. After you run up the scale and return to the two-draw there's a little pause before you hit the one-draw where I think I hear those ghosts. It sounds like draws on the two-hole cutting off with your tongue. Can you say little about that? It seems important to keeping the groove.
Hi Bill...can you give me a spot (in time with the minute/second mark) of where you are hearing this? Thanks!
I think you may be referring to what I am playing in the break-down, not the actual performance video. I will sometimes accent with ghost chords rhythmically during a break-down so you can hear the groove and know where the beat is, but it is not happening in the actual performance. I do more of this sort of thing in my "Buffle Off To Shuffalo" study piece actually...and as a side note - it is good as a musician to have the skill to always know the groove and rhythm and be able to play or imply it by what you play in between the riffs/licks, if the situation calls for it.
Thanks for the insight. I have moments when I'm playing with solid rhythm accompaniment when I seem to break free of the parts I've worked out and something almost magic happens. I seem to have to play myself into that place and it doesn't happen often enough but chasing it is completely addictive Your energy, attitude, facility and imagination are really inspiring.
Thanks Bill! That is what you need to do...keep pushing yourself to get to those points, that is when it actually becomes LIVE music! Happening in the moment and it takes on a life of it's own. Better than almost anything I know. The more you practice and listen to good players, the closer you can get to that point, and the more often you get there if you keep your chops up.
Could you say a little something about what you mean when you say that you improvised this piece? Aside from the basic groove and the constraint you've imposed of using only notes in the blues scale, how does this work for you? Do you just set up the groove and let 8 choruses rip? Do you do more than one take, keep things that you like and discard things you don't? I know I'll be using this piece to work on groove and moving around that scale, but it's really facinating to know how someone with your mastery comes up with something like this.
For this song, yes, I just set up the groove and let these choruses rip. Literally! This one was a one-take deal. I had some ideas of some riffs I may use (the opening theme), but aside from that, it was all made up on the spot, just making myself stick to notes in the blues scale. I usually do a few takes, but we both felt it came out great after this initial take, so I listened back and that was that. Of course it takes being very comfortable and familiar with any scale to ONLY stick to those notes while improvising (and not add anything else at all), but with practice you can get there.
Being a somewhat faster song than what I normally do here, I also wanted to make sure that the licks are not too fast (or this can get very difficult)...but that also touches on another topic that is important when building up your chops...when you have a song with this type of agressive rhythm and at this tempo, it feels sometimes like you should be playing faster than you need to. Let the rhythm instrument keep that pulse going, and as the solo instrument, just "ride the wave" of the rhythm and the tempo.
When you're trilling on the 4 chord, are you bending the 3-4 hole draws? Sounds like it to me but you don't mention it.
This chorus didn't really need the slow down, like you said, but in general even with the slow down technology it's helpful if you run through things once at least somewhat slower than full speed. My 2 cents.
This was a great set of lessons. Over 8 weeks I've probably played this thing about 100 times. My 2-hole draw control, my octaves and trills and my overall rhythm and groove are better for it. And I learned some theoretical things about different kinds of rhythms and what kinds of things go over the different chords well. So many, many thanks and I hope you're back soon.
Bill
ps If you're anywhere in the northeast performing, please let us know. I'll be there.
Thanks Bill, and yes, you're absolutely right - My bad (as the younger folks say) - I watched the lesson yesterday as I was writing this week's accompanying email text when I realized I never mentioned the bend on the IV. On that IV chord trill, it's actually bending the 3 hole a half step while keeping the 4 draw unbent. So yeah, sorry about that oversight, kudos to you for catching it, and it makes me happy to know that my slightly unorthodox teaching method is resonating with you.
And PS. I have no east coast dates for 2017 yet, but we generally tour out there once a year or so. You can always see where we are if you go to: www.rickestrin.com
I love the sound of that descending lick on the last four chord. There's something about the way the notes are paired that adds to the latin feel of it. I also feel like it's pushing me tp make transitions from one note to the next that are new and, as you say, get me out of the comfort zone. Sometimes the comfort zone can feel like a rut. you know?
On those aggressive opening chords - the da-da-da-dat - are you playing with your tongue off the harp except to clip it off at the end? This reminds me of the triple-tongueing techinique that Jerry has on his instructional CD where you're kind of slapping your tongue to the roof of your mouth to get the percussive feel.
Thank you Bill - And yes, those chords are being produced exactly as you describe. My tongue is hitting the harp only only when I clip the chord off at the very end of the riff. Otherwise the chord percussion is being produced with that roof-of-the-mouth technique. Really glad you're diggin' the lesson!
