Hi Rick - Thanks for the lesson—lotsa good stuff in there. I've been listening to "Contemporary" too—sounds like you've still got a good lead on "Father Time"...
BTW, in an earlier segment in this series, you mentioned listening to other musicians and analyzing what they do. Who are some of the players (besides bluesmen)? Jazz/R&B saxophonists? Big bands from the '40s-'50s? (I think I heard you mention Glenn Miller.) Thanks!
Thanks! I'm glad you're diggin Contemporary! I just mentioned Glen Miller because the phrasing on one little section reminded me of "String of Pearls". A lot of big band stuff, Count Basie, the Dorsey Brothers, and tons of other artists from that era all played stuff that people like Little Walter listened to and adapted ideas from. I have dug sax players like Illinois Jacquet, Jimmy Forrest, Willis Jackson, and Stanley Turrentine, to name a few. I've listened to organ combos like Brother Jack McDuff, Bill Doggett, Jimmy McGriff, and many more.
Hi Dennis - On the slide up to the 6-10 draw octave near the end of the verse are you running single notes all the way up and then hitting the octave, or sliding the octave position from low to high? When I listen it sometimes it sounds like one and sometimes like the other. Thanks!
Hi Robert - Good question. Sliding single notes up, which is my usual way. You CAN slide octaves, but it is almost always cleaner and smoother using single notes for this type of move.
I think this is the second verse.
Yes, thanks for the head's up. Working on fiixng this...thanks!
Thanks Robert. You're right. All fixed.
I like the shorter format - makes it easier to focus on technique. Thanks, Dennis!
Thanks - I think so too! Hope you're enjoying this.
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!
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