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DOOical~edto uddy. Wf'!IIers t - Q_"'~"'.. Wall'~ .. L~O··'..4"""_~ nJ. J. i!ii .... ,mJijl'
,M·'

nd Sonny
Terry for

an
1

[~heylta,Ught

me+rnusic and
UYIJ m",,~·.-.;u..
• J

Dl~L

-c ....

lr .• "

---_.

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A -'l{}<1(lWLF-'DGE\JtE1-·1t'nS·t \! .~ D.1 _~1.. ... ~ t" J..
." ~ ..... _ ...

-- _.

- ---

----

-

--

--

,A v . ry special
whose
wise

thanks counsel,

·(;0 :-

,r friend

Pau Via.

encouragement,
·\V'.

pro ddin g.;. time, effort and expertise

reo

crucial to the succe slum. completion o.f this project,
And to Robert Martino,

whose

lri.endsrup~ help and support have ,a'~wa.ys een b

unwavering, I am also deeply grateful. For
other

contributions, lli,fftl.lrge:, nd smalt, I
0

,I·

indebted

the following: Larry Leier, Gerry

Sheila Hernm

Willtam

St

8JUSS,

Michael

Levine, Toni Radler at Hohner Inc., Scott ShigleY1' Mike' Connell, L@' Rosen hlit, Tow.
Ellis/ 'oll.n. Moschicni, Cathartne Be , nett,
i

.J ohn Rosenberg,
Portnoy, .: lck

Anna

Portnoy' and a 11my students, And 'to my wife
'] who, besides her uwn constdera ble i

con tribu tions, mana ged to live with me
through il_ all,

3
.

The book is 'merely offer additional comme or area of music.at't I ·i.ext of th .' xamples.-_ . . times there is a thought m.v. ryl):. ~ ~.l..\ but SO "t escaped my attention have included it here.ue sometimes I may flesh nut an explanation.U1 adjunct. .S Brr]. . J.. most of the explanations are contamed in the of it. and.... book. v' \..~ - ~B}'""')·..tJiJ. r au :-eed is on In this course.. I .'..1 d - have to switch back and forth between reading rand istening."'0'1.r~v... md try 'to coordinate -hie' two.e'''fthitlg th " [CDs. _-. _ --- -------- -- ---' --- reviewed. \."".TI. and the accompanying sound reference consists only playing .ight bave putt on 'tl~!eIe . at the time..~ out b SOITI . or 1[8 -. r"'~ . 'where a techni ..R. "I~.

-_. pa eking a menac ing looking run-down bulge in my overcoa . career of almost g thirty years.s or that.thi.~ But no one ever said "Make this noise in your throa t" or "Pronounce thls s. -_. W·ClS. imprinted tbeihrsounds :in my . it g'o like t]].' Just how they did it.' "Block or with yOUT these holes tongue. bottle orf V. IThis . co urse is a dis tilla Han of the 'tw. show me .lt. Many an aftemo ~)n I would t~lcJethe E~.. No one taught me in the manner in w m. He would just say.e few' blocks.ch 1:teach this COU. f~ctjO .nd recordin .. b:t:Grt· what '!th. not teaching In the formal sense.3. .y'na'b... t pocket I would stride ·t.he.ety did. They were all my [teachers and.e:n~:y years Lhave 'been teaching privately' during a performi ng . -_.. that we 'would cons ume during' course of the .€!J. TIlE~bulge' was. 6 . to the' rooming house' where Big 'Walter the Horton lived.f~_gulle out for myself..".'c .ad. rain down tO the t I Sou th Side of C hicago and.fSe .b~L-j.A·t·night I would be down at Pepper's Lounge listening to How lin' Wolf or at 111 retia's checking out junior Wells.is/it and then 'pl ay the most bea utiful sounding shit I ever hear-d .. .r~We..day '. ---- ----- P'REFACE' -~-. in.0 .~ i_.:hile I would exhort him to. I had 'to . - . I myself had some of the best teachers in the world.

snothing' l visual to relate to.Ii e the diaphragm an d breath.king up strokes or down stroke s. is all invisible-s-mouth epiglotfis. ~cru can see . Slut with the harmonica.ica is a sonH~what difficult t instrument to' '19'a.t.lch in that there ~.IT--: __he harmon. tongue.finger positions on the fre t' board. physicality of sound 7 . T.aU '~n wont of Ylour e. With a guibit the technique '~:S . throat.vs of ex:p-. i. challenge .b'irung.J is to find I.res. :inte-lna'~ and and .'wa. or that the' plrldng hand is m a." "'.

j'·Q .!!V' .'I!. 'Ho'~J' . are dclng=-trairnng you.' v. !II'~'.ti!' 1II . !.I!II!lIl!li:.'~. .~ rCI.gJl..h:wg'h. .". .'C... ..11.ii' !Il.~. -: .' 'production in as clear a way as possible so lba·t the' studen and can begm t nnders ra nds the mechanics to train the appropriate respo:ns1es in 'his own 'body.l J!l.j..... lW.the' course one step at it time... jIj "...1.y· to insure that YoOur fundamentals are solid.. .. .. . months..~n::~yesponds ~o'your :physi.' .JI usinI g~' the lnstru ment . Even if you have a .IiiIlii'i11I" JII. I!J..y through. I.~. And in fact.-~".n.... you 'start at the hegbuUng and...:l!~I!. that is what you. ()."... work your 'wa.b::!' all the e1()eros:es and drills prfoped.J! that can be practiced !.. ..: " -~."..~.ny rechniques W'l'~t_·k~U-. ahead)r~ you should make sure that you .~I...U.r ·bo!dy:. Som I~ " I .j:. "'. is just an inert object that m.IL G~.JJ.~. harmordca..f sometimes even Irecommendthat regardless of your skill level.can eiern. _. years of p'ra ctice.!!J"" "'(. LW~ .".. _. "_ 1IIOfl'.. after all.caJ. techniques are easily mastered 'in'a few days-= others take weeks.. A .---"...n'''·.!J D"' . ...a.-t_ even ..II... ..... aD]l [eve~~. . in:put.. 18 .. here r are m.. 'I:oIl.

le' harp. 'Wiaty wrap my' right thUm.I ."e1f'!er to.th. _.. of the harp.pW. I Just slide my thumb out of the in the classic position. This gives me a seal against my cheek" and.HOL.. . -- - . kindof anchor. '\I\ThenI move to the top. - .'DING 'l'HE HARP -_ . a.b over .