Me again. I noticed that in this tune and in the last one, Blue Strolling, the third verse centers around the 2 and 3 holes. Totally different rhythm but all those 3 hole bends give them a similar feel And very distinct from the other verses. Is that one of those devices you talk about here? I was trying to think about what that would represent in the conversation, what something it's saying. In this one it sounds a little angry, even threatening. Am I taking that metaphor too far?
Hi Bill - I really wasn't going for an "angry" effect in verse 3 and I wasn't aware of the commonality between this 3rd verse and the 3rd verse from Blue Strollin', but there's certainly nothing wrong with your hearing it like that. I've heard and dug some harp that sounded angry to me and even played things with that intention at times. This time, all I was doing was trying to play something simple and in the pocket and trying to develop the verse so it felt like it was unfolding in a linear way.
Hi Bill - The only reasons I can think of are the 3 blow just felt right to me and sounded right to me. It seems naturally transition well from the swooping bend of the 3 draw.
GReat lesson. I always try to work ahead and see if I can figure things out before you break it down. I wasn't getting the rhythm quite right on this one. Your explanation changed my whole way of hearing and feeling it. Just thinking of it as a sax riff made it different, you know what I mean? And the transition from the opening lick into the four chord is very sweet. You always look like you're having a good time but I just want you to know that this tune is really fun to play.
Hey Bill - Really glad you're diggin' it! It's real good too that you caught on to that first lick. Starting on the 2nd beat can be really cool - and it works to do it on any chord change. I'm also glad you dug the way it transitioned into the IV - I kinda liked that myself 😉
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.
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.
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.
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!
This has come up for me before when I was working out something from a record and I think I kind of worked around it because at the time I just couldn't manage it. I've notice that when I've tinkered with 3rd position the transition from the 2 hole to the 4 hole has been kind of a black hole for me. I can play licks and even improvise on the 1 and 2 holes or on the 4 and above but can't seem to connect across that gap. Sounds like making the 2 bend to 3 bend move might be a key. I'll definitely keep working on it, with patience :)
That's the only moderately tricky part in the song. But as you're recognizing, learning to negotiate that transition is going to open up a whole bunch of cool new options for you - guaranteed
The 5-chord part is definitely the trickiest for me. I know I've asked this before but just to check - are you playing all those 2 and 3 hole bends tongue-blocked? I want to make sure I work on whatever you're doing because, well, it sounds great..
Hi Bill - I'm tongue blocking it, but if you're more comfortable lipping it, that's ok too. Going from the half step bend on the 2nd hole to the full bend on the 3rd hole takes some practice, but once you get it, it'll be well worth it. Don't let yourself get too frustrated. I sometimes have to remind myself to calm down and try to be a little patient with myself. Some licks and techniques are a little trickier than others. This is a note transition that's going to be real useful on the V of any blues in crossed position and also on the I in 3rd position.
What I would call a straight beat would be something like "Got My Mojo Working" by Muddy or "You Know It Ain't Right" by Little Walter. A tear dropper is the name my friend John "Blues" Boyd calls a slow blues.
Thanks for taking us along on your quest for the deeper groove. Putting the "Last Night" base line to a Latin beat is ingenious. I'm psyched and totally intimIdated by my first ten listens. Here we go....
Thanks for the feedback about tongue blocking. It's helpful to have a general rule like "use the tip of the tongue". It's a drag when you practice something a long time and then find out you've really been developing a bad habit. I spent a solid 45 minutes just playing the rhythm to a shuffle drum track at 110 bpm. The basic pattern is getting more comfortable and relaxed and it's getting easier to stay consistent with the beat. It's pretty amazing to me how you and Dave stay so locked in to that 110 through the whole piece.
Your consistent admonition to play softly is also really helpful. It's hard to believe that you're playing with such intensity and still keeping such a light touch. That balance between keeping a grip on the air stream and not cranking on the reeds is coming slowly. I'm not blowing out so many harps :)
Awesome - glad to hear you are seeing a difference! (Or should I say "glad to see you are hearing a difference?" LOL)
It does take a little time, but the more you do these things (work on rhythm and breath control) the easier this will all become. And yes, the intensity/light touch issue is a mind-boggler, but it's all about the precision, clarity and articulation. When you have all that, you don't need much breath for everything to stand out, just good technique and enough breath to make these clear sounds.
