David Barrett Newsletter Sept 2012 - Blues...

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September 2012 Newsletter

Leader in Blues Harmonica Education since 1994

BLUESHARMONICA.COM -‐ WHAT'S NEW! Scott Dirks Interview

Scott Dirks is a Blues harmonica player, recording artist, producer, historian and author ("Blues with A Feeling, The Little Walter Story"). Videos include: Introduction & Scott’s Early Years; Scott’s Early Influences; Scott’s Early Bands and The Blues Brothers; Scott as Producer (Delmark and Alligator Records); Recommended Chicago Players; Scott’s Perspective on Modern Approaches to Chicago Blues; Scott’s Approach to Technique (Tongue Blocking); Scott’s Perspective on What Chicago Blues is; Playing Cover Songs, Little Walter Session Tapes and Juke (Part 1); Juke (Part 2); Little Walter’s Equipment; Recording Tips (Part 1); Recording Tips (Part 2); Blues with a Feeling, the Little Walter Story: Walter’s Unmarked

Grave; Blues with a Feeling, the Little Walter Story: Tony Glover & Ward Gaines; Blues with a Feeling, the Little Walter Story: Research & Interviews; Blues with a Feeling, the Little Walter Story: What Walter Gave the Blues Harmonica World Jim Liban Interview Harmonica master, singer, songwriter Jim Liban was known throughout the midwest in the 1970's as the leader of Short Stuff, the innovative Milwaukee based ensemble that pioneered the Blues & Rock sound later identified with bands like the Fabulous Thunderbirds and Stevie Ray Vaughn. He continues to perform in a more traditional vein with his trio. He has international cult status as one of the foremost post-‐war Blues harmonica stylists, and many of his original songs have been recorded by national Blues artists like Johnny Winter and Lonnie Brooks. Videos include: Introduction & Jim’s Early Years, Part 1; Introduction & Jim’s Early Years, Part 2; Jim’s Early Influences; Recommended Players; Improvising: Use of Space; Improvising: Tonal Effects; improvising: Keeping Things Fresh on the Bandstand; Accompaniment Playing; 1st and 3rd Position Playing; Bending; Tongue Blocking; Minor Playing; Jim’s Equipment; What do you like to hear when listening to other players?; Closing Words & Play-‐out with Joe Filisko

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David Waldman Interview In his own words… “I grew up in Croton-‐on-‐Hudson, N.Y. I started playing harp when I was around 13 or 14. I moved to Chicago in 1976. The first person to hire me for a gig here was Louis Myers. His band didn’t show up at one of his club dates and I happened to be in the audience, so he hired me to help him out on harp. Starting in 1980, I played for long periods in the bands of both Taildragger (replacing Big Leon Brooks) and Big Smokey Smothers. My colleagues in Big Smokey’s band were Steve Cushing and Illinois Slim. We called ourselves the Ice Cream Men. The Taildragger gig was notable, among other reasons, for the fact that I got to play with some really great guitarists: Eddie Taylor (Sr.), Willie James Lyons, Hubert

Sumlin, and, not least, James Scott, a superb and under-‐recognized guitarist who recorded for Sun records in the early 1950’s. It’s a tragedy that Scott wasn’t recorded more: he had some wonderful instrumentals with which he used to open the show. He had grown up on the same plantation as Tony Hollins, and he used to play some of Hollins’ pieces-‐-‐very well, as I remember. In the summer of 1985, I toured with Jimmy Rogers, playing piano. Other members of the band were Big Smokey Smothers on guitar, Wild Child Butler on harp, Bob Stroger on bass, and Ted Harvey on drums. One highlight of this was appearing at the 10th anniversary celebration of Clifford Antone’s club in Austin. It seemed like virtually every major living Chicago Blues figure was there, and the celebration lasted a week. It took me another week to come back down to reality. I also have fond memories of a month long tour that I did in Canada with the Legendary Blues Band in the late 1980s. At that time the band consisted of Willie Smith on drums, Billy Flynn and Little Smokey Smothers on guitars, and Calvin Jones on bass. From 1988 to 1992, I played guitar in a band that had a weekly gig at Lilly’s on North Lincoln. We specialized in getting old school Chicago Blues figures to come out and front our band; among these were Big Wheeler, Little Willie Anderson, Joe Carter, Jimmy Lee Robinson, and John and Grace Brim. I played in the Chicago Blues festival a number of times with this band; we backed up Jimmy Lee Robinson, John Brim, Big Wheeler, and on one occasion, Yank Rachell. I should also mention that on an earlier occasion, I played in the Chicago Blues Festival with Floyd Jones at what turned out to be his last public appearance. In the 90’s and in the first decade of this century, I played at Smokedaddy on many occasions with Billy Flynn’s band. Steve Cushing and I also had a regular Wednesday night gig there for awhile with Big Wheeler. I’ve recorded with Big Smokey Smothers, Big Wheeler, John Brim, Taildragger, Billy Flynn and Elmore James Jr. I consider myself fortunate to have seen a lot of the more obscure, old school harp players in Chicago: Big Wheeler, Middle Walter, Big Leon Brooks, Lester Davenport, Earring George Mayweather, Birmingham Jones, Louis Myers, Billy Boy Arnold, Harmonica George Robinson, Easy Baby, Little Addison, Dan Smith, etc. These men helped form my conception of what Chicago Blues harp should sound like. My favorites were Willie Anderson and Louis Myers; Big Leon was also great. I’ve been involved in the University of Chicago Folk Festival since the early 1980’s and I’m proud of having played a role in bringing to Chicago a number of Blues figures who might otherwise not have appeared here: George McCoy, Jesse Thomas, Jack Owens, Lavada Durst (i.e. Dr. Hepcat), Grey Ghost, and Mose Vinson. Since 1979 I’ve done a Blues radio show on WHPK-‐FM (88.5FM). It runs from 9:00PM to midnight on Mondays.” Videos Include: David Waldman’s Early Years, Part 1; David Waldman’s Early Years, Part 2; David Waldman’s Early Years, Part 3; Essential Listening -‐ Little Walter & Little Willie Anderson; Obscure Harp Player in Chicago; How Playing other Instruments has Helped David’s Harp Playing; David’s Thoughts on Tongue Blocking and Bending; David’s Approach to 1st Position Playing; David’s Approach to Improvising; David’s Approach to Accompaniment Playing; Recommended Do’s and Don’ts for Harp Players; What David Likes about the Chromatic Harmonica; What David Likes to Hear when Listening to Another Harp Player; Closing and Playing out with Scott Dirks