-_. chord H.Q.e:ry a. seems as though. regardless of the instrument. and you. the' blow or draw. A harmo n ic a is first. -_. have' a. To my' mind. . 'Play any group anywhere of adjace nt holes IOn the harp. .s. that is putting the cart befo reo the hers e.n. .p':rut. .g musicia n wan ts to '[play r lightning-fast single-note ru ns. -l'. I Many harmonica j·ootru1ct]lon u]}etbods team as smgle note lip pursing tile very first item._---! .of all a chord instrument. As a result.RD' Hl:~HM R . C'~-' 'J .e'v..-- CH. either on a.' ~'1 I.

but are at a loss if' nlJey.there are thousa nds of guitans ts who can ru n all over . the central role.are ~OIiCed eo play unaccompanied. They have nothing to go on because they doni '[ .llOW anything a. rhythm is secondary. usic.il to take advantage of one of Ut'S great strengths and the fun dame n ta 1. ~h)ey have a bass line play against and to support them.g as.'. but 'they fatl as well to understand the underlying prmciples of b'~a("k.0 i the ins tr ume nt. h~ European-based m music melody is primary and. Iknow many harmonica players who can play t(J' comfortebly as IQn. na ture . They not only :fa.the frlet board.:Many harm 0 n ica l. .bou t co mpin g' chords and pla ying pia y'e't s ha 'V e a similar mind set.V' here '~:ot so in African-based music. 'but fe'w who r h ythm . rhythm occupies.

understanding Lee W'-::j'NI.II. 'the best players 'to listen eo. yuu. n~.g.ga. and even though.laying..know how to create their own bottom.g.iJU·1 he ..lII.~.~m!t~. 10"r. .JI' . John ·B·/iI'"'iIoY·' 'm' ~"S· . lfruim.II_. HowUn' Wolf is also wort~y of some serious attenoottru. will now more easily right out of the r"hYlthm.AmO'n. will hear lit-t. Even l1ttle Walt-e'J"'sp.y of keeprng his time and internal rhythmic flow. m. . sat on. and ~arry their own rhythm. to really .. .:~e that he plays as '" . I' of '" rhythmic . is.1iI' (jIift~n v -~ referred to...Qt.~'~.'lN1iltn 'hetlcJUn. to wor k off . If "to'u listen carefully to some of Little Wal'lerls shuffle mstrumentals.~.. 'J Sonnv . . he credits his brother-in -la.vI Sonny 'BOIY D i(Rjoe 'MiJ]'f'l' i )... as :it really is· the foundation of' modem 'playing.I!!.get an. !I. WbJ@n Y'lou learn to do that~ tbJen the melodic ideas. the bedrock of Sonny Boy I.to . His whole' style is worth some' deep stud y.. breaths and half-breaths as a wa.'"·. this r!e. .mson _ ell.playing. '..~ .

.hyiling of John Lee. he 'would come to my apartment . Ano~her great player. in early 1969 and since f.ying. 'would lead. had much. the o. he was i~]mo5~ totally a" blind.fltry blues player Sonny' Terry.ylhm~.{ chord r:h. pia. AU the best players working toda~ !ike Kim Willson!" Rick Estrin and Paul Oscher.With Somly' Terry.. lNUliarnson. him to his gigs at University club called Mandra . as it is in almost everyone 'who followed him. ke's on in Avenue :wnB·€·rke'~ey.(e'011J.thep.. whose uniq ue and amazing Sqcf le~has not. J met hi m in California.n. circa '1971 - p[a~ t-he influence of :Sonny' Buy 1]80 still apparent. in the early 70'$.Later ().oum1. but was the absolute Chicago-style master o. Chicago. are thoroughly grounded in . ~nfiuem.ne''\f~'I~o made it th e cen tral fea ture and ha llmar k of his s tv le ~ I was the great c.

we were on the ~ bU~ together at a blues :ffi~s.. his..e..ears and several IQontin'ents.al in. world." It was a ve'ry g. He broke in to a 'big . Man.ef. it gonna do the same for :rOU. he was in town.a'~. 'One nigh:t~. I heard you was with Muddy.. --_.a:ti. this harp hi-ken me all over the. "[erry. walked down the' hall to Scnnv's .'110Ugb-h~. California. -- . harp of his shirt pocket. I (a.. he' puUled a. Most people threw :i~ . Montreal. If you stick with it.ni~..r. his encouragement 0\._ .Qbri}eny 'with ilis style on.w.t. . 1~()t~GUEL()(:K~NG B Years ago.u'" L··· r:ny~-nm. 'l.v. --. ' later. 5ev.back in._..p and said. to 1 me.}I./~ . I .t1]":r!' EO p.''(ry . 1 'knew you was gonna do it. emphasize it . They we're thr-owing a.aW8].a nd i~aent.. ther-e was a 'paper insert included in the hich showed how to tongue block. held it u. when they packaged box '\<\1" --_.fyingmoment that I treasure still.V without a J 'thought.. he recognized 'my v 0 ice in stantly. when I was with Muddv. said hello. lie 'was a wonderful ma n...grin and said.way the key to . .1t '~l'elJl ildy' e made me persevere. _- Marine Bands. and al'though 1 play nothing like him.Chicago when. generous wUh. time .flliH'h. l and I[)n'~y .J dressing D room and when m.