On the 4- and 5- chords, it's not as easy as it sounds to play each note clean, tongue on, then play the tut chord tongue off on the upbeat. Kinda devilish actually to get it all sounding clean and in time. I'm finding it a little easier if I hold the harp against my right cheek, playing the notes and chords out of the corner of my mouth, blocking more with the side of my tongue. It frees the tip of my tongue to do the tut chord without having to move the harp in and out of my mouth or pulling my tongue in and out so much. Does that make any sense? I was hoping you were going on to the fifth chorus in this lesson but I can see I've got plenty of work to do this week.
Thanks.
btw - hoping to catch you and Steve Guyger at the Town Crier in Beacon next month!
Good question - it all depends on your technique and what you are able to do. However, keep in mind that I strongly suggest NOT using the side of your tongue while tongue-blocking. The tip of your tongue is all you need and 1) it will help you be more precise with your placement, and 2) the side of your tongue is too wide and sloppy (no offense! LOL) to use most of the time for many of these subtle techniques and nuances, especially involving some articulation.
I think it's bars 5 and 6, when you go to the 4-chord, at the end of each bar you hit the 2-hole draw with a vibrato that so reminds me of Howlin' Wolf. I know I need to focus on the rhythm and getting the basic licks down first but that tone is irresistable.
Thanks Bill...yes, any vibrato or tremolo or effect like that is just added decoration which is nice, but of course always focus on the basics first. Anything else is just decoration.
4:12, 4:18, 4:24 in this lesson. Again at 8:16, 8:25, 8:32. Again at 8:45, 8:51, 8:57. The last set is the most pronounced.
I went back and listened to the performance and realized, as you say, that those ghost notes aren't there, or at least not audible. It occurred to me that you might not do that so much when you have the guitar rhythm to lean on, but it definitely helps me keep some focus on the groove when there's no accompaniment. Sometimes you have just a little click or chuck, very short and sharp - seems like you're keeping the beat without even thinking about it. Probably a good habit for me to develop. I hear lots of that in both Walters playing.
Yes, as I stated in my original reply, I do this as a reference for the beat/groove since there is no guitar accompaniment in during the breakdown. Strictly for reference of the groove.
It is a good habit to develop, but of course it's a good habit to BE ABLE to do, not to do all the time. In some situations (such as in this song) I felt it was not approriate to play like that, it was a more uptempo rock & roll feel, and I didn't want what I play to become too much, which can easily happen at this speed if I start playing rhythmic fills in addition to all the other stuff.
It is GREAT to be able to do this and have the skills (rhtyhmical skills, and technique skills) to do this. It's very important as any type of musician to be able to keep good time and rhythm, since most of what you play is based off of exactly that. It is more part of what I focus on in "Buffle Off To Shuffalo" and in my "Horton Shuffle" study piece as well, since Big Walter did a lot of this. Thanks for the question!!
It sounds like a number of ghost notes in there where you're balancing breath and/or keeping the rhythm. After you run up the scale and return to the two-draw there's a little pause before you hit the one-draw where I think I hear those ghosts. It sounds like draws on the two-hole cutting off with your tongue. Can you say little about that? It seems important to keeping the groove.
thanks,
Bill
Hi Bill...can you give me a spot (in time with the minute/second mark) of where you are hearing this? Thanks!
I think you may be referring to what I am playing in the break-down, not the actual performance video. I will sometimes accent with ghost chords rhythmically during a break-down so you can hear the groove and know where the beat is, but it is not happening in the actual performance. I do more of this sort of thing in my "Buffle Off To Shuffalo" study piece actually...and as a side note - it is good as a musician to have the skill to always know the groove and rhythm and be able to play or imply it by what you play in between the riffs/licks, if the situation calls for it.
Thanks for the insight. I have moments when I'm playing with solid rhythm accompaniment when I seem to break free of the parts I've worked out and something almost magic happens. I seem to have to play myself into that place and it doesn't happen often enough but chasing it is completely addictive Your energy, attitude, facility and imagination are really inspiring.
Thanks Bill! That is what you need to do...keep pushing yourself to get to those points, that is when it actually becomes LIVE music! Happening in the moment and it takes on a life of it's own. Better than almost anything I know. The more you practice and listen to good players, the closer you can get to that point, and the more often you get there if you keep your chops up.
Hi Dennis,
Could you say a little something about what you mean when you say that you improvised this piece? Aside from the basic groove and the constraint you've imposed of using only notes in the blues scale, how does this work for you? Do you just set up the groove and let 8 choruses rip? Do you do more than one take, keep things that you like and discard things you don't? I know I'll be using this piece to work on groove and moving around that scale, but it's really facinating to know how someone with your mastery comes up with something like this.