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Tad Robinson Interview AllMusic.com states about Tad, "Tad Robinson would have fit in snugly with the blue-‐eyed soul singers of the 1960s. His vocals virtually reeking of soul, he's capable of delving into a straight-‐ahead Little Walter shuffle or delivering a vintage O.V. Wright R&B ballad. Add his songwriting skills and exceptional harp technique and you have quite the total package. Robinson grew up in New York City on a nutritious diet of Stax, Motown, and Top 40, digging everyone from Otis Redding and Arthur Alexander to Eric Burdon and Joe Cocker. He matriculated at Indiana University's school of music in 1980, fronting a solid little combo on the side called the Hesitation Blues Band that made it up to Chicago now and then (where he soon relocated). Long respected locally, his reputation outside the city limits soared when he took over as vocalist with Dave Specter & the Bluebirds. Their 1994 Delmark disc, Blueplicity, was an inspiring marriage of Robinson's soaring vocals and Specter's tasty, jazz-‐laced guitar and featured the striking Robinson-‐penned originals "What's Your Angle," "Dose of Reality," and "On the Outside Looking In." Delmark granted Tad Robinson his own album later that year. One to Infinity escorted him even further into soul territory (guests on the set included Mighty Flyers guitarist Alex Schultz, the mystical Robert Ward, and Specter)." Videos Include: Tad's Early Years; Tad's Early Influences; Tad's Early Education and Gigging; Tad's Approach to Tongue Blocking and 3rd Position; Tad's Thoughts on 1st Position -‐ Part 1; 1st Position -‐ Part 2, Positions and Overbends; How to Keep Things Interesting on the Bandstand; How the Understanding of Music Theory Helps; Tad's Approach to Playing in Minor; Tad's Hand Usage; Tad's Equipment; What Tad Likes to Hear in Other Harp Players; Tad's Final Tips; Current Recordings and Closing; Bonus Footage: Tad Robinson, Jim Liban and David Barrett Play! Music Theory for the Blues Harmonica Player -‐ Study 1

Join me for the Basics of Music Theory for the Blues Harmonica Player. In this lesson you'll learn: how pitch is produced on the harmonica; music notation; sharps; flats; naturals; half steps; whole steps; key signatures; the construction of the major scale; how the harmonica received its note layout/tuning; how to move melodies up or down the harmonica's range; and how to take any sheet music, written for any instrument, and figure out how to play it on the harmonica. This lesson is for all skill levels players. No harmonica is needed for this study, though a C Harmonica is used for demonstration purposes if you would like to play along. Videos include: Section 1 -‐ Basics of Pitch: Introduction

to Music Theory Study 1; Pitch Defined; Octave and Half Step Defined; Sharps and Flats Defined; Examples 1.2 and 1.3 -‐ Chromatic Scale; Examples 1.4 through 1.5 -‐ Notes on the Staff, Part 1; Examples 1.6 through 1.9 -‐ Notes on the Staff, Part 2; Section 1 Questions; Section 2 -‐ The Major Diatonic Scale (The Harmonica’s Scale): Example 2.1 -‐ The Major Mode; Examples 2.2 and 2.3 -‐ Harmonica TAB on the Staff; Example 2.4 -‐ Harmonica Note Layout; Examples 2.5 and 2.6 -‐ Bends on the Harmonica; Example 2.7 and Section 2 Questions; Section 3 -‐ Scale Degrees & Tuning System: Examples 3.1 through 3.4 -‐ Scale Degrees; Example 3.5 -‐ Major Scales; Why there are multiple Major Scales; Section 3 Questions; Section 4 -‐ Review & Application: When the Saints Go

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Marching In song Example; Song Transposition Exercise; Section 4 Questions; Music Theory Study 1 Closing Comments Music Theory for the Blues Harmonica Player -‐ Study 2 Join me for our second lesson on Music Theory for the Blues Harmonica Player, where we explore modes and positions. In this lesson you'll learn: what modes are associated with each position; how to figure out what key you and the band are playing in for the various positions; and how to make your own harmonica position chart. Videos Include: Section 1 -‐ 1st Position (Major Mode): Introduction to Music Theory Study 2; Examples 1.2 to 1.8; Section 1 Questions; Section 2 -‐ 2nd Position (Mixolydian Mode): Examples 2.1 & 2.2 -‐ Mixolydian Scales & Finding Key for 2nd Position; Examples 2.3 to 2.7; Section 2 Questions; Section 3 -‐ 3rd Position (Dorian Mode): Examples 3.1 & 3.2 -‐ Dorian Scales & Finding Key for 3rd Position; Examples 3.3 to 3.7; Section 3 Questions; Section 4 -‐ 4th Position (Minor Mode): Examples 4.1 & 4.2 -‐ Minor Scales & Finding Key for 4th Position; Examples 4.3 to 4.7; Section 4 Questions; Section 5 -‐ Position Quick Charts; Position Quick Charts

