Wow, I'm happy to read this! Thank you Rick. My wife doesn't understand very well why I spend all my nights (training) with you.., so I'll show her your answer! When I go to work, each morning in my car, I listen your performance again and again to inject your swing in my blood. This peace pleased me as soon as I heard it first time, It's very nice. Reproduce it is another job, I can't count the number of attempts I've done, my phone memory is full of it. I'm never satisfied, it may be a good illness after all in way to progress.
I put another audio record in the previous lesson "first chorus", can you say me what do I have to work on? Thanks again Rick
Really good job, Tominou! You have all the notes right and the phrasing is very good. I think I'm hitting that "cry" on 5 draw a little softer than you. That might be one reason it sounds a little different. Also, listen closely for when to begin the bend, and how far I'm bending it. The only other thing I can tell you is something I tell myself all the time: "When you're really in the groove, get deeper in the groove, and when you're really swinging, swing harder." Again, really good job! Keep having fun with it!
Wow, I'm happy to read this! Thank you Rick. My wife doesn't understand very well why I spend all my nights (training) with you.., so I'll show her your answer! When I go to work, each morning in my car, I listen your performance again and again to inject your swing in my blood. This peace pleased me as soon as I heard it first time, It's very nice. Reproduce it is another job, I can't count the number of attempts I've done, my phone memory is full of it. I'm never satisfied, it may be a good illness after all in way to progress.
I put another audio record in the previous lesson "first chorus", can you say me what do I have to work on? Thanks again Rick
I've been offered my first low harp, in the key of A for my birthday this week. So I just begin to discover it. As you guess, I'm not a "master musician", but I let my imagination work, and my pc did the rest to assemblate the 2 extracts. Probably basic, but I share with you my happiness to play! ;))
Hello teacher! I've so much to learn... I've worked hard on this one, and this is the result. A few seconds only, but many tricks to catch for me. I'm very happy you explained and you showed so clearly how to do ghost notes. And I'm happy to see I can reproduce some of them now! I feel it's usefull for my playing as you said.
On your video about the second chorus, i see it's hard for you to repeat and repeat the peace so slowly, but I ask you: don't give up! It's THE thing I prefer to get a max of informations (with my ears and with my eyes too cause your face is very expressive). Thank you for sharing all this with us.
If you have any comment, i will be honored...hard to think at the same time about the tempo, notes, altérations, breath etc... )
Hi Thomas - You do a good job on the first verse too! The only real suggestions I might try would be to: 1) Pay closer attention to the way you're shaping 3 draw. Try to replicate the bends and phrasing a little more closely. And: 2) Sometimes you're using 2 draw when I'm using 3 blow. It's the same note of course, but often there's a reason why I'm choosing one over the other. They're both good choices in certain spots and the fact that the harmonica is laid out with 2 draw and 3 blow being the same note is something you want to take advantage of to your benefit.Usually the reason for the choice involves the best way to keep the phrasing flowing nicely.
I worked on what you wrote to me: 3 blow instead of 2 draw (I didn't catch it firstly, thank you very much, the sound is better) and bending 3 draw closer to what you did (still not perfect but better I hope)... Your advices are efficient, don't you think? (please don't say no!)
Hello Boyd, it's true for me. But I discovered that if you move the Left/Right balance of your device you're able to make the guitar shut down as you like, each instrument has his own way. If it can help anyone.... :)
So I think repeat and repeat again a chorus is important to play it easier, but stop, listen and think about what to change is too. Register video can be good for that, and if you, fabulous sweet teacher harp (my English is poor to compliment you, sorry!), if you take a look on it and give your opinion, it’s greater! Maybe I’ll post another one when I will have worked enough on all these points, if you don’t matter of course. I’m happy because that’s the first time I can play a whole musical harp title at 100% speed and without the feeling of running always after the rhythm. I know it’s not perfect but it’s better, and it gives me pleasure. That’s all I need! I apologize because my speech is too long, probably as the end of some of my notes!! Now, I CLIP IT OFF !
Playing amplified, you give intensity sometimes by closing strongly your fingers and so the sound on the mic. As well you open your hands to create “wouawoua”. I didn’t notice it when you explained it (you explain so many details that I can look and listen many and many times the same lesson before I catch a new element! That’s difficulty and pleasure blended). Playing acoustic, I saw with my video that I don’t open my hands correctly for “wouawoua”, I use my fingers most of the time.
Some choruses parts are plaid to much mechanically, some variations have to be learned and added. The thing is it’s not easy to develop these details when you don’t play easy, means when you run after the note, after your memory, and after rhythm. Maybe I’ll be able to integrate more and more things to my playing thanks to my motto “Do it again”.
Some bend are not the same, I noticed it, and probably I haven’t identified all the notes concerned! And I understood you don’t speak only about fully bend notes but also about end of some notes transformed in a bend more or less long. That’s tough, but it’s an interesting clue you gave me to follow… Two facts are in relation with this point for me: first I don’t have your capacity to define how the note is bent (but I progressed for that since last year for sure). Second, I worked so hard to learn to bend notes and to integrate “the blue note” to my playing that I have the sensation my mouth forgot the way for how not to bend, how to play a clear 2nd, 3rd or 4th hole draw. In fact, I think matching all the bend notes and the not bend at a high speed playing is the real difficulty. When you speak about “3rd hole pitch”, do you mean in this 6th chorus lesson or anywhere else?
As you said, I’ve noticed some effects of my playing are not efficient at all compared to yours. In fact, firstly when I learned the choruses, hearing my playing appeared to me very empty, shy. I thought it was because my vibrato was poor and because you use “ghost notes or chords”. So I tried to pull up the vibrato notes, and maybe instead I plaid notes longer than they are, to occupy space, in spite of a short vibrato I don’t dominate for the moment. I realize well how important is to clip off or not as a conversation tone or the suspense of a movie, I’ll work on that, you’re so right. It makes me think about Adam Gussow speech about the importance of not playing notes that good blues players have. Silence can be stronger than a note when you put it at the right time.
I thank you for your opinion, it’s so important and useful for me. The duality of emotional feelings I had during I was expecting it is very strange: on one side I was thinking “I hope he will encourage me and won’t say you’re too bad for this instrument poor guy”, and on another part I was thinking “I hope he will criticize me honestly in order that I can work on the most important problems of my playing and progress faster thanks to him”. And you did both with these precious words, so thanks. After hearing my “performance”, I begun compare it with yours to organize a “war plan of progression”: identify the points that are not the same to change them.
I worked on an acoustic version of this song, and after that on an amplified version. that's 3 years I've discovered Harmo, second year I follow sonicjunction, and a few months that I have amplified material. The end is no exactly the notes you play, but I've tried to guess!
For the acoustic version, I used the backing track (difficult but good for working on rythem and music placement). For the amplified version, i used your performance as backing music to concentrate on the other parameters,
Can you give me your opinion or some advice? You've already done a lot with these lessons.
Thank you, you're a very "clear" teacher and your smile and energy are contagious.
Good job Tom! Sounds like you've really memorized the piece pretty well! If you don't mind, I'll give you a couple suggestions - First, I noticed some of your notes that should be clipped off are being held a little too long. Try to listen for the length of the notes - Listen for where the notes are clipped off, and where they are held a little longer. The other thing I'd suggest would be to listen more closely to the pitch on on the 3rd hole draw. Listen to where it's bent and where it's not bent. Also pay attention to the spots where the note finishes with a bend on the back end of the note, how long that bend is, and the times when the note ends without a bend on the back end. These may seem like small points, but small things can make a big difference in the overall sound and the effect it has on the listener. Thanks for posting the videos. Overall you're doing great! AND - Thanks for the bonus video! It made me smile!
I thank you for your opinion, it’s so important and useful for me. The duality of emotional feelings I had during I was expecting it is very strange: on one side I was thinking “I hope he will encourage me and won’t say you’re too bad for this instrument poor guy”, and on another part I was thinking “I hope he will criticize me honestly in order that I can work on the most important problems of my playing and progress faster thanks to him”. And you did both with these precious words, so thanks. After hearing my “performance”, I begun compare it with yours to organize a “war plan of progression”: identify the points that are not the same to change them.
As you said, I’ve noticed some effects of my playing are not efficient at all compared to yours. In fact, firstly when I learned the choruses, hearing my playing appeared to me very empty, shy. I thought it was because my vibrato was poor and because you use “ghost notes or chords”. So I tried to pull up the vibrato notes, and maybe instead I plaid notes longer than they are, to occupy space, in spite of a short vibrato I don’t dominate for the moment. I realize well how important is to clip off or not as a conversation tone or the suspense of a movie, I’ll work on that, you’re so right. It makes me think about Adam Gussow speech about the importance of not playing notes that good blues players have. Silence can be stronger than a note when you put it at the right time.
Some bend are not the same, I noticed it, and probably I haven’t identified all the notes concerned! And I understood you don’t speak only about fully bend notes but also about end of some notes transformed in a bend more or less long. That’s tough, but it’s an interesting clue you gave me to follow… Two facts are in relation with this point for me: first I don’t have your capacity to define how the note is bent (but I progressed for that since last year for sure). Second, I worked so hard to learn to bend notes and to integrate “the blue note” to my playing that I have the sensation my mouth forgot the way for how not to bend, how to play a clear 2nd, 3rd or 4th hole draw. In fact, I think matching all the bend notes and the not bend at a high speed playing is the real difficulty. When you speak about “3rd hole pitch”, do you mean in this 6th chorus lesson or anywhere else?
Playing amplified, you give intensity sometimes by closing strongly your fingers and so the sound on the mic. As well you open your hands to create “wouawoua”. I didn’t notice it when you explained it (you explain so many details that I can look and listen many and many times the same lesson before I catch a new element! That’s difficulty and pleasure blended). Playing acoustic, I saw with my video that I don’t open my hands correctly for “wouawoua”, I use my fingers most of the time.
Some choruses parts are plaid to much mechanically, some variations have to be learned and added. The thing is it’s not easy to develop these details when you don’t play easy, means when you run after the note, after your memory, and after rhythm. Maybe I’ll be able to integrate more and more things to my playing thanks to my motto “Do it again”.
So I think repeat and repeat again a chorus is important to play it easier, but stop, listen and think about what to change is too. Register video can be good for that, and if you, fabulous sweet teacher harp (my English is poor to compliment you, sorry!), if you take a look on it and give your opinion, it’s greater! Maybe I’ll post another one when I will have worked enough on all these points, if you don’t matter of course. I’m happy because that’s the first time I can play a whole musical harp title at 100% speed and without the feeling of running always after the rhythm. I know it’s not perfect but it’s better, and it gives me pleasure. That’s all I need! I apologize because my speech is too long, probably as the end of some of my notes!! Now, I CLIP IT OFF !
Since you said "there's nowhere to hide in this song", a big smile is fixed on my face, cause I was thinking at the same time "Wow, I'm gone a feel a bit naked playing such a song!".
I'll work again to identify the 12 bars composing this part of the song, which is no clear in my head I think. I try to count like I saw Adam Gussow in a video "1 2 3 4, 2 2 3 4, 3 2 3 4 , 4 2 3 4 etc... til 12 2 3 4". I'm a beginner and I must persevere!
I'm happy to have guessed counting half time is important fo this song.
Thank you for your advices and please go on giving us pleasure and knowledge at the same time!
I've tried to write the timing of the song for this first part. Each line is a "riff" you played, seven for this part. Blue color is when you play, white is silences I've counted. (there are half silence sometimes, symbolised by half size of the box)
When you heat the tempo during your explainations, total is 48 if I don't misunderstand.
If i follow the heat of your fingers at the beginning when you are with the guitarist, total is half, so 24, for the same speed.
How do you do to be in time for each phrase, do you count silences and half silences in your head, or is there an order more logiccal to organise the timing and the phrases? Is it 2 lines of a 12 blues bar from for example?
I hope you understand my question, cause i never learned to write/read the music as you can guess!
There's so many details you give, that I feel like if I was peeling an oignon!! You strip the song for us, litterally.
You go very deep in details for my skill, but you keep clear in your explainations, and that's fantastic and rare in my opinion.
I bought a D and a G harp for this lesson, and I don't regret at all!
And now I learn to hit the tempo with my foot as you do. I've just discovered the importance of it, the song takes another sense when I try to play it now, like if I found the box in which the phrases of the song enter in with perfect size!
Thank You Thomas! I just saw this as I am in my way home from tour, sorry for the delay!
Do you still need any help with the tempo, or do you have a better feel for it now.
Depending on the groove of each song, some songs such as this one, may have a half-time (or in other instances a double-time) feel so counting the in between beats can help really get a feel for the groove at first.
I don't quite understand your layout with the blue and white spaces, but in this music and definitely this song there are many times when the feel of the groove or sometimes just a particular lick or passage is half- or double-time...and as I mentioned sometimes that is the case with the whole groove for the song.
It is different for every song, but this is a 12-bar blues and the groove has sort of a half-time feel to it in a way.
...also be careful of using your foot stomping to keep tempo, because that can throw your timing off as well, unless you are already very good with your time keeping!
I'll work again to identify the 12 bars composing this part of the song, which is no clear in my head I think. I try to count like I saw Adam Gussow in a video "1 2 3 4, 2 2 3 4, 3 2 3 4 , 4 2 3 4 etc... til 12 2 3 4". I'm a beginner and I must persevere!
I'm happy to have guessed counting half time is important fo this song.
Thank you for your advices and please go on giving us pleasure and knowledge at the same time!
This is an extract of my "performance", i play since 2 years using internet videos only, and i discorvered your site 2 months ago. If you have any advice for me, I'll be pleased. Thank you.
Wow, I'm happy to read this! Thank you Rick. My wife doesn't understand very well why I spend all my nights (training) with you.., so I'll show her your answer! When I go to work, each morning in my car, I listen your performance again and again to inject your swing in my blood. This peace pleased me as soon as I heard it first time, It's very nice. Reproduce it is another job, I can't count the number of attempts I've done, my phone memory is full of it. I'm never satisfied, it may be a good illness after all in way to progress.
I put another audio record in the previous lesson "first chorus", can you say me what do I have to work on? Thanks again Rick
Really good job, Tominou! You have all the notes right and the phrasing is very good. I think I'm hitting that "cry" on 5 draw a little softer than you. That might be one reason it sounds a little different. Also, listen closely for when to begin the bend, and how far I'm bending it. The only other thing I can tell you is something I tell myself all the time: "When you're really in the groove, get deeper in the groove, and when you're really swinging, swing harder." Again, really good job! Keep having fun with it!
Wow, I'm happy to read this! Thank you Rick. My wife doesn't understand very well why I spend all my nights (training) with you.., so I'll show her your answer! When I go to work, each morning in my car, I listen your performance again and again to inject your swing in my blood. This peace pleased me as soon as I heard it first time, It's very nice. Reproduce it is another job, I can't count the number of attempts I've done, my phone memory is full of it. I'm never satisfied, it may be a good illness after all in way to progress.
I put another audio record in the previous lesson "first chorus", can you say me what do I have to work on? Thanks again Rick
Hello teacher! I've so much to learn... I've worked hard on this one, and this is the result. A few seconds only, but many tricks to catch for me. I'm very happy you explained and you showed so clearly how to do ghost notes. And I'm happy to see I can reproduce some of them now! I feel it's usefull for my playing as you said.
On your video about the second chorus, i see it's hard for you to repeat and repeat the peace so slowly, but I ask you: don't give up! It's THE thing I prefer to get a max of informations (with my ears and with my eyes too cause your face is very expressive). Thank you for sharing all this with us.
If you have any comment, i will be honored...hard to think at the same time about the tempo, notes, altérations, breath etc... )
Thomas (from France)
Hi Thomas - You do a good job on the first verse too! The only real suggestions I might try would be to: 1) Pay closer attention to the way you're shaping 3 draw. Try to replicate the bends and phrasing a little more closely. And: 2) Sometimes you're using 2 draw when I'm using 3 blow. It's the same note of course, but often there's a reason why I'm choosing one over the other. They're both good choices in certain spots and the fact that the harmonica is laid out with 2 draw and 3 blow being the same note is something you want to take advantage of to your benefit.Usually the reason for the choice involves the best way to keep the phrasing flowing nicely.
But, once again, excellent job overall!
Hello Boyd, it's true for me. But I discovered that if you move the Left/Right balance of your device you're able to make the guitar shut down as you like, each instrument has his own way. If it can help anyone.... :)
So I think repeat and repeat again a chorus is important to play it easier, but stop, listen and think about what to change is too. Register video can be good for that, and if you, fabulous sweet teacher harp (my English is poor to compliment you, sorry!), if you take a look on it and give your opinion, it’s greater! Maybe I’ll post another one when I will have worked enough on all these points, if you don’t matter of course. I’m happy because that’s the first time I can play a whole musical harp title at 100% speed and without the feeling of running always after the rhythm. I know it’s not perfect but it’s better, and it gives me pleasure. That’s all I need! I apologize because my speech is too long, probably as the end of some of my notes!! Now, I CLIP IT OFF !
Playing amplified, you give intensity sometimes by closing strongly your fingers and so the sound on the mic. As well you open your hands to create “wouawoua”. I didn’t notice it when you explained it (you explain so many details that I can look and listen many and many times the same lesson before I catch a new element! That’s difficulty and pleasure blended). Playing acoustic, I saw with my video that I don’t open my hands correctly for “wouawoua”, I use my fingers most of the time.
Some choruses parts are plaid to much mechanically, some variations have to be learned and added. The thing is it’s not easy to develop these details when you don’t play easy, means when you run after the note, after your memory, and after rhythm. Maybe I’ll be able to integrate more and more things to my playing thanks to my motto “Do it again”.
Some bend are not the same, I noticed it, and probably I haven’t identified all the notes concerned! And I understood you don’t speak only about fully bend notes but also about end of some notes transformed in a bend more or less long. That’s tough, but it’s an interesting clue you gave me to follow… Two facts are in relation with this point for me: first I don’t have your capacity to define how the note is bent (but I progressed for that since last year for sure). Second, I worked so hard to learn to bend notes and to integrate “the blue note” to my playing that I have the sensation my mouth forgot the way for how not to bend, how to play a clear 2nd, 3rd or 4th hole draw. In fact, I think matching all the bend notes and the not bend at a high speed playing is the real difficulty. When you speak about “3rd hole pitch”, do you mean in this 6th chorus lesson or anywhere else?
As you said, I’ve noticed some effects of my playing are not efficient at all compared to yours. In fact, firstly when I learned the choruses, hearing my playing appeared to me very empty, shy. I thought it was because my vibrato was poor and because you use “ghost notes or chords”. So I tried to pull up the vibrato notes, and maybe instead I plaid notes longer than they are, to occupy space, in spite of a short vibrato I don’t dominate for the moment. I realize well how important is to clip off or not as a conversation tone or the suspense of a movie, I’ll work on that, you’re so right. It makes me think about Adam Gussow speech about the importance of not playing notes that good blues players have. Silence can be stronger than a note when you put it at the right time.
Hello Rick !
I thank you for your opinion, it’s so important and useful for me. The duality of emotional feelings I had during I was expecting it is very strange: on one side I was thinking “I hope he will encourage me and won’t say you’re too bad for this instrument poor guy”, and on another part I was thinking “I hope he will criticize me honestly in order that I can work on the most important problems of my playing and progress faster thanks to him”. And you did both with these precious words, so thanks. After hearing my “performance”, I begun compare it with yours to organize a “war plan of progression”: identify the points that are not the same to change them.
And this is a bonus for keeping smile!
Hello master Rick!
I worked on an acoustic version of this song, and after that on an amplified version. that's 3 years I've discovered Harmo, second year I follow sonicjunction, and a few months that I have amplified material. The end is no exactly the notes you play, but I've tried to guess!
For the acoustic version, I used the backing track (difficult but good for working on rythem and music placement). For the amplified version, i used your performance as backing music to concentrate on the other parameters,
Can you give me your opinion or some advice? You've already done a lot with these lessons.
Thank you, you're a very "clear" teacher and your smile and energy are contagious.
Tom
Good job Tom! Sounds like you've really memorized the piece pretty well! If you don't mind, I'll give you a couple suggestions - First, I noticed some of your notes that should be clipped off are being held a little too long. Try to listen for the length of the notes - Listen for where the notes are clipped off, and where they are held a little longer. The other thing I'd suggest would be to listen more closely to the pitch on on the 3rd hole draw. Listen to where it's bent and where it's not bent. Also pay attention to the spots where the note finishes with a bend on the back end of the note, how long that bend is, and the times when the note ends without a bend on the back end. These may seem like small points, but small things can make a big difference in the overall sound and the effect it has on the listener. Thanks for posting the videos. Overall you're doing great! AND - Thanks for the bonus video! It made me smile!
Hello Rick !
I thank you for your opinion, it’s so important and useful for me. The duality of emotional feelings I had during I was expecting it is very strange: on one side I was thinking “I hope he will encourage me and won’t say you’re too bad for this instrument poor guy”, and on another part I was thinking “I hope he will criticize me honestly in order that I can work on the most important problems of my playing and progress faster thanks to him”. And you did both with these precious words, so thanks. After hearing my “performance”, I begun compare it with yours to organize a “war plan of progression”: identify the points that are not the same to change them.
As you said, I’ve noticed some effects of my playing are not efficient at all compared to yours. In fact, firstly when I learned the choruses, hearing my playing appeared to me very empty, shy. I thought it was because my vibrato was poor and because you use “ghost notes or chords”. So I tried to pull up the vibrato notes, and maybe instead I plaid notes longer than they are, to occupy space, in spite of a short vibrato I don’t dominate for the moment. I realize well how important is to clip off or not as a conversation tone or the suspense of a movie, I’ll work on that, you’re so right. It makes me think about Adam Gussow speech about the importance of not playing notes that good blues players have. Silence can be stronger than a note when you put it at the right time.
Some bend are not the same, I noticed it, and probably I haven’t identified all the notes concerned! And I understood you don’t speak only about fully bend notes but also about end of some notes transformed in a bend more or less long. That’s tough, but it’s an interesting clue you gave me to follow… Two facts are in relation with this point for me: first I don’t have your capacity to define how the note is bent (but I progressed for that since last year for sure). Second, I worked so hard to learn to bend notes and to integrate “the blue note” to my playing that I have the sensation my mouth forgot the way for how not to bend, how to play a clear 2nd, 3rd or 4th hole draw. In fact, I think matching all the bend notes and the not bend at a high speed playing is the real difficulty. When you speak about “3rd hole pitch”, do you mean in this 6th chorus lesson or anywhere else?
Playing amplified, you give intensity sometimes by closing strongly your fingers and so the sound on the mic. As well you open your hands to create “wouawoua”. I didn’t notice it when you explained it (you explain so many details that I can look and listen many and many times the same lesson before I catch a new element! That’s difficulty and pleasure blended). Playing acoustic, I saw with my video that I don’t open my hands correctly for “wouawoua”, I use my fingers most of the time.
Some choruses parts are plaid to much mechanically, some variations have to be learned and added. The thing is it’s not easy to develop these details when you don’t play easy, means when you run after the note, after your memory, and after rhythm. Maybe I’ll be able to integrate more and more things to my playing thanks to my motto “Do it again”.
So I think repeat and repeat again a chorus is important to play it easier, but stop, listen and think about what to change is too. Register video can be good for that, and if you, fabulous sweet teacher harp (my English is poor to compliment you, sorry!), if you take a look on it and give your opinion, it’s greater! Maybe I’ll post another one when I will have worked enough on all these points, if you don’t matter of course. I’m happy because that’s the first time I can play a whole musical harp title at 100% speed and without the feeling of running always after the rhythm. I know it’s not perfect but it’s better, and it gives me pleasure. That’s all I need! I apologize because my speech is too long, probably as the end of some of my notes!! Now, I CLIP IT OFF !
Dear Mister Portnoy,
I worked on your advices, thruly good obviously. I discovered playing octaves, like a new continent in my playing world.
But I forgot to say something: thank you! (never too late for this I think).
To be heard and encouraged by you is a great honour.
Thomas
Happy to see you again, really.
Since you said "there's nowhere to hide in this song", a big smile is fixed on my face, cause I was thinking at the same time "Wow, I'm gone a feel a bit naked playing such a song!".
Thank you.
Thomas
Thank you very much for your answer,
I'll work again to identify the 12 bars composing this part of the song, which is no clear in my head I think. I try to count like I saw Adam Gussow in a video "1 2 3 4, 2 2 3 4, 3 2 3 4 , 4 2 3 4 etc... til 12 2 3 4". I'm a beginner and I must persevere!
I'm happy to have guessed counting half time is important fo this song.
Thank you for your advices and please go on giving us pleasure and knowledge at the same time!
Thomas
Hello Mr Gruenling,
I've tried to write the timing of the song for this first part. Each line is a "riff" you played, seven for this part. Blue color is when you play, white is silences I've counted. (there are half silence sometimes, symbolised by half size of the box)
When you heat the tempo during your explainations, total is 48 if I don't misunderstand.
If i follow the heat of your fingers at the beginning when you are with the guitarist, total is half, so 24, for the same speed.
How do you do to be in time for each phrase, do you count silences and half silences in your head, or is there an order more logiccal to organise the timing and the phrases? Is it 2 lines of a 12 blues bar from for example?
I hope you understand my question, cause i never learned to write/read the music as you can guess!
Thank you for answering...
Thomas
Thank you Mr Gruenling for this big tribute,
There's so many details you give, that I feel like if I was peeling an oignon!! You strip the song for us, litterally.
You go very deep in details for my skill, but you keep clear in your explainations, and that's fantastic and rare in my opinion.
I bought a D and a G harp for this lesson, and I don't regret at all!
And now I learn to hit the tempo with my foot as you do. I've just discovered the importance of it, the song takes another sense when I try to play it now, like if I found the box in which the phrases of the song enter in with perfect size!
Thank you again
Thomas from France
Thank You Thomas! I just saw this as I am in my way home from tour, sorry for the delay!
Do you still need any help with the tempo, or do you have a better feel for it now.
Depending on the groove of each song, some songs such as this one, may have a half-time (or in other instances a double-time) feel so counting the in between beats can help really get a feel for the groove at first.
I don't quite understand your layout with the blue and white spaces, but in this music and definitely this song there are many times when the feel of the groove or sometimes just a particular lick or passage is half- or double-time...and as I mentioned sometimes that is the case with the whole groove for the song.
It is different for every song, but this is a 12-bar blues and the groove has sort of a half-time feel to it in a way.
...also be careful of using your foot stomping to keep tempo, because that can throw your timing off as well, unless you are already very good with your time keeping!
thansk for the message!
Thank you very much for your answer,
I'll work again to identify the 12 bars composing this part of the song, which is no clear in my head I think. I try to count like I saw Adam Gussow in a video "1 2 3 4, 2 2 3 4, 3 2 3 4 , 4 2 3 4 etc... til 12 2 3 4". I'm a beginner and I must persevere!
I'm happy to have guessed counting half time is important fo this song.
Thank you for your advices and please go on giving us pleasure and knowledge at the same time!
Thomas
Tom