I'm looking forward to learning this bluesy stroll. Thanks, Rick!
I'm excited to be starting on Nine Below Zero. The video of Sonny Boy Williamson II is inspiriing, as, of course, is Rick's version. I'm working on the groove!
I know exactly what you are talking about. Learning Sonny Boy's Groove was my New Year's Resolution, The big challenges have been bending from a tongue block position and being able to recognize what verse comes next. The tune is still a work in progress for me, but, many months later,I feel like I am far enough along with it that I can turn to something new. And, lo and behold, a new Rick Estrin tune has appeared in the firmament: Nine Below Zero! Get your groove on, Boyd. Here we go again!
This is a great Rick Estrin lesson. Worth the cost of admission!
Wow, I just discovered the backing track for Chicago Shuffle. For some lame reason, I had assumed that there wasn't one, then I fouind it. What a thrill to play along with Rusty, and try to end up at the same time and the same place. Cool.
Wow! What a series of lessons on Sonny Boy's Groove, Thanks for generosity of explanation and of spirit. And thanks for the intro to Sonny Boy II's way of playing the harmonica. This tune is a real challenge for me because there are so many moving parts, but I am having serious fun with each new phrase and riff. I am focused on getting the five-change and the turn around in tongue block position as I move into verses two and three. Thanks to Jerry for long-lasting lessons on tongue blocking, which are available on Sonic Junction, as well, I have also found it very useful to listen to the later lessons on Sonny Boy's Groove because often I hear or get something from one lesson that I can use on another.
Great harp playing, great teaching, Rick!
I'm working on my New Year's resolution to learn Sonny Boy's Groove. Man, I hope I didn't reach too high. This tune takes a lot of harmonica playing. Rick, would you comment on the turn around? I'm trying to get that down before I take on each verse, since the turn around repeats pretty much the same way throughout. First question: are you tongue blocking from the 5 chord on through the turn around? Second question, does that Sonny Boy tag at the end of the turn around (3 blow, 2 blow, 1 draw x3) also appear-- but very quickly and without the repetitions on the 1 draw--right before the wah wahs and then the tag at the end?
I heard what you said about how it takes all the little things working together to make the groove. I'm still trying to figure what all those little things are!
Do you think Sonny Boy would have shard all this?
Well, I can see what I'm going to be working on for the next few months! I can hardly wait to dig into these lessons in the new year.
Welcome back, Rick.
Thanks Harvey - I'm real happy if I can inspire somebody to want to learn this kinda stuff.
i see that you have a new series of lessons coming to Sonic Junction, Sonny's Groove, so I had better wind up months (yeah, months) of work on Chicago Suffle, and move on. I can now play the tune, more or less, and I learned a ton getting here, from alternating between lip pursing and tongue blocking to keeping that groove animating my playing. It is a real challenge to get even with this piece, but very much worth the effort. Thanks, Rick!
Thanks, Iceman. Here's something interesting along these lines. I realize that of all the A-Harps in my little pile of reed damaged harps--what an embarrassment--it is invariably the five draw that has given it up. I ruined one just a few weeks ago, and so I bought yet another A harp. On this one, a Hohner Specal 20, I can bend the five draw in a TB position no problem. It is actually fun to do. So, I just think my technique is so erratic that it is dangerous to my harmonicas. Goes along with my playing, I suppose, but I also have to say that developing my ability to bend with my tongue on the harp is making a huge difference in the range of what I can play.
Thanks, Iceman, for that helpful analogy. I am working on the V chord of Chicago Shuffle, and it not only demands moving up and down that closet of pitches but getting them right with the groove, too. It's a challenge. But let me ask this. Should all this bending be happening from the tongue blocked position? I can sort of do it with my lips, but soaring that five draw bend tongue blocked and then taking it to just above the floor demands a lot of pressure to get the kind of tone that seems effortlessly to emerge from Rick's harp. I'm not sure I got the chops. Help!
I'm just getting into Chicago Shuffle. It took awhile to get the outro to Getting out of Town into my head. Anyway, should I assume that all bends in Chicago Shuflle (including that really tough one on the 5 fdraw) are done from a tongue blocking position? Man, it is very hard to draw down the 5 with my tongue on the harp. Any suggestions?
I think oral focus is key to bending with your tongue on the harp. One tip I can give you is, when you're bending using lip pursing, the front of your tongue probably drops drops downward in your mouth. When I bend using tongue blocking, the back of my tongue goes down.
You asked for suggestions for your next sonic junction gig. I really enjoy learning stand alone pieces, like Getting Out of Town or Jerry's version of Jug Band Waltz. It's useful and fun to have harmonica tunes to play unaccompanied.
Whatever you decide to do, I'll enjoy it, no doubt.Thanks!
I'm really enjoying these lessons on Getting out of Town. Thanks so much. Breaking down the outro is, as with the verses, very helpful. Even as my ear gets better, it isn't easy picking up on the nuances that make the thing a real song. I've got the first three verses to the point that I'm mostly focused now on the timing of weaving them together, which can be tricky, not to mention remembering where the heck I am. Then, when I throw in the lyrics, well, it's a hoot! Now if I can only get that groove out of my head when I lay be down to sleep.
Hi Harvey - I'm real glad you're having fun with "Getting Out Of Town". I wish I could help you with the sleep issue, but I have the same problem - The music in my head keeps me awake too!
This "Just Your Fool" lesson is great. Thank, Jerry.
Wow! Played with conviction and precision! I loved it. I found it particularly instructive that Jerry plays this acoustically. I could watch his hands, his cheeks, his external embochure, as it were. Not to mention that the song rocks! Thanks.
I am very much enjoying learning Jug Band Waltz. The melody is charming, even when played without all the embellishments. I also enjoy playing in first position, for a change. I am to the point now that I can back tongue the rhythm parts, but I am stil struggling to incorporate the tongue roll and the draw equivalent. The hand vibrato is going to come in later, when eveerything esle is in muscle memory. I have two queries. First, when you tongue roll on the blow notes, are you switching to tongue blocking as you initially hit the 7 hole blow or do you wait until you slap tongue the first back beat rhythm note? I can't tel from the recording. Second query: how can I avoid freezing up some of my draw notes when I back tongue or tongue slap my way through the song?. Frequently, I find my 5 hole draw soon refuses to play, sometimes other of my draw notes, as well. I have to stop playing and fuss with the instrument for a few minutes until all is clear. Any suggestions?
By the way, I initially learned to tongue block from your Masterclass CD's. I'm so grateful for that! It is so worth the effort.
Well, I guess I'm just going to have to sign up. The teaser of Jerry playing his version of Will Shade's Jug Band Blues is just too much fun to pass up. And do I understand correctly, that if I join (on the monthy plan) that I have access to all of Jerry's lessons from My Babe to Sonny Boy Lesson One? If so, that's a deal!
PS. I used Jerry's masterclass CD's to train myself to tongue block, and that has proven a valuable step in my development as a harmonica player. Thnaks, Jerry.
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