Music Theory Study 3 -‐ Intervals, Chords & 12 Bar Blues

Join me for our third lesson on Music Theory for the Blues Harmonica Player, where we explore the intervallic relationship between notes of the scale, chords and our familiar 12 Bar Blues Progression. In this lesson you'll learn: interval names; the three triad chord qualities; about 7th and 9th Chords; the notes of the 12 Bar Blues Progression; about minor keys and chords; and how to play the notes of each chord within the 12 Bar Blues Progression. This lesson is for intermediate skill levels players. You'll need a C Harmonica for this study. Videos include: Section 1 -‐ Intervals & Triads; Introduction to Music Theory Study 3: Examples 1.1 and 1.2 -‐ Intervals; Examples 1.3 to 1.5 -‐ Chords; Section 1 Questions;

Section 2 -‐ 12 Bar Blues Progression & Triads:; Examples 2.1 to 2.5 -‐ 12 Bar Blues; Examples 2.6 to 2.9; Section 2 Questions; Section 3 -‐ 12 Bar Blues Progression & 7th Chords: Examples 3.1 to 3.4 -‐ 7th Chords; Examples 3.5 to 3.9; Section 3 Questions; Section 4 -‐ 12 Bar Blues Progression, One Hole at a Time: Examples 4.1 to 4.3; Example 4.4; Examples 4.6 to 4.19; Section 4 Questions: Section 5 -‐ Minor Blues Chords: Minor Chords and Key; Section 6 -‐ Extended Chord Tones: Upper Extensions and 6th Chords; Section 7 -‐ Another Look at Harmonica Construction: How the Harmonica is Built from the Chord Perspective; Closing for Music Theory Study 3

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Music Theory Study 4 -‐ Melodic Development, Part 1 Join me for our fourth lesson on Music Theory for the Blues Harmonica Player, where we explore melodic development… how chords and scales work together to create great solos. In this lesson you’ll learn about chord tones, scale tones, outside tones, active tones, non-‐active tones, passing tones, upper and lower neighbor tones, appoggiatura, the hierarchy of note selection, chord scales, sequences and chord-‐tone soloing. This lesson is for intermediate skill level players. You'll need a C Harmonica for this study. Videos Include: Section 1 – Chord-‐Tones, Scale Tones and Outside Tones: Introduction to Music Theory Study 4; Examples 1.1 to 1.7 -‐ Review; Example 1.8 -‐ Chord Tone Soloing; Examples 1.9 to 1.11 -‐ Scale Tones (Passing & Neighbor); Examples 1.12 and 1.13 -‐ Appoggiatura; Example 1.14, Part 1 -‐ Chord Tone & Scale Tone Soloing; Example 1.14, Part 2 -‐ Chord Tone & Scale Tone Soloing; Examples 1.15 and 1.16 -‐ Hierarchy of Note Selection; Examples 1.17 to 1.19 -‐ Chord Scales; Section 1 Questions, Part 1; Section 1 Questions, Part 2; Section 2 – Perspective: Section 2 Examples -‐ Perspective; Section 3 – Sequences: Section 3 Examples -‐ Sequences; Section 3 Questions; Section 4 – Chord Tone Soloing: Section 4 Examples -‐ Chord Tone Soloing; Closing to Music Theory Study 4 Music Theory Study 5 -‐ Soloing Scales Join me for our fifth lesson on Music Theory for the Blues Harmonica Player, where we explore Soloing Scales… scales specifically designed to be playable over all chords in the 12 Bar Blues, guaranty a specific feel when

adhered to (Major for the Major Pentatonic Scale and Bluesy/Minor for the Blues Scale), and lay extremely well on the entire range of the harmonica. Videos Include: Section 1 – Major & Major Pentatonic Scales: Introduction to Music Theory Study 5; Example 1.1 -‐ C Major Scale; Examples 1.2 to 1.5 -‐ G Major Scale & Major Pentatonic Scale, Part 1; Examples 1.5 to 1.8 -‐ Major Pentatonic Scale, Part 2; Example 1.9 -‐ Major Pentatonic Scale, Part 3 (Playing Example); Section 1 Questions; Section 2 – Minor & Blues Scales: Examples 2.1 to 2.6 -‐ G Minor Scale & Blues Scale; Example 2.7 -‐ Blues Scale Playing Example; Section 3 – Context: Context Review; Section 4 – Memorization: Memorization and Closing

Music Theory Study 6 -‐ Beyond 12 Bar Blues Join me for our sixth lesson on Music Theory for the Blues Harmonica Player, where we explore how to deal with non-‐12 Bar Blues Changes. In this lesson we cover Chord Voicings, 12 Bar Blues, 8 Bar Blues, 16 Bar Blues, 20 bar Blues, 24 Bar Blues and how to figure out and deal with songs that are outside the standard form. Videos Include: Section 1 – Standard 12 Bar Blues: Introduction to Music Theory Study 6; Chord Scales and Chord Voicing Options; Chord Arpeggios, Chord Fragments and Stylistic Approaches; Example 1.1 -‐ Long Changes; Example 1.2 -‐ Quick Change; Section 2 – 12 Bar Blues Variations: Example 2.1 -‐ No IV Chord (Bars 5 and 6); Example 2.2 -‐ IV Chord in Bars 1 and 2; Example 2.4 -‐ Bar 9 Options: Long V (Bars 9 and 10); Example 2.5 -‐ Bar 9 Options: ii-‐V-‐I; Example 2.6 -‐ Bar 9 Options: Flat-‐VI Chord; Example 2.7 -‐ Turnaround Options: None;