. your s. portant techniq ue sin. r 1.'Iongue t.o ne ..o(king·.. split chords.g.hrum percussive blocking allows :you to play single notes.~. Including bet1ding with.of the 111 ost im .. harmonica .. .. nd 'When .ound is going to be very limited.gave up playmg i 1t\fiU.€IHech.u e ·b.pIDa. I~eny'ea rs tongue blocking exclusively. tOIn. I 'played almos . and pn~Uy . . back rhvthm. octaves. l1l'y Ups".yi·ng·. learned to do it I completel y .~ various special . Withou~.

t'I have found . Althoug. brea shou1d bare 1y k contact '\'\f])lh the harp. which can create some' muscle fatigue. percussive purposes" I still tongue block at the bo ttom of the harp. sometimes . and h OI'\<V and where to switch and make smooth transitions 'be~een one tecl1niqu." _. The symmetry of p'[a. yon to r.cIE'" And. Whe'l'l you do this.:.my tongue on the harp. There are tonal differences It'hat can be used ~o advantage as wle:~.f'O'F' tonal and.h.a~ if you you are pl aying tongue 'block all the time}. h'11 harp 13.tb. 'B.y'tong'lJJe' for other thmgs=single note double and triple tonguing. now ill generally play the first thr-ee holes with. the right slide of ~olU'r mou th and face.yin:g with your lips at the right times allows. On occasion I 'ltv"ll - bend witl . before I realized that ~here W'eI\e'occasions when I. since you ate emphasizing muscles on. Dont retract it vier)" car or the lead "l-b. . 50 1 ".'. including bending your not's" wifh an asymmetrical embouchure..S well.e'~ax and also keeps your mouth from drying out A note about your tongue back rhythm. with the lip method and before I sorted out 'where and w hen to use w h1eh methods.y lips. It took me a while before I was fluent again." note will. m. 1. :iP.e' and the o~~hreF.my 'tongue on the .. be absorbed into the· chord.__ .'U. needed :m. began to use lip-pursing again. io~rinstan.

.1...hi~..CO are' good practice for pia ying them cleanly.----- . an d win also begin to give you the feel for.' ec . ]1' p p:.~ o"f~r IL.. I~ p~ rhe . -- : L1P P'UR-sIt~G . to ILl.e' fee. 'g~ _... '.' 'ii'i'l i"~.---strafed =.ie scales on the . . ~'..I1.ILb ~. just how' far you have move to land squarely on the next hole'.im.. rre .- -- -_ - - -----_.!":" SI '"""O.~ ILc- ~ cl early Tl.V'C he rp and after a 'w.. ".. ito ..:n'b' I II. JL. 0'1.] lot' 1 iw h..'.e Y..O/1U Il get 'tn.:"..' 3.~ 1.n't n.ru~-...pm.." I !l:1Ti ~el' II.::iI ~~ C!ic..:.. U ~d T'iI ~JL~IL. '.' u.~~" s. . f. .p i our -.

. .. obvious tha t anv ~ in-d epth knowled ge of music theory is! in no way essential LiUle' Wa]. It elax.D. I wil! tongue block. but as...g b ues harmonica it is mer.._'_ ': .. instead of lip blockl ng.u .Olmica player who can read music If yon wan t to learn to read or can do so already.-ter got. 2 and 3..~. .. _-_. . ----------- 1 LIP BLC)c¥:IrqG this on.r.JI .2 draw~ you 'W' hue I demonstraee can use this technique anywhere.' I Ul1l1U on bt e. \tVhen. a]o. I'll usually 'tongue b 1oc k.a.ny' lo eking th ings on each side of your head" -18':"" Ii ' __ .. ·11. Further up. ---- .ng: just fine wi th out it and I can' It think '0 f OI1. dlx be of value in man y areas. . ~ it w-ill" .II\\ii'. . you consider that some of the Inusic...}.1 . . as :1 sa id ea r ~ er. ii..ely req uired that you learn to use tbosle' fun. S ometi m es for d ~ con trast or a bit heavier percussion.. grea ~s~ pla y[~. th d)" S gIe. Au . for pla. the .· ..-yin.1. although I 'Use it pret ty much exclu sivel y on the second and third holes.e tQP blues harrl)l.....s i1\ 11~Sb)'rycould n' t even read Eng:-lsh let alone l if's.

... !foIl 'Ji 'Il.. . "lq .iI' .t.h...C..J[.. \V 'W H 'W' W '~fiI 'H '~V:=:Wbole st~I' H~ Half step - There are sharps or flats (bla ck keys) between all the lettered notes « whi te keys) except between Band C'."'Ji." ~ . 'J .JI L..J..tiIJ€: I .hait Jl. ~.. h ts only a half step beca use .Ji11l-.r... ~'.III [IQ"~I (. The interval between H. relate to one a ~"othet. D..hart the' mote is a half step highef t.g' that I' III Ii.I~. ..~... 'live would have to go..han C or you could call it D fl'at (D~)mea n tl1.1 L!' aka y~i t refers to the same note..L.~ . 'i"ill Ilere is a section 01131 piano keyboard whkh g. 't'" .eUlf'l. 'iIj'Ilof"\. '~O kno w is in~~lrvm are ~An Is betw ~~~~\w : ~' . ..·· CfU rea lly need Y .E II!. ..... W' ':Ii '!Ii.. between 'C and D Is called a whole step because there is another note between them. The interval. ther Ii..II:.thet€ is no s tep interven ing' no te. to elf'. ~ Ii . .u. owever.'ii...th £:On.a:i._. If we wanted a '~r!hole interval up from B.jl~..._j L-J. C'D.lIJ..~.. . and E and F.':' .[ut~~'1! in terva~ is the distance ~n" .l L. 0111v _!J thi ng.II!.. L....1' '\1 '... You can call that note C' s/-zarp (C#) meaning t. for instance.~i' .' .ejnl~Ii'lI'w~'....b:I~ pl~ .I..r·.i!' .ives us a vi sual representation 'Of how notes.~ .and C or between E and f~.. ~ ~·l "Ifl' ill.T he w.I Q ."_.J1'1l.