Thanks,
Bill
Thanks Bill - good question!
For this song, yes, I just set up the groove and let these choruses rip. Literally! This one was a one-take deal. I had some ideas of some riffs I may use (the opening theme), but aside from that, it was all made up on the spot, just making myself stick to notes in the blues scale. I usually do a few takes, but we both felt it came out great after this initial take, so I listened back and that was that. Of course it takes being very comfortable and familiar with any scale to ONLY stick to those notes while improvising (and not add anything else at all), but with practice you can get there.
Being a somewhat faster song than what I normally do here, I also wanted to make sure that the licks are not too fast (or this can get very difficult)...but that also touches on another topic that is important when building up your chops...when you have a song with this type of agressive rhythm and at this tempo, it feels sometimes like you should be playing faster than you need to. Let the rhythm instrument keep that pulse going, and as the solo instrument, just "ride the wave" of the rhythm and the tempo.
Hi Rick,
When you're trilling on the 4 chord, are you bending the 3-4 hole draws? Sounds like it to me but you don't mention it.
This chorus didn't really need the slow down, like you said, but in general even with the slow down technology it's helpful if you run through things once at least somewhat slower than full speed. My 2 cents.
This was a great set of lessons. Over 8 weeks I've probably played this thing about 100 times. My 2-hole draw control, my octaves and trills and my overall rhythm and groove are better for it. And I learned some theoretical things about different kinds of rhythms and what kinds of things go over the different chords well. So many, many thanks and I hope you're back soon.
Bill
ps If you're anywhere in the northeast performing, please let us know. I'll be there.
Thanks Bill, and yes, you're absolutely right - My bad (as the younger folks say) - I watched the lesson yesterday as I was writing this week's accompanying email text when I realized I never mentioned the bend on the IV. On that IV chord trill, it's actually bending the 3 hole a half step while keeping the 4 draw unbent. So yeah, sorry about that oversight, kudos to you for catching it, and it makes me happy to know that my slightly unorthodox teaching method is resonating with you.
And PS. I have no east coast dates for 2017 yet, but we generally tour out there once a year or so. You can always see where we are if you go to: www.rickestrin.com
Hi Rick,
I love the sound of that descending lick on the last four chord. There's something about the way the notes are paired that adds to the latin feel of it. I also feel like it's pushing me tp make transitions from one note to the next that are new and, as you say, get me out of the comfort zone. Sometimes the comfort zone can feel like a rut. you know?
On those aggressive opening chords - the da-da-da-dat - are you playing with your tongue off the harp except to clip it off at the end? This reminds me of the triple-tongueing techinique that Jerry has on his instructional CD where you're kind of slapping your tongue to the roof of your mouth to get the percussive feel.
This a great lesson man. Thanks.
Thank you Bill - And yes, those chords are being produced exactly as you describe. My tongue is hitting the harp only only when I clip the chord off at the very end of the riff. Otherwise the chord percussion is being produced with that roof-of-the-mouth technique. Really glad you're diggin' the lesson!
Hey,
Me again. I noticed that in this tune and in the last one, Blue Strolling, the third verse centers around the 2 and 3 holes. Totally different rhythm but all those 3 hole bends give them a similar feel And very distinct from the other verses. Is that one of those devices you talk about here? I was trying to think about what that would represent in the conversation, what something it's saying. In this one it sounds a little angry, even threatening. Am I taking that metaphor too far?
Hi Bill - I really wasn't going for an "angry" effect in verse 3 and I wasn't aware of the commonality between this 3rd verse and the 3rd verse from Blue Strollin', but there's certainly nothing wrong with your hearing it like that. I've heard and dug some harp that sounded angry to me and even played things with that intention at times. This time, all I was doing was trying to play something simple and in the pocket and trying to develop the verse so it felt like it was unfolding in a linear way.
Hi Rick,
I was wondering if you had a particular reason for ending the last phrase on th 3-blow v the 2-draw.
Hi Bill - The only reasons I can think of are the 3 blow just felt right to me and sounded right to me. It seems naturally transition well from the swooping bend of the 3 draw.
Hey Rick,
GReat lesson. I always try to work ahead and see if I can figure things out before you break it down. I wasn't getting the rhythm quite right on this one. Your explanation changed my whole way of hearing and feeling it. Just thinking of it as a sax riff made it different, you know what I mean? And the transition from the opening lick into the four chord is very sweet. You always look like you're having a good time but I just want you to know that this tune is really fun to play.