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Example 2.8 -‐ Turnaround Options: All of Bar 12; Example 2.9 -‐ Turnaround Options: I-‐IV-‐I-‐V and Overuse of Root Note; Example 2.10 -‐ Turnaround Options: I-‐VI-‐II-‐V; Section 3 – 8 Bar Blues: Example 3.1 -‐ 8 Bar Blues: Key to the Highway; Example 3.2 -‐ 8 Bar Blues: Walkin’ By Myself' Example 3.3A -‐ 8 Bar Blues: Just Your Fool (Verse); Example 3.3B -‐ 8 Bar Blues: Just Your Fool (Bridge); Example 3.4 -‐ 8 Bar Blues: It Hurts Me Too; Example 3.5 -‐ 8 Bar Blues: Nobody's Business; Section 4 – Other Forms: Examples 4.1 to 4.4 -‐ 16, 20 and 24 Bar Blues; Section 5 – Transcribing Chords: Transcribing and Soloing to Key to the Highway Chord Changes, Part 1; Transcribing and Soloing to Key to the Highway Chord Changes, Part 2; Transcribing and Soloing to Stormy Monday Chord Changes, Part 1; Transcribing and Soloing to Stormy Monday Chord Changes, Part 2; Final Words of Advice from John Garcia Harp Tech Study 4 -‐ Reed Gapping

In our fourth study harp tech expert Kinya Pollard (aka The HarpSmith) walks you through the fine art of reed gapping on the harmonica. This lesson video is for all skill level players. Videos Include: Introduction to Reed Gapping; Getting Started with Reed Gapping; Reed Gapping -‐ Level 1: Increasing the Gap; Reed Gapping -‐ Level 1: Decreasing the Gap; Reed Gapping -‐ Level 1: Documentation; Reed Gapping -‐ Level 1: Reed Symbiosis; Reed Gapping -‐ Level 1: Hearing a Gap Too Large; Reed Gapping, Level 1: Hearing a Gap Too Small; Reed Gapping -‐ Level 1: Method 2; Reed Gapping -‐ Level 1: Method 3; Reed Gapping -‐ Level 1: Method 4; Reed Gapping -‐ Level 1: Closing Comments; Reed Gapping -‐ Level 2: Clearance at the Rivet End; Reed Gapping -‐ Level 2:

Setting the Zero-‐Point All at Once; Reed Gapping -‐ Level 2: Setting the Zero-‐Point with One Reed; Reed Gapping -‐ Level 2: Light Box Intro; Reed Gapping -‐ Level 2: Using Light Box to Adjust How Reeds Enter the Slot; Using CD Security Strip as Feeler Gauge; Reed Gapping Closing Words Harp Tech Study 5 -‐ Reed Replacement In our fifth study harp tech expert Kinya Pollard (aka The HarpSmith) walks you through how to change reeds on the harmonica. This lesson video is for all skill level players. Videos Include: Introduction to Reed Replacement; Why Replace a Reed?; Identifying a Bad Reed; Finding a Donor Reed; Reed Remouval -‐ Method 1; Reed Remouval -‐ Methods 2 and 3; Preparing the Reed Plate and Tapping -‐ Method 1; Preparing the Reed Plate and Tapping -‐ Method 2; Preparing the Reed Plate and Tapping -‐ Method 3; Preparing the Reed Plate -‐ Level 2: Setting up a Work Station; Preparing the Reed -‐ Level 1: Wood Block and Hand Drill; Preparing the Reed -‐ Level 2: Hand

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Vice; Installing the Reed; Reed Alignment and Cutting Bolt; Sanding Reed Plate Pad Area; Reed Replacement Closing Words Harp Tech Study 6 -‐ Reed Slot Sizing

In our sixth study harp tech expert Kinya Pollard (aka The HarpSmith) walks you through how to size a reed slot on the harmonica. This lesson video is for all skill level players. Videos include: Introduction to Reed Slot Sizing; Principals of Reed Slot Sizing; Reed Slot Sizing with UST (Ultimate Sizing Tool); Reed Slot Sizing with UST and Light Box; Fixing the Reed Slot if You Go Too Far; Tip Scooping; Adjusting the Reed’s Profile after Reed Slot Sizing; Reed Slot Sizing

New Gary Smith Contributor Videos

-‐ Submission #30 -‐ Accompaniment Playing 3, Weird Dream: Part 1 -‐ Submission #30 -‐ Accompaniment Playing 3, Weird Dream: Part 2 -‐ Submission #30 -‐ Accompaniment Playing 3, Funky Blues in G -‐ Submission #30 -‐ Accompaniment Playing 3, One Chord Groove in G -‐ Submission #30 -‐ Accompaniment Playing 3, Help Me Style Groove in Gm -‐ Submission #31 -‐ Rhumba: History -‐ Submission #31 -‐ Rhumba: Gary’s Approach and Breaks -‐ Submission #31 -‐ Rhumba: Improvising, Part 1

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-‐ Submission #31 -‐ Rhumba: Improvising, Part 2 -‐ Submission #31 -‐ Rhumba: Improvising, Part 3 -‐ Submission #31 -‐ Rhumba: Gary Plays Out -‐ Submission #32 -‐ Accompaniment Playing 4: How the Band Affects what We Play, Part 1 -‐ Submission #32 -‐ Accompaniment Playing 4: How the Band Affects what We Play, Part 2 -‐ Submission #32 -‐ Accompaniment Playing 4: Starting the Band -‐ Submission #32 -‐ Accompaniment Playing 4: Blues Break -‐ Submission #32 -‐ Accompaniment Playing 4: Fragmentation -‐ Submission #32 -‐ Accompaniment Playing 4: Knowing What You Want in Music -‐ Submission #32 -‐ Accompaniment Playing 4: Sitting in with a Local Band -‐ Submission #32 -‐ Accompaniment Playing 4: Different Roles of a Harp Player New Mark Hummel Contributor Videos