.. C.€. Th. sa me intervals tha t we P Iayed in the key of C ju st J. :3 C W DI .' sta r . 'wl'iwole CD-E)!.'" the..'ho:~.U~.!CJ. the four is the F~.half (E-F)" ( 'whole (F-G).~. . IC...! a Hie-tie is ~he ke'y' of E': ]_ 'E 'W 2. We are pla ring the. A old DOlI R.and I half (8.~. whole (G=A) whole (A=8)1. '.. different pain t.' 01" .'1 kev p.. C -'D-£=F.}r.I..C" C 1L. - .1'. I' ...t lng from a.'" we .e'IC='DI).Il in .f we started.=B=C. ._ 'if'. on C and pressed every key (white and black) as 'we ascended in half step intervals to the next C we' would be 'playing a chromatic scale ~ If we only pressed the 'white keys going from C to C~ we would ha ve d. . ".pmtoorn of intervals itJocreate a major scale (W'~·W=H~W'~W~'W-") remains ._l' 'E W i 4 F H \V :5 G.. con sisten t regardless of where we start 1 :2. ."'~'_ ..)lay .IL.t E w The one is E~ tb... _ if . Ul. nd ~he' five is the G. and the five is the B.# O.FA/-' OIL" LA. di atonic or major scale.Pl" .refour Is '~he A.tne Sv :-"if"iil . F# W 3 4 A . ~' " 0-" .~. .EL."'-.This . . we press just th. 001" And ~~h!e W S intervals we play when... "b'l./f B.!G .e white keys are '".rl 5 6 W Vii 7 II 8- G. A W W I B H . _~. . 6- '7 8 . .-£i' 1 ." v~m}1i: 18 '.li"Iilm...~'y .

J' or Yon now know everything you need to know about music theory-or at least everything that I know. It ain't much but I've gotten bv on c ~ .ke'Y~and a .lny.--01V you should be able to figure out what notes c.prrh~je· major scale in .~. four and five are' ~oranv kev.oim.eollsequenHy w'hat the one. .

10f I(JOU me 'w'. four bar intra starting from the.giV'E!iyou a. . That's what .I just marking the chord changes by playing the root note of the appropriate chord at the start of each bar. riffs.#~" I hole draw This simple way of 'playing through a.. So if someone saJys~ "lntro from t'he S/' y.8 111 4 II IIA'II I' 1 'I " il II El' II Ii IE II I' I II '1 .rdJ 10'D the '9th.y._.. '~l2B·AR S1'R'UC1'"\JRF~ 1 1 I E jl . o Y'i[')U can :pla'Y' all kinds of lines and. __ ._--- . as long as t hev fi t ~ agalnst the underlying playing is all about chords. 1 1 11 II 'I 11 1 s 1.ou" n kn!()w that it is a..e are playing these 12 bars ill the simplest possible \va. bar.5 eho.y~ngf f course. In actual 'p'~a. E. twelve bar b m ues 'progress ion \v iIl .---- -- - . . basic template for where the chord changes are.

O'r s.3-4·.l{emember bar. 3-2-3-4.i. .nnle as : you make the vowel change.. -oQU t ehe note haven't got a gri. thing in learning hov to ben- is to keep a '"'grip" on the air stream as you ke your vowel changes. I .nd '\·vh!en it happe: s . Coun that there are foul' beats 'to each the' bars along wit... bu doesn't change pitch .L~ 1.L~ - 1-".' ter day..-4. 2-2=.. .rt1E'Sl.l.. [ru stration. 'S fairl v easilv... wo nder wha t the heU .h-be exa aple y saying. 4-2~3~. DON O'T GIVE '.' change b1J .. O1et ~ J J' p rotra cte d.p 01'\ the air stream producing that note.th. l.-J.etc.map...·lrro. but It . _.-- --- T'be nnportaR't m.--B' . ' ------ -. Some or ~y'nuwl n D t-'. "1 .Tlu hick is eo g'let 11-0'1. as. . ILL bap'p. I gU(i ran tee it witt you' was 501 hard..en-'.."I' ' G" E UP! Keep at it day a.'P r You WILL be able to do this.··l D' ~.iO ~. puns slightly back and down with the vowel chang e.of it and ~':I'-'I€P it' as yo :r tongu .. Mavbe not the first tim -. E.lG---. When you feel or hear the brea ilk.2-3.'~:\:U!.. ..

still.O.-._.. in the world is. we sl ip holes or make jumps.. .'e ._.. ll. .o nee you gel: the sense of how to bend. able to play almost any run you hear.-J .g: and shapi 'J@. in that the pressure requirements to get the most aut of each note and to con:trol tbe 'pitch and. ..ach hole on the harm nica has a slightly diffeTent feel.. am.~'-.[~[1i _.a. 't_h€fl yOtl will be' able' to :p~ayB-ny line .. you can bend with the' tongue blocking method wili'l.. I I li.. exercises and you win be . ~ ~!~ ( .e your tongue is on rtbe harp. 'i'i§II"Y'!ioFFi.1 _. tone are different.e The \b UiP '. -' llcate I !'-..: .. 00' m '1.l~.Ii!-iC.. a g·~venmol ' and .a"'" streem. sometim ..1'!1lJK... Il'!~. ~\."".'u.~ from . how to bend with your lips first.~. comprised of the' same basic 'I uildlng .. But to learn how to do this..J. blocks. !'... t the no·'O.' I . you must 1. once you " _'"'!In. Masb r the ". work on each hole to get centro -'.'nd. hut y.i':. If vou are able to move ~ in the adja. .eiU'er higher or smoothly between any no~e'in..~ A D\ Old f._~' 0 ...Otf course.I Ul~ 1UJlI . but it will take some and you . I..l! .g.u.. Get used to the feel of the notes and controlll ..ou will ge~ used. ent hole .v!l.' our t 'i.. l.:::.eon thl har P can l be ha ndv on WOI k occcasion. tl.. to this as you start working out licks ~"iIfflJ .' 5 I noted before. Bending with ._ note ny l()\¥er".

