Here’s my attempt at the first Juke lesson – at a slow tempo. As we move into the 2nd part, after the eight main riffs, I wasn’t always sure when to do an open chord, an octave, or a tongue slap. On the third note of that new section I try to hit a 3-4 draw open chord, on the 4th note I shoot for a 2-5 blow octave, and then mostly tongue slaps and single note tongue blocking till near the very end of that 2nd section where I do some “ta doo” lip blocking around the 2 draw and 2 blow. Any feedback much appreciated. -- Ben.
Hi Jerry, -- Great lesson! I've been going out to listen to a lot of music lately and have occasionally thought about what it would be like to try to mimic on the harp what another instrument is doing. This lesson is a good example of that, and now that I see how it's done I hope to explore this possibility from time to time on my own. In a number of the lessons you've mentioned the importance of singing the notes before playing them on the harp. This is probably the first time I've really done justice to that idea in a concentrated way -- I looped and sang the "head" along with you several times before attempting it on the harp. I believe it made it easier to play it by having the melody clearly in mind. Thanks. -- Ben.
A few questions on the lip pursing “ta doo” masterclass. In the above clips when you hit notes above hole 3 do you always switch from lip pursing to tongue blocking? It seems as though if you wanted to you could continue to use lip pursing “ta doo” even as you go up to holes 4, 5, 6, etc.
Please comment on this observation: it seems that with lip pursing “ta doo” you have a range of options on the “ta”. For instance with the intention to hit 2 draw on the “doo” you could hit just 1 & 2 on the “ta” or 2 & 3 on the “ta” or 1, 2 & 3 on the “ta” or even 1 thru 4 on the “ta”. I’m wondering if you use those variations in your own playing for style effects.
I’m also wondering how you get bends on holes 4 and higher if you are primarily using tongue blocking on those upper holes. Are you able to bend those upper holes out of the right side of your mouth with your tongue on the holes below, or do you switch to lip pursing when you bend? I’m trying to grock this as well as the syncopation masterclass before taking another stab at those boogie lessons.
Hi Jerry,
Here’s my attempt at the first Juke lesson – at a slow tempo. As we move into the 2nd part, after the eight main riffs, I wasn’t always sure when to do an open chord, an octave, or a tongue slap. On the third note of that new section I try to hit a 3-4 draw open chord, on the 4th note I shoot for a 2-5 blow octave, and then mostly tongue slaps and single note tongue blocking till near the very end of that 2nd section where I do some “ta doo” lip blocking around the 2 draw and 2 blow. Any feedback much appreciated. -- Ben.
Hi Jerry, -- Great lesson! I've been going out to listen to a lot of music lately and have occasionally thought about what it would be like to try to mimic on the harp what another instrument is doing. This lesson is a good example of that, and now that I see how it's done I hope to explore this possibility from time to time on my own. In a number of the lessons you've mentioned the importance of singing the notes before playing them on the harp. This is probably the first time I've really done justice to that idea in a concentrated way -- I looped and sang the "head" along with you several times before attempting it on the harp. I believe it made it easier to play it by having the melody clearly in mind. Thanks. -- Ben.
Hi Jerry,
A few questions on the lip pursing “ta doo” masterclass. In the above clips when you hit notes above hole 3 do you always switch from lip pursing to tongue blocking? It seems as though if you wanted to you could continue to use lip pursing “ta doo” even as you go up to holes 4, 5, 6, etc.
Please comment on this observation: it seems that with lip pursing “ta doo” you have a range of options on the “ta”. For instance with the intention to hit 2 draw on the “doo” you could hit just 1 & 2 on the “ta” or 2 & 3 on the “ta” or 1, 2 & 3 on the “ta” or even 1 thru 4 on the “ta”. I’m wondering if you use those variations in your own playing for style effects.
I’m also wondering how you get bends on holes 4 and higher if you are primarily using tongue blocking on those upper holes. Are you able to bend those upper holes out of the right side of your mouth with your tongue on the holes below, or do you switch to lip pursing when you bend? I’m trying to grock this as well as the syncopation masterclass before taking another stab at those boogie lessons.
Thanks.
Ben.