-‐ Submission #19 -‐ Harmonica History: DeFord Bailey -‐ Submission #19 -‐ Harmonica History: Pre-‐War Players & Sonny Terry -‐ Submission #19 -‐ Harmonica History: John Lee Williamson, Part 1 -‐ Submission #19 -‐ Harmonica History: John Lee Williamson, Part 2 & Forest City Joe -‐ Submission #19 -‐ Harmonica History: Little Walter & James Cotton -‐ Submission #19 -‐ Harmonica History: Big Walter Horton -‐ Submission #19 -‐ Harmonica History: George Harmonica Smith & Junior Wells -‐ Submission #19 -‐ Harmonica History: Rice Miller -‐ Submission #19 -‐ Harmonica History: Junior Parker & Buster Brown -‐ Submission #19 -‐ Harmonica History: Wells, Butterfield, Musselwhite & Cotton -‐ Submission #19 -‐ Harmonica History: Reed, Arnold, Mysers, McCain & Williams -‐ Submission #19 -‐ Harmonica History: Lesser-‐Known Players -‐ Submission #19 -‐ Harmonica History: Modern Players, Part 1 -‐ Submission #19 -‐ Harmonica History: Modern Players, Part 2

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-‐ Submission #20 -‐ Choosing Positions -‐ Submission #21 -‐ James Cotton & Junior Wells: Cotton, Part 1 -‐ Submission #21 -‐ James Cotton & Junior Wells: Cotton, Part 2 -‐ Submission #21 -‐ James Cotton & Junior Wells: Wells, Part 1 -‐ Submission #21 -‐ James Cotton & Junior Wells: Wells, Part 2 -‐ Submission #21 -‐ James Cotton & Junior Wells: Final Thoughts New Ryan Walker Contributor Videos Follow Intermediate student Ryan Walker as he studies Blues harmonica seriously for the first time. In these videos you'll see his actual private lessons with me (in their entirety) as well as see video reports from him between lessons. These videos are highly valuable to the Intermediate Blues harmonica student seeking guidance on what to learn and when. Video submissions are as follows:

-‐ Lesson 3 -‐ Intro -‐ Lesson 3 -‐ Cupping Review -‐ Lesson 3 -‐ Bullet Mic Sizes and Cupping -‐ Lesson 3 -‐ Cupping and Control of Tone -‐ Lesson 3 -‐ Ryan Tries Cupping -‐ Lesson 3 -‐ Cupping with Light -‐ Lesson 3 -‐ Cupping with a Cup -‐ Lesson 3 -‐ Ryan plays Gary’s Blues -‐ Lesson 3 -‐ David Critiques Ryan’s Performance of Gary’s Blues -‐ Lesson 3 -‐ How to Play Gary’s Blues with a Band -‐ CHECKING IN -‐ Between Lessons #3 and #4 -‐ Lesson 4 -‐ Gary's Blues, How to End with Band -‐ Lesson 4 -‐ Bending Study Song #3, The Strut: Bending -‐ Lesson 4 -‐ The Strut, Chorus 1 -‐ Lesson 4 -‐ The Strut, Choruses 2 to 5 -‐ Lesson 4 -‐ Solo Harmonica Study 2, Examples 1.1 to 1.4 -‐ Lesson 4 -‐ Solo Harmonica Study 2, Example 1.5 -‐ Lesson 4 -‐ Solo Harmonica Study 2, Example 1.6 & Closing -‐ CHECKING IN -‐ Between Lessons #4 and #5 -‐ Lesson 5 -‐ The Strut, Ryan plays Choruses 1 through 5 -‐ Lesson 5 -‐ The Strut, Comments on Choruses 1 through 3 -‐ Lesson 5 -‐ The Strut, Comments on Choruses 4 through 5 -‐ Lesson 5 -‐ The Strut, Chorus 6 -‐ Lesson 5 -‐ The Strut, Chorus 7 -‐ Lesson 5 -‐ Solo Harmonica Study 2, Ryan Plays Examples 1.5 to 1.6 -‐ Lesson 5 -‐ Solo Harmonica Study 2, Examples 1.7 to 1.8 -‐ Lesson 5 -‐ Figuring out the Key of a Song, Method 1: 2 Draw -‐ Lesson 5 -‐ Figuring out the Key of a Song, Method 2: Positions -‐ Lesson 5 -‐ Figuring out the Key of a Song, Method 3: C Scale -‐ Lesson 5 -‐ Figuring out the Key of a Song, Method 4: Chromatic Scale -‐ Lesson 5 -‐ Figuring out the Key and Position of a Harmonica in a Song, Part 1

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-‐ Lesson 5 -‐ Figuring out the Key and Position of a Harmonica in a Song, Part 2 -‐ CHECKING IN -‐ Between Lessons #5 and #6 -‐ Lesson 6 -‐ Intro -‐ Lesson 6 -‐ The Strut, Ryan Plays Entire Song -‐ Lesson 6 -‐ The Strut, Comments -‐ Lesson 6 -‐ How to Play The Strut with a Band -‐ Lesson 6 -‐ Solo Harmonica Study 2, Example 1.7 -‐ Lesson 6 -‐ Solo Harmonica Study 2, Examples 1.8 and 1.9 -‐ Lesson 6 -‐ Solo Harmonica Study 2, Examples 2.1 through 2.4 -‐ Lesson 6 -‐ Solo Harmonica Study 2, Example 2.5 and Homework Assignment -‐ CHECKING IN -‐ Between Lessons #6 and #7 -‐ Lesson 7 -‐ Solo Harmonica Study 2, Homework Assignment: Version 1 -‐ Lesson 7 -‐ Solo Harmonica Study 2, Homework Assignment: Version 2 -‐ Lesson 7 -‐ Discussions on Chromatic Harmonica Models -‐ Lesson 7 -‐ Improvising: Principles, Part 1 -‐ Lesson 7 -‐ Improvising: Principles, Part 2 -‐ Lesson 7 -‐ Improvising: Ryan Improvises an Instrumental -‐ Lesson 7 -‐ Improvising: Comments on Ryan's Improvisation -‐ Lesson 7 -‐ Improvising: AAA Chorus Form, Part 1 -‐ Lesson 7 -‐ Improvising: AAA Chorus Form, Part 2 -‐ Lesson 7 -‐ Improvising: AAA Chorus Form with Fills -‐ CHECKING IN -‐ Between Lessons #7 and #8 -‐ Lesson 8 -‐ Intro & Ryan plays Ending to Strut -‐ Lesson 8 -‐ Improvising: AAA Chorus Form with Fills Review, Part 1 -‐ Lesson 8 -‐ Improvising: AAA Chorus Form with Fills Review, Part 2 -‐ Lesson 8 -‐ Improvising: AAB Chorus Form -‐ Lesson 8 -‐ Improvising: AAB Chorus Form with Fills -‐ Lesson 8 -‐ Improvising: A B/A C Chorus Form, B = Contrast -‐ Lesson 8 -‐ Improvising: A B/A C Chorus Form, B = Little Change -‐ Lesson 8 -‐ Improvising: A B/A C Chorus Form, B = Sequence, Part 1 -‐ Lesson 8 -‐ Improvising: A B/A C Chorus Form, B = Sequence, Part 2 -‐ Lesson 8 -‐ Improvising: A B/A C Chorus Form, B = Sequence, Part 3 -‐ Lesson 8 -‐ Theory, Study 1: Section 1 -‐ Lesson 8 -‐ Introduction to the Chromatic Harmonica & Closing -‐ CHECKING IN -‐ Between Lessons #8 and #9 -‐ Lesson 9 -‐ Prep for Student Concert and Memorizing the Harmonica -‐ Lesson 9 -‐ Improvising: Chorus Form Review, Part 1 -‐ Lesson 9 -‐ Improvising: Chorus Form Review, Part 2 (Sequences) -‐ Lesson 9 -‐ Improvising: Transformations, Part 1 -‐ Lesson 9 -‐ Improvising: Transformations, Part 2 -‐ Lesson 9 -‐ Improvising: Transformations, Part 3 -‐ Lesson 9 -‐ Improvising: Original Instrumental Assignment -‐ Lesson 9 -‐ Theory, Study 1: Section 2 -‐ Lesson 9 -‐ Chromatic Harmonica: Holes 1 and 2 -‐ Lesson 9 -‐ Chromatic Harmonica: Holes 1 and 3 -‐ Lesson 9 -‐ Chromatic Harmonica: Memorization -‐ Lesson 9 -‐ Closing

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Rhumba King -‐ Blues Harmonica Original Instrumental Songwriting Contest Presented by BluesHarmonica.com and the Harmonica Masters Workshop Congratulations to the following submissions for being judged as the top three entries! "Jumba Rumba" by Steve Molitor from St. Louis, Missouri, U.S.A., "Chilean Rhumba" by Erwin Lost from Santiago, Chile and "It "beta" be a rhumba !" by Ben Bouman from the Netherlands. These three players have won entrance to the Harmonica Masters Workshops (http://www.harmonica-‐masters.de/) in Trossingen, Germany 10/31-‐11/4/2012 as well as have the opportunity to perform their compositions live with B.B. & the Blues Shacks at the Harmonica Masters Concert Friday evening November 2nd! The audience will judge the three performances, with the overall winner crowned Rhumba King and given the opportunity to perform with David Barrett at the end of the evening. I'll of course bring a camera for everyone at BluesHarmonica.com to see. Good luck guys! Entries can be found at http://www.bluesharmonica.com/rhumba-‐king

George Harmonica Smith Artist Study Join me for a study of one of our four great post war Chicago Blues fathers, George "Harmonica" Smith. It's generally accepted that George was the greatest Blues chromatic harmonica player of his time, and that's what our focus is for this lesson. The majority of the licks used in the study song "Swingin' with George" comes from George Smith, providing you with great vocabulary for you to study and draw upon for your own improvising. You may record yourself playing to the provided jam track and submit it to me for review if you wish. This study is for advanced skill level players. You'll need the C Chromatic (12 or 16-‐hole) for this study.

Complete List of Lessons Visit http://www.bluesharmonica.com/lesson-‐list for a complete listing of lessons on the website... there are now over 2,300 lesson videos!

INTERNET FINDS Understanding of Music Videos

The following series of videos provide a large encompassing view of music. Though these videos are very general in their nature and do not directly teach music theory (nor do they have anything to do with the harmonica specifically), the do help to provide a different perspective on the understanding of music.

1) Basic a) How Music Works (1: Melody, 2: Rhythm, 3: Harmony and 4: Bass) http://www.youtube.com/user/timegrinder 2) Advanced a) Leonard Bernstein -‐ The Unanswered Question (1: Musical Phonology, 2:

Musical Syntax, 3: Musical Semantics, 4: The Delights & Dangers of Ambiguity, 5: 20th Century Crisis and 6: The Poetry Of Earth

http://www.youtube.com/watch?v=U3HLqCHO08s&feature=relmfu

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Harmonica Masters Workshop – Trossingen, Germany

Join me, Steve Baker, Joe Filisko, Michael Arlt, Riedel Diegel, Lee Sankey, Eric Noden and a host of other performers for Europe’s premier Blues harmonica event! On top of classes and performances also enjoy tours of the Hohner Factory and the German Harmonica and Accordion Museum. Don’t miss this opportunity to work with the best instructors in the world! For more information visit: http://www.harmonica-‐masters.de/ Harmonica Collectors International Harmonica Collectors International is looking for new members to keep the club running strong. If you’re interested in collecting or just learning more about the history of harmonicas (they have a great newsletter filled with pictures and historic information), become a member. For more information visit: http://www.harmonicacollectorsinternational.com/

TRANSCRIPTIONS OF THE MONTH “Twilight Time” by Gary Smith This month you get two transcriptions! Let’s focus on the chromatic harmonica. For the first transcription let’s do something totally different than the standard 3rd Position Blues approach, Gary Smith’s “Twilight Time” on his first CD release “Up The Line.” If you don’t have this album, I highly recommend purchasing it for more than just this song.