t.- --- _.. Of course there will be' .escerndlng lick. --- nrt:..run. It is r-eally u... L ~ ~ - --- .. draw lip pursing . --_. d... total masterv with . Sometimes if t'he " draw is involved . _."!jj.TS "A NS"'" ..p to you and what fee Is easy and comfortable for you wlhui e giving you the sound you want. .J \I'IOurlips. ..-.. .l J.should try to do it only' after you gain.L\... that Is going the' ·4 blow '~~]lha t'Ol1g~lje block to the 3. - - .. ..ay switch the there .1.J I .. ----- ----- _.Tn~T r)". .\"'~-n .- while u\ov~n:g down the ha-rp &000._.1 'm.

2 3 34 ~ 3 2 3 4 3 4 3 232 . l h -- r "Ii' .g'~ prlritani. '" u:pr a r ri()..'' "'"BT. .~~ " be.'i T.~.. -2"-.' -.~ Y "~''':iJr .' means blow. '''If'...·'I .:.. ."-U1u .!.-~t1!:r. s he cnorsd" as "ghest note IS is 'Ve.. ~ ~ • ' m.y.. \. S]~~I~1 ~~ • nC'iIffI.) VV -- - J~ ""..) Itt 1. -..ry " .:ri!·U . - I. 'NI . Iieks: (dow _ 3iDOiW' means !dralw .mos't often an ..·. :F . .:. . You should really try to master this. . v~. I.il~ IL. "Ilri.y ~ith pursed lips~'Being .. r~1" 'T -15 .·0' Ji!"Ri. "I .··.... 'L. pr or v.1~ u 3' ._ Vl:..··L 5''''1'..'1' The tedm!qu~ I show you on the way up. anytime you go from bent notes 'to I'" .111... ' 1!....._ ! : -- - ------- "hree blow is..ill "':I' .swltrcb_s.I'b·· ' .1... .. ') D'r~ 't"1 7"W' -L. . .I '.y._.!ii ":1'" e . . j tt t. .. .llI"'.· .. bendin. 'I .:. to Ib'~~'UJJJJi~I:D" I iii'Io...I. W' ~ th.. .._: .valuable. - 'Used when fhe note OT preceding it is also .at blow' note on the 2 hole ..

... 'rato ._ mSiLo'reTed . r SrlE~ ~ I·. which .r notes win ~ ftat and. .""!. burt erveu'wJaUy.. so that the vi:. .. .e' sound of a note. : ~.smooth and seamless. '"""'7" . . myself in the process."'.. ... -_. ~ .-- • - L~FFE:.IlS ad one tha't Ughit laJnd' 'st~ 'v1ery' ~very subtle.l ~IAL. . bra'~oat all" you. C. .. . ." ays to prod uce different Wa·.". workmg on. pr_ I! • _ ..and mas'tell sd .. .u IC~l\ clidrlng: of the ep'ig:iottis..iD ra to gi'vles. In._.. _-... 1~~ =. ----- --- V B"ATO ~ V.-a racte . ... fOF'a long time and practically choked. ex.rnc . dlull.gavle an almost imperceptible g~.ife a nd c .If you play without IOUlIl"- any ':'..o'w' o' his notes. Tbey shimmered t beautiful.. Big 'W. ..to f'.'er -I kinds of' vibra tn. the throat vibrato try 'to elimina te or su bdue th e i yo.--:l ---- . 2.perimen·ld Weless.oJ.

.M'!' sustain it..tiill yo!u can . warter iC_'nd you get'.lOg' sna !'ii..OIW .8-'" ~'f' " . " 0' it 't"". b]1't more d ifficul t. As with. it is a very re tty effect." and then maintain that position ill your throat w:h ·Th.L. '0 1" er 3. _ most people are .ng about doing a warble is tha t it should be even and smooth. but done with rapit tongue switching in the foro. ke a . 0'f' a..Thie' most . ~ their mouth without too the dra leV 1i.4" -=-) and just al ternatel y block 4 and 5r..l is a good effect in the right spot..·' .. of a sideways ' I utter. . able >lfolliI f eir tongue ag. . Pretend prOnCUJflC€ you are' just: itbou t to the letter JiK. But' on can be .I. dO' with your head.of what to.m.alY help. Il.ore you can. There is also a sideways flutter in YOlLl -. Il. doing a warble betw en3 1 and 5. it may be helpful to practice wllich this in short bursts ould l un. then 3 and 4~so that it's almost UikJe.".':~I T'he grovv.g 0 . GR.' inst ~hle' oof of r l11LlCh trouble.~. This m.I' ~ WARBLES important Ithi.. " . .' Thi ~. -. fas t enough. If don. many other techniques. holes (3.e you draw.. but Y0tI don't - N!~n to overuse ~"t. 'T his practice FLUTT'ERS bee h rique may t.0 old bi of be.. . The blow iB growl is [easily mastered.d 1 some idea ..

I. DOd'.'IGUI. . . ..f.'G '1-' saching double and tripI.. 011 tonguing is standard p[iOCedUli€ brass instruments . "t Use whatever syllable' you are mo 'with.. I _'ar ki . Hurta Tuck Tuck t This is done on a chord on holes 1. "ea Uy "pop" KISS 'OPS that note. Learning comfortabte how to bend in stages while d' uble orr' triple tongtrln.g chords .'1i and Till -I)'L'E TOI:. useful in the' rigll't pl.Hr..'BARKING .ruiQW-::M1 ho 'to TIL. 'I '" not.. Some people ca 'n. .~PS AND 'G.L.. and like a l special effects. Just make sure . .. ] assume you already '~I..:. You land on the :h. . 2 and 3.~SSES e'JJ1lOU th concept. are g're t for sudden " rhvthmic p'.ace. :: MSS. "~ noth er technique that can be effective if _ used.. w.:unches and for mimicking' I drum~ D'ddJey beat Tucka T-Tuck-~Katutta . '~e'vouwant.g '\' ill d _fini~_Iy take .u. Fortunately.. spaYm']ng]y. YOU reallv do A simple 'R.

figuJ1ie that IC2i.ou couldn't forced '~O TONGUE S'WITCHING play either of t' re examples '~O make properly without this technique.lot of practice and time. be 'movie your head or the harp the jump between holes t .l take some time and practice to g~t the fee] of making some uf these chords.o'rit does aID. be difficult.ij/i]. or vice . It is not just used in turnarounds.~'phrasing n. if not impossible. TIltlere are '~O keys: ODie is using just the ve'ry tip of your tongue to block one hole: the other is in being able to play ~wo notes on t of the' right side' of. youJt' mouth and one out of th'€! left side.and 4~. much can to use it. but mastery . You would. 'but is a wa. 'You probably won't have 'tna't.'opPy. term projeet.. a rhythmic places. Think ()f it as a long .end of this section (the turnaround figure) is extremely' useful and Important..n be 'useful in many Y.Mow u.g. :1t SPECIAL CHORDS .which would slow you down and make' the lick sound very' cil. The 6gtme' I show you at the. of' certain things that would otherwise.y of playin..

!I! :n '~.S C hanging harmonica strengths rhe voice of the note can add expressiveness to what yOin p:~Ja.'1' Jln .. is..!... 1'1. '!I\.".." . ":_' g-'u...sound chamber in. Having an 'O'.. r'-.a'l of the W. .'Ji"'j. ~ -11~o:'!' Il<~.u.i"I. .m.1'I and try making a..1.~" '.o.".. 'will give 'you the sound of the second examples. "p' if L..PENG NOTE.......aUy play some good chordsl SH.."i. pinched sound. 'JI ~.f..t. after all. one 0 f' 'the g.i'1 u:_ '_ '.. . Trunk of the' vowel sound '~E.onIj.!joil. so th at Y()ll...iI'il.: 'I. and letting the nate: a II the: in. !!i.u.o ..'"'t'lL. _ 1 1~'Jf"!I. fh e meat of you:r tongue.p'h."'. . I: of the first "I" 0 K.. . . yo ur mouth. a tip . ..'.iI""dd~" ."'.re.y'o"lltr' -.d r 1"'l'.i n go. '11.C1. win give you the sound ~'V . Now.~ ~... ~"'I!I.e' "..' "'""'.'.. forward and blocking up any sound chamber 'wi ~'h.ll !l.. if you had a forked tongue you could re..I y and appealing features instrument. "_.I':iI' . almost keep the note from entering your mou th..!!"'I!...d.versa..y and really enhance the human quality of the sound of the which.pe'l1.A..:...

.nft. t~hafr: 'way it seemed as if his beautiful but muffled notes were cOIning from a d~.d..nau.. Ionetheless. good sea] to 'begin ·m.- : ! . .th.. U .111. B c l~ ~II!' ~~r~·lt6-r=ad 'I ~I'FO~ and s ~}---~.loaU'5itl)C.. l!.l ..layed.nCl®dt~ etc... or ..g '\ivith ._. ~ rn J~T .€ effects less d..~ h.. ~.w ·g~·'·ly.!J..C.. Wah.. ..F \. G.i. and w'hen he p.!"\ U _.· k 1:'11. ~.. . . -- ~T 7~t. U!. at ·~.: 1 V SE _ - r)..rnic.~D·.. . Nothing got out. U. .. ..'f8_maJtic.. because the ell P r th.'pecially' mn:porlant when playing inside acousticall y.. L ..=·wallS are less :pro.~.. you play the microphone is held are' much ampllfted. E .. :pIaym.oOd hand technique 18. ' closed cu:p over the whole harp. Amplified y·ou. . there is still some effect when. ~' h ~ .It""·!1I!. When. itll ..l A. want to have a.ltd._--- _._:·.VVllen he '~efl '3' . e..p! '{\7'eU feet behind him .

c~d ar-cs or windtnilling motions that would suddenlv .O':'l ~!!.and vibrant sound pralctic~... He put on a whole show. besides being high]. The contrast Sonny 'terry's CJoooo.!!O...rup hand e'ffecllS. were a visual trip as well.!!!....j.'~iI!"":''II. 'WIDth his free faruUng the harp.Uy[leaped out. hand.. I sometimes Open wi th fi~gers or right.y expressive and varied. 1102- making gn~.J!J~ . would bunch his .~~. i I"'". knocking the heels of his hands together for "'n P.

He was all 1inc'I"ed'w"ble showman. r.ohl't ing and ~W1S ting ills wris t while wild 'Sounds poured out of his harp.".. 1~' e might 'be 'worth a trip to the library to search out any' books that eontam br@'. stronger Erna.on:IT you learn from the diaphragm '~O breathe and keep YOlu. W.orth your '~lltenti.dlee~p:r tone. you will have greater pow. the greatest.fingers CO])ping together and jam them. a ~nd. . 'Up into his hand. SO'~!O performer and fhe' possessor OlE.e'r .I.tus open.ppara.vl1alli s~ practically defies em ula lion.Edrru. .en. hi.g'hly :p.k~. ''L ' 3d.'r. .r en tire breathing a.9. hugely ever" ]Jf' '~hat entertaining.ng: exercises to' develop diaphra gm strength and control.

.N siri .. .1 \' . . and that's the \va:y ill' vie.... ']I' .s. s of positions._ -.l~ J..'"" . famous bi t of studio banter between Sonny 'Boy Il an d one of the' Chess brothers in which Leonard Chess is insisting that Sonny Boy name the song' he is about to record..~..1't 'to ~u TI:1af S pretty~ rnuc 11 :ho'w I fee] ~ . CaU them what e you.- playingiO a .fifthslt so that if were harmonica ¥I.rd po~'ition.1 tuned .i' ou 111d .'''''. o T:hose 'ty'.hol.. You name thl~rn yc~ur mamrav if vou want .. I jus t call them the way I learned It'hem. e'.. PrJ S -ft"'nTC.jih" _~.~. ' to the kiev of Ai then A r b . . D~ 3.aJJ.·...A ]1 s~·pos.d posi ton since that's the one hole draw.. . B 2n. b 'I lid . wa nt as . (1:\. -- S''"' Jj I-r here' s a. __ . ll' .. .. Others could say that it makes sense 'to call .-- -- --- .~\g' as Y'(l.Ito! r._-_. I!¥OU name :U what vou wauna. "1.Ii>.~o..L\I.tl understand ~._-- . You name it your mammv~ if ~ ~ vou w'. about the nam .\10 .]jtiJo n since tha rs the' one hole blow.".Olh.. position. ~ ?'.be rela ticnshi p between the k.ey of the harp and the l<..J 3c . SOID1r~y Boy tells him." ".PO~ll IOml.'E'~Yf the' song.e blo1lii\f) and E 4th posi tion (two hole dra w). an·.e'the p 0'5ition So is to follow the "circle of . 'd D' .&-.th :Kno\fvllooge of' music 'theory will point nut that the logical and musically correct wa y to na ID. named them in the charts that follow. 'You name thern whi1 t you wa nt..} ''''_.'e . .

.i' . eo" ~ ~ ~ ::.' .l'a.er Ludella jitiJIRY RJJgersl tiltl:e' wni'ler' Ice Cream Man Brigh t ttght31 ~']g"'" Ci'~v ~ " /01tfJ .Gi''''..t.. Mv Babv "'" ..a._ -:: ''\J'.im/... V~II!. .'aU::e.'tf tbr.. .1..i! ~ ....U'i.. ~I /u I '.I!.One' oj These' M.W~l ier 'W'aUdnl Througb The P~J:k .8T. Woman.LitUe w..io'f' 'Wid/s . TI.J.ers l.im:my R~~d B~8 'Wiillr:ter' HJ~lr'~lu~ 'f1el-'H-~@'M. .oll"l'ng Fast. :~W. 'r.Omlngs l.. ' .~. 1l{libtphluM3 'B'l"rI_IJ~5 Sh~ s 'N:inet'€E!11 Years Old NJ:I'lddy INal.~r Enough S of That Stu:ff fallulou5 Tlnufd'erbirds I Ki iTI loVUsOrJ Honest lido limm3f Reed Jimmy ROgt'T:$J Lilt.Ie' tM~b.. '[..rtoo.Here are some classic exam ples of first rate p~.. S'· 'c'ii.''i'Io'TI... Milady Waters f Li'~ne' WgUer Y.fID:g 1st and 3rd positions: in Hoochie Coochie Ma~..WI!ll .d Hea.M'~~d~y W~t'er5..."Littie' Wtdl:eT George Smi..itt~e WaUer Muddy 'W~fers / unIe.atse. Mudcly Wa"ters{Liule Walter I Want ~oBe Loved iv:1'u~ldy 'W~~'ers! ittle 'Wa~ter L Chance to Love Trust.: <" \J .~:Ule 'Wn1ter .Il. . iB.th Snatch rr'~'Sack I GIIDt to Go and Hold It Jun..i.li U'le ltViB'lt.r 'Ii.iOiD'lJOO 'Ways .I"".. .' '3·"'b.

~ . Ah. 18 I II 0 A _.• 1 00 ~ 01 - E F D I C e F B II G C III E~ IE D~ ID E~ E - .: ) ID'~ D~ DI DI I OJ) . ~: w F# IF. I F~il 8 A I G I 'C Bb B IE~ E E~ I Apll A B~ BI D~ I I A il F I 19.I B III 'C. I D'~I I 1 A~.~.Key' of Harp 1st 2nd 3m I I 4th 5th 6th pes itioJ'l c . - ~ I c olb.. IB~ B' I c Db.. . I C ID G D E I F A . F .c .. 1 Fj UI II 'GI A~ A.:. I o E~I E~ IG' A~ I E .I . I II - .A 1 I I C I!I F G A D~ II A. 37' _ .~I E. IB. E~ II IF F#' .~ A - C I - Dp I IEI~ I I! A . IG G .8. G II E~ II A. D E I A E II F# G E" IE 17 IE II III '') B~ F :z:: ~ iF f e ~. B C' D'~.A18~ . F# I I A.A~ A B B .~ IioIoII I I C: F B. IEI~ IBlb E F F# . B~ BB E~ I A~ I E II I ! Db III IF·' o . . I Ab .Ke'Y of Song ~sf 2 nd I I 3rd 4th 5t~ 6th pos~~ien C D ~ ~ I~. B~ IB.~ F#. I[r - IF't F# II ~ GI G I A . 0 E~I I' A D~I f# I i D I IF F#' G IE f I II 8 C 8 b. I DI I " A~ B'~.' ..~.A~.~. DI IE.

Tone C()mes fro'm you.While different it's true that playing amplified gives a character '~O the sound of the harmonica..' J amplifiers. 'which are tube amplifiers with four ten-inch speakers .. which is the choice for a lot of the top pb. Don't expec t those knobs and s"~~ ies to do YO'I[] tc r work.'D J eq..ipm.:ltip. but s.Asl ':OF mv ('f". and that' assorted mics a nd ~unps and 'v.ariOUJSombinations c of thent tvill alter Ole signal with aspects of their own character. I g:e:n. I like' i clear sound that doesn't mask the char'acter of my own.mie'ntl' I play Victoria I .Y1ers. garbage out. the mids pretty . that most people place entimly too much emphasis on eq1ll.ent . 'Don't practice am plified.:p'~]fthat.@ra lIy 5€':'t the ba s s knob fairly high. Make the harp do the' wOl"k" . That isn't to say dlat you shouldn't play through good equipment. Or a micro phon e.·:m. regardlesss of the equipment. I iliiml:.and an Astatic JT-30 microphone. it's a case of garbage in .. (tot from an ~mp. tone.

eli'~ set u. . .€'~. put it somewhere . Your amp settings may change from gIg to on the acoustics of the stage ~"' I gig~"depending ~ and room. \Alh. ..~ t okay. I'Il make adjustmenrs' then.up'·~T"Uhit I a [Ie'¥' notes 'to make sure everything's iSJl. the perfor mance. right during qui. vou're playing.'Srnong.ething..aJ and just a little hit of treble. bit orfreverb on" If there' is preSience knob. I'll also have (1.te.If $Olll.I" ll usuallv _. I lrv'a:mrt to :play the 'harp" not be an 'electronics engineer. and fhen leave it. a li-on. in the middle.

borth. Little Waltef' 'p!la. ca 11.' the UJ Sing.. ' perfect examples.right that you won' t hea r w Jh a t t h e.eifS £.. Learn to bring.~ 'back.nd When you start play"'ng with a band. a rhythmic and a ronal reference. dfl'1I1 t J' play on ~op 0 f' the vocal Learn to play HUs that get in and out and do n' t get in the \I'i!'ay. ith a singer. Learn to listen to Ute res t of the band..the ~.'-' hich 'w:iUgive you. somie.y behind Muddy or jimmy Rog.OF.'et b ack h'L by set tin g him P with '~~'1i[hJ. at first you'll probably be concentrating so hard on get. 40 .'The 'LEGE'N"D'ARY Blues Ba.~"Listen to gland . 0 especially the' bass~. oth e F' m u s ician s ar e! playin z. And when you play '\+\.ting' your own even ~ l~ P art .a t :Mudd v used to.

blue'S in three shuffle and a.~~C'altracks Jeaturtng Rob il l a rei on gui t a r in w h ich he a.. -"'.~ tar' tracks It. plays a.that you can pla.lthe in Znd position..rs't in t 1hIe . repeated with o'ni'y' the guitar.. {'~1V..S 1\ ~. harmonica of A for pla ying in l....l.ug. march beat.ttJ ereal 'bii ..s:t pos m·tion.e'n in the key . so.of B fO'F 3rd.. E ach track is p'Fin'[ed t\'-:ltd(e'·n.rn J..T . positton.key of E fo r pla yin :~. 4··L "t . slolr~ ~epa r a te keys.I for praC'Ucl.y along. V' a 10 H'P with is . succession. - There are nine: Duke :m. i The first 'time I ac:compa.!'. E-~ nl R te-\ '\.. All three then in the key beats jO H..O' Pta.ny Duke and then the track is. fh. i . 'Having' these '!Gil' O"'O.- .og and working au t your ideas.

gs I wan t 0f sa y about va rio usa s·p.e cts learning to :p. Jive tried to give you the tools. "there are a few thi n.aJ.a t y'ou can b urld any .y:sical side ~ that is. phys·c.. and just music in gener a 1~ There a re two com po nen t s to 'playing' an mstrument.s/. - 8.b~rya musical instrumen t.how to make it say w hat y'Ou want. 110W to sculpt arid .ack YOUL- notes properly.- - _--- _.1..._'tt.h.---- --- ---- CL()SI1~G RE'M~ARKS -_. tll. One is physical and th e o ther is conceptua 1. I n this cou rs e~ I!V e concentrated on. and matertals :80. mastery o:f the instrument: how h) get proper SHJUnd.. efore '[0 I flinis. the ph.

.s. 'n ~" 'U "0" ~.and in many ways that is the ~()climb.~.. b-.(u~."II ' G S .'. more d.III.1.' '" 1Ik. in to the conceptual area ."" \\l:"'ii' 'iii'ril ~ u O.il! IJ!.vide-ranging to.rN!U.t~ta y you 'put them to ge t her move 5.'Il.1II. v' ~. harmo nica pla yerl be g1n by 1is tenin g to grea t LL3 . and..tl~ . I ~.. .I' ." . 1IiJl~ "'lIi !t.tmountain get that is from constant ]' .'!41.~.! .£ 't.orl ef...ifn..".li. .t e'll .JI' .

blues harmonica players. listen to older stylists Uk€: 'Win Shade .n.S. Ba iley and Sonny Terry. and modern mas ters like Kim WHson . Red Prysock. King.. [ames Cotton and Junior Wens.Ioe Houston.on. n" H op.nns .8".. Noah Lewis. ike Big ·.: ki " . Gene .. T='Bon. Iisten '00 R. Elmore James. S axopho nists like Earl Bostic . '. \Y:iJ~. Meade Lux Lewis.l.. You (:C'Ui 'found up the' us ual su s pects: tittle Wallte[" both So.is jackson. Slim.Jimmy Reed.. Illmois J acquet.o:l1..ter Horton.. Jimmy Rogers. 'B 0 b by 'B land f Freddie 'King and