Best,
Bill
Hey Bill - Really glad you're diggin' it! It's real good too that you caught on to that first lick. Starting on the 2nd beat can be really cool - and it works to do it on any chord change. I'm also glad you dug the way it transitioned into the IV - I kinda liked that myself 😉
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!
This has come up for me before when I was working out something from a record and I think I kind of worked around it because at the time I just couldn't manage it. I've notice that when I've tinkered with 3rd position the transition from the 2 hole to the 4 hole has been kind of a black hole for me. I can play licks and even improvise on the 1 and 2 holes or on the 4 and above but can't seem to connect across that gap. Sounds like making the 2 bend to 3 bend move might be a key. I'll definitely keep working on it, with patience :)
Thanks,
Bill
That's the only moderately tricky part in the song. But as you're recognizing, learning to negotiate that transition is going to open up a whole bunch of cool new options for you - guaranteed
Hey Rick,
The 5-chord part is definitely the trickiest for me. I know I've asked this before but just to check - are you playing all those 2 and 3 hole bends tongue-blocked? I want to make sure I work on whatever you're doing because, well, it sounds great..
Thanks,
Bill
Hi Bill - I'm tongue blocking it, but if you're more comfortable lipping it, that's ok too. Going from the half step bend on the 2nd hole to the full bend on the 3rd hole takes some practice, but once you get it, it'll be well worth it. Don't let yourself get too frustrated. I sometimes have to remind myself to calm down and try to be a little patient with myself. Some licks and techniques are a little trickier than others. This is a note transition that's going to be real useful on the V of any blues in crossed position and also on the I in 3rd position.
That makes sense. Thanks.
Bill
Hey Rick,
A little off topic but could you give an example of a tear dropper and a straight beat?
thanks,
Bill
What I would call a straight beat would be something like "Got My Mojo Working" by Muddy or "You Know It Ain't Right" by Little Walter. A tear dropper is the name my friend John "Blues" Boyd calls a slow blues.
Thanks for taking us along on your quest for the deeper groove. Putting the "Last Night" base line to a Latin beat is ingenious. I'm psyched and totally intimIdated by my first ten listens. Here we go....
Thanks for the feedback about tongue blocking. It's helpful to have a general rule like "use the tip of the tongue". It's a drag when you practice something a long time and then find out you've really been developing a bad habit. I spent a solid 45 minutes just playing the rhythm to a shuffle drum track at 110 bpm. The basic pattern is getting more comfortable and relaxed and it's getting easier to stay consistent with the beat. It's pretty amazing to me how you and Dave stay so locked in to that 110 through the whole piece.
Your consistent admonition to play softly is also really helpful. It's hard to believe that you're playing with such intensity and still keeping such a light touch. That balance between keeping a grip on the air stream and not cranking on the reeds is coming slowly. I'm not blowing out so many harps :)
Awesome - glad to hear you are seeing a difference! (Or should I say "glad to see you are hearing a difference?" LOL)
It does take a little time, but the more you do these things (work on rhythm and breath control) the easier this will all become. And yes, the intensity/light touch issue is a mind-boggler, but it's all about the precision, clarity and articulation. When you have all that, you don't need much breath for everything to stand out, just good technique and enough breath to make these clear sounds.
On the 4- and 5- chords, it's not as easy as it sounds to play each note clean, tongue on, then play the tut chord tongue off on the upbeat. Kinda devilish actually to get it all sounding clean and in time. I'm finding it a little easier if I hold the harp against my right cheek, playing the notes and chords out of the corner of my mouth, blocking more with the side of my tongue. It frees the tip of my tongue to do the tut chord without having to move the harp in and out of my mouth or pulling my tongue in and out so much. Does that make any sense? I was hoping you were going on to the fifth chorus in this lesson but I can see I've got plenty of work to do this week.
Thanks.
btw - hoping to catch you and Steve Guyger at the Town Crier in Beacon next month!
Good question - it all depends on your technique and what you are able to do. However, keep in mind that I strongly suggest NOT using the side of your tongue while tongue-blocking. The tip of your tongue is all you need and 1) it will help you be more precise with your placement, and 2) the side of your tongue is too wide and sloppy (no offense! LOL) to use most of the time for many of these subtle techniques and nuances, especially involving some articulation.
I think it's bars 5 and 6, when you go to the 4-chord, at the end of each bar you hit the 2-hole draw with a vibrato that so reminds me of Howlin' Wolf. I know I need to focus on the rhythm and getting the basic licks down first but that tone is irresistable.
Thanks Bill...yes, any vibrato or tremolo or effect like that is just added decoration which is nice, but of course always focus on the basics first. Anything else is just decoration.