HI Rick - Thanks for the great insights into Cotton's style. Looking forward
to your next series of lessons!
Thanks Robert - Really glad you enjoyed the series!
Thanks, Rick! Great to get away from "licks" and start
building a foundation. Hope there'll be more like this.
Thank YOU Robert!
This is just what the doctor ordered. Thanks, Rick!
Thanks Robert. Glad you like it. Keep me posted on your progress, and if you have any questions, feel free to ask me anything.
Thanks for the great chromatic primer, Dennis - looking forward to more in the future (octaves, major key, etc)!
Thank you! Hopefully there will be more, depending on demand. Maybe not so much "major" (as "regular blues" isn't truly major anyway), but if I do more chromaic, it will be diffrenet of course! Thanks
Rick - Thanks for the Sonny Boy "gold," especially the cool chordal stuff -- looking forward to your next series of lessons!
Thanks Robert, I’m glad if you acquired some new tools. Often the small things can make a big difference. Thanks for getting in touch. I hope to hear from you again next time I‘m on Sonic Junction.
Thanks for another great series, Rick. Very sorry to hear your good friend passed away.
Thanks Robert. I'm glad you enjoyed the series. Regarding Jay's passing, it's a sad deal. He was a great guy.
Thanks, Dennis! Great series, as always. Will the next one be on straight harp? "First is the Worst"? (i.e., the hardest to learn)
Great title! It is not neccesarily the worst, but not my favorite either. We will see what happens...!
Musical majesty and sartorial splendor!
Thanks, Dennis! Happy New Year!
Happy New Year!!
Hi Dennis - Great series of lessons (as usual)! I'm curious - as a 99.9% tongue-blocker, how do you handle the 1 hole blow and draw? Tongue-switching? Thanks!
Hi Robert - good question - thanks!
On hole #1, I use any of three options, depending on where I'm coming from, where I'm going, and the desired effect I want...
1) Tongue-block to the left (as normal) with my tongue on the end of the comb of the harp. Nothing to block there, but still keeping my mouth and my embouchure in normal position to play as I normally would.
2) Tongue-switch and tongue-block to the right, just in case I may want some TB effect, or if I want to utilize the little quick "jump" that tongue-switching allows you. Although with TS'ing, you may not have all the articulation as you normally would with your more "normal" embouchure, which is TB'ing to the lower note side.
3) Pucker and just use it for that hole with a specific attack, if I want.
Have a great New Year's!!
That helps! Thanks, Rick.
Hi Rick - Any tips on how to fill the harp up with air? Seems like it would be easier to do while tongue-blocking. Thanks!
Hi Robert - Good question! Obviously I can't know exactly what Little Walter meant when he said "Fill the harp up with air, and then you just navigate" but what I gleaned from it is something like this - Once you've created a nice, tight seal, devoid of unintentional air leaks, then you can find a balance in your playing - a space that allows you to relax while still maintaining intensity.This enables you to obtain a good tone with a more effortless, smooth flow. After that, when you want to really punch it, you can and it'll jump out - providing some good, effective contrast. I hope that helps. For me, that Little Walter statement is both a concept to ponder and a goal to strive for.
A "cool stroll" and a great series of lessons - thanks, Rick!
A truly trilling series! Thanks, Dennis!
Who says the trill is gone?
Thanks for another great series of lessons, Rick - I learned a lot!
Thanks Robert! I'm real happy to hear that!
Really like the way the 3-blow is used in this and previous choruses!
Hey Robert - I like the way you're thinking!
2 draw vs 3 blow - Same note, right? When and where to use each - based not only on the character of the sound, but also factoring in the question of which one will best help your flow and phrasing in a particular situation - Sometimes it's obvious which one to use, but often it's a matter of trying both, and not just going along with habitual breathing patterns, but experimenting to see which one is going to best serve the musical "feel" you're going for - It's something that comes up over and over.
Hi Jerry - Are you doing any tongue blocking on the turnaround (5:55)? I'm hearing
some of the tongue-blocking things (ghost chords, percussive effect)
Dennis Gruenling was teaching in the "Horton Shuffle." Thanks!
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