Comments: In this song Gary plays a beautiful classic melody on the C chromatic harmonica in 1st Position with the slide pushed in to place him in the key of C#. This way of playing makes available a technique called the reverse Slide Jab (note goes down, instead of up, when the slide is in the out position). The standard slide jab starts a note with the slide out and quickly presses the slide in for the final intended note. For our song, when the slide is out, the pitch is a half step lower, then the slide is pushed in very quickly (the “jab” part of the name) to mimic the half step bend commonly played on the diatonic harmonica called a dip.

Each note on the chromatic harmonica can bend around a half step before tone is compromised. Gary uses this to good effect for dips (starting a note flat and raising it quickly) and cuts (starting a note at it’s natural pitch and lowering it a half step quickly—the opposite of a dip). Look at the music notation carefully to make sure you understand which treatment is used for each note. There’s a lot of technique and button usage in this song. Take your time and enjoy this real fun melody to play on the chromatic!

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“Blues in the Dark” by George Harmonica Smith For our second chromatic harmonica instrumental we’ll dig into a transcription of the greatest classic Blues chromatic harmonica instrumental “Blues in the Dark” by the king of the Blues chromatic, George “Harmonica” Smith.

General Comments: This is a “Must Learn” song for any Blues chromatic harmonica player. The phrasing and use of textures in this song are killer. Note that George plays this song very loose. Some notes are single notes, octaves, fake octaves, two note bleeds, etc. In some cases he starts with a single note and finishes the line in an octave. As you learn the song you may choose to play some lines more streamlined, such as playing that single note that turns into an octave as an octave the entire time. This is up to you. When transcribing this song I tried to keep as accurate as possible to what he played. In some instances he’s really loose with his embouchure and I needed to make a judgment call on what technique to use for a particular passage. Lastly, keep in mind that you’ll be tongue blocking for the entire song (except for the 1 draw if you normally make that switch… it’s up to you). George uses a 12-‐hole C chromatic harmonica in third position with the button pushed in the entire time (placing him in the key of E-‐flat).

Opening Chorus -‐ ABC Chorus Form: For all of the 5 draw notes in this opening he uses pull-‐slaps. It’s really hard to play pull-‐slaps this fast. Start with slaps and as your technique gets better try the pull-‐slaps. On the IV Chord notice the nice use of octaves followed by the use of single notes on the following I Chord. For the V Chord he switches to the use of fake octaves. George does a great job of mixing textures in this instrumental.

2nd Chorus -‐ AAB Chorus Form: This is where you’ll hear the use of single notes, octaves and fake octaves bleed together. Again, use your judgment on how you’d like to play these passages.

3rd Chorus -‐ ABC Chorus Form: Here he goes nice and low on the chromatic and follows it up with some nice two-‐note textures (dirty notes). I don’t hear modern Blues chromatic harmonica players use two-‐note textures as much as they should… George uses it to nice effect here. The most common two-‐note texture is the 6 and 7 draw notes together (only a little bit of the 7 draw should sound).

4th Chorus -‐ ABC Chorus Form: Here he continues with some nice two-‐note textures.

5th Chorus -‐ AAA Chorus Form: Here he plays a killer AAA line (keep this lick for your vocabulary on the chromatic and the diatonic!).

6th Chorus -‐ AAA Chorus Form: Here he continues his repetitive phrasing with some nice call and response with the guitar.

7th Chorus -‐ AAB Chorus Form: Here he continues his repetitive phrasing higher on the harmonica. Note the real nice ending lick.

What To Say To The Band: 1) Key of E-‐flat 2) Swing (If you want to be super specific add that it uses a ii-‐V-‐I) 3) Sing quickly the opening four measures (making chord symbols with your hand so they know there’s a quick

IV in the opening.

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RECOMMENDED LISTENING The Wine Dark Sea -‐ Dave Goodman & Steve Baker (Acoustic Music Records)

Steve Baker writes “It took a long time in the making, but The Wine Dark Sea is now finished and will be officially released in September 2012. Recorded by Florian Ihle at FMI Soundservice, Hamburg and Dave Goodman at Slydog Studio, Bremen, mixed at FMI by Florian Ihle and mastered by Dave Greenberg at Sonopod, St Petersburg Florida, The Wine Dark Sea offers a broad stylistic mix of original songs by Dave Goodman plus a couple of carefully chosen covers. Dave's beautiful guitar and vocal work is complemented by tasty harp, drums and percussion from Martin Roettger and Oliver Spanuth and guest appearances on vocals by Big Daddy Wilson and Hannah Lunnon. In the future it will also be available as a download from iTunes.” The CD is available at live appearances and by mail order from the Acoustic Music

online shop: http://www.acoustic-‐shop.de/epages/63090349.sf/en_GB/?ViewObjectID=28817164 Back in Style -‐ Tad Robinson (Severn Records) Tad Robinson knows one of the Blues biggest secrets—how to write and arrange great songs, and bring them to life. Like his Severn Records debut “Did You Ever Wonder” three years earlier, his elegant 2007 album “A New Point of View” garnered a Blues Music Award nomination for "Soul Blues Album of the Year." It also triggered Robinson’s third nomination for "Soul Male Artist of the Year." Now, Tad follows up with "Back in Style" the sequel. "I’d describe the new album as very soulful and groove oriented." This album features the Memphis Horns and the "Severn House Band" of Alex Schultz, Steve Gomes, Robb Stupka, Benjie Porecki and Kevin Anker. Just A Little Bit More -‐ Gary Primich w/Omar Dykes (Old Pal Records)

Patrick Recob, bass player for the Gary Primich Band states, “I once tried to describe the Sixties. But, as old-‐time mandolinist Yank Rachel once said when asked if he could breathe life into the old South for us, ‘It can't be did.’ So it is with Gary Primich. He's gone. No more will we hear that barrelhouse laugh, roll our eyes in disbelief at the chaos he could make of a hotel room, or fall silent at how easily he made the harmonica sing and moan. Personally, Gary was a walking explosive devise—a bumper car in a world of sharp edges. Musically he was a sponge with a voracious appetite for learning. He would absorb all he could and then, through some mysterious internal remix, re-‐birth it in a sound uniquely his. He learned styling and phrasing from jazz saxophonists Gene Ammons and Lester Young; befriended Blues harpist Jerry McCain; sought to incorporate the ‘feel of steel

guitarist Jerry Byrd; threw down country gleanings from Ernest Tubbs and George Jones; and stole licks from Tiny Grimes and Louis Jordan. He loved Jazz Gillum, Hammie Nixon, Will Shade, and Robert McCoy. and

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harbored a secret hope to elevate harmonica's poor image as a musical instrument. He was all about sound and feel—from his characteristic meaty, fat tone, to the sweet trills of ‘Sailor's Hornpipe’ which he played to make children smile. And he went after guitar too—developing a chunky, single note sometimes uneven attack so soulful that mistakes seemed moot. and he never stopped working to improve his singing skills. His trueness of tone and phrasing—always focal points of playing and teaching—were impossible to deny, but for me the feeling behind each note is his highest distinction. I loved John ‘Juke’ Logan's description of playing with Gary, ‘We're low tech—high grease. The most important piece of equipment we've got is soul.’ Cathi Norton, Blues DJ Bloomington, IN For the many people who have asked, ‘How can we preserve Gary's music and legacy’ can do so buy getting this package, listening to it and sharing their thoughts about it alongside his full catalog. Through doing this, Gary Primich will continue to generate interest through many listeners and musicians worldwide. He is not only unforgettable as a musician and a teacher but most notably as a genuine person who cared about the future of Blues music and the harmonica as a serious instrument. Finally, for the record, even when he was on tour in Europe, Gary Primich without fail, made sure the van had its oil changed every 3,000 miles!” Call My Name -‐ Ryan Hartt & The Blue Hearts (Far-‐Tone Records)

"You got to live it to give it", states the first line from Ryan Hartt & the Blue Hearts' latest CD, "Call My Name." In their 12 years together, Ryan Hartt & the Blue Hearts have, indeed, lived it. They've logged countless gigs and countless miles in a Honda minivan, playing clubs and festivals throughout the Northeast and beyond. Being in a Blues band in today’s music market is never easy. Nonetheless, the band keeps moving forward, outlasting musical trends and clubs that have come and gone. Though the band will always be rooted in the Chicago and West Coast Blues they have built their reputation on, "Call My Name" expands their sound with Soul, Proto-‐Rock & Roll and even Ska. Their songwriting has matured equally. Certainly the common Blues themes of love lost and found are here, but the songs on "Call My Name" also reflect the changes and growth of the band members over the last six years with topics ranging from

depression to choosing music over a relationship to the grind of a gigging Blues band. Yet no matter what, as the last line of the of the last song says, Ryan Hartt & the Blue Hearts "will be back next Friday night." Fried Bourbon -‐ Steven Troch (Self-‐Released) Fried Bourbon is part of the next generation Blues bands in Belgium, looking for ways to keep the form exciting, vital and evolving. The group is inspired by the Blues ‘n’ boogie music from the 50s. Fried Bourbon manages to mix old and modern sounds, colours and rhythms with a recognizable and unique sound. Their music can be described as a mixture of guitar driven boogies, danceable juke rhythms and harmonica-‐oriented bluesstomps. Steven is the winner of the 2012 King of Swing contest. This is a real fine release, I know you’ll enjoy it.

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Make It Good – R.J. Mischo (Delta Groove) His Delta Groove debut, "Make It Good," is RJ Mischo's tenth release and he makes good on the promise of that title by delivering a high-‐octane fueled album—complete with 100% original material—backed by a formidable stable of talent featuring Austin's foremost Blues elite. Mischo explains: "I was at the King Biscuit Blues Festival watching a performance of Anson Funderburgh when the vision for this album came to me. I knew the drummer Wes Starr lived in Austin, Texas. I asked him right then and there if he would be interested in working with me on this project." Joining Starr on the Austin sessions are guitarists Nick Curran and Johnny Moeller, bassist Ronnie James Weber, and pianist Nick Connolly. Drummer Richard Medek, and Mischo's old pal, guitarist Jeremy Johnson, are also on board for a couple of lowdown tracks recorded in St. Paul, Minnesota. Prepare yourself for some big Blues and a little Rock 'N Roll, on what most assuredly

adds up to one of RJ Mischo's toughest sounding and most satisfying ventures yet… make it good indeed! One Wrong Turn -‐ Rick Estrin Packed with wry, irreverent songs brought to life by electrifying performances, as Estrin and The Nightcats shift effortlessly from the jaunty tiki-‐rock of "D.O.G." to the deranged surf music splendor of "The Legend Of Taco Cobbler," not to mention the uproarious send-‐up "I Met Her On The Blues Cruise." Recommended Source for Buying CDs Charlie Lange of www.bluebeatmusic.com is the man!

More to come in future issues!

Best Regards,

David Barrett

The Future of Blues Harmonica Education IS HERE! www.BluesHarmonica.com

President, Harmonica Masterclass Co. "Leader in Blues Harmonica Education" www.harmonicamasterclass.com

Founder/Director, School of the Blues www.schooloftheblues.com

Author, Mel Bay Publications & Blues Revue Magazine www.harmonicamasterclass.com/books.htm & www.bluesrevue.com

Plays Hohner Harmonicas customized by Joe Filisko & MegaTone Harmonica Amplifiers www.hohnerusa.com, www.joefilisko.com & www.megatoneamps.com

Editor & Columnist for HarmonicaSessions.com www.HarmonicaSessions.com

David Barrett Newsletter Sept 2012 - Blues...

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