You may even have gotten up at a jam session, or sat in with a local band. You’ve spent some time jamming along with 12-bar changes-either CDs or jam tracks or, if you’re lucky, the guitar-playing of a friend. You’ve probably tried tongue-blocking but you’re not very good at it. The 4 and 2 sound pretty good the 3 isn’t as bluesy as it should be because you don’t yet have the control to consistently hit the “blue third,” a ½-step bend. INTERMEDIATE: You are able to bend the 4, 3, and 2 draw without much trouble. You can find a few other accurate, precision-engineered harp transcriptions on the web–Glenn Weiser and David Barrett are both excellent–but I believe that my tabs offer a combination of accuracy, accessibility, and an attention to syncopation that makes them unique. Most of them are hand-drawn, but please don’t confuse this handmade aspect with carelessness, backwardness, or lack of precision. My tabs, in any case, are specifically designed to ground you in rhythmic fundamentals. Counting time accurately is part of what it means to be a musician. No matter what level you are, I believe in treating you like a serious musician. Modern Blues Harmonica is NOT about mush-mouth harp. If you can’t count your way through a tab, you can’t play the song with the precision and intensity it deserves. As you’ll see if you order one of my videos, I’m a stickler about counting time. My tabs give you numbers and arrows to indicate which hole you play and whether it’s draw or blow, like standard harp tabs, but they also give you a precise rhythmic count underneath the arrows. So I developed my own form of tablature from the ground up.
A few of them offered this information in the form of actual musical notation instead of tablature, but like most harp players, I didn’t read music. Most of them used standard harp tablature–numbered arrows pointing up and down–but none of them indicated, with even minimal precision, the duration of each note, not to mention the rhythmic emphases (syncopation or “swing”) that made for real blues. Two items that interested me was Adam’s take on blues harp tablature and the assessment of levels of proficiency:Ī word about my tabs: Many years ago, when I got my first harmonica teaching gig at the Guitar Study Center in New York, I purchased a few of the commercially-available instruction books. It may not have many flashing lights but for straight forward intelligent information then it is certainly worth a look. I would have to start with Adam Gussow, who as a teacher, is now well known and his site does not disappoint. Listen to others,watch others and just practice so that you develop ‘muscle memory’ and eventually you can get your own sound. Watch and listen to another teacher -Ronnie Shellist LYou might like to look at how other teachers approach the wah wah sound (but not as good as Adam for me) Some great wah wah in the middle and a little more teaching from Paul Lamb…. Sonny Terry helped Paul Lamb get started -takee a look at how the student progressed:
This is Sonny Terry’s Hooting the blues -check out the variety of sounds he gets with his hand movements (see type three in Adam’s classification) With Sonny Boy II and ‘Your funeral and my trial’ have a look at his hand positions whn making his different wah wah soundsĬheck out Big Walter Horton in the next video s he shows you many ways of holding the harp and what difference it makes to the sound, particularly wah wah. One of the best exponents of the wah wah effect on harp was Sonny Boy Williamson – particularly the first type illustrated by Adam: Lastly, pick up your harp, go back to Adam’s lesson and practice. Following the lesson we can sample those players who have mastered the different wah wah effects, such as Sonny Boy Williamson II, Big Walter Horton and Sonny Terry.
#Whammer jammer midi professional
Adam Gussow, once again, provides those specific hints to give any learner the power to produce a really professional sound, with practice. Many players can produce a wah wah effect but do not have the control to provide the variety of sounds that more advanced players can achieve. Apart from bending notes ,wah wah must be the next key ‘effect’ that belongs in the blues harp player’s basic toolbox.
0 kommentar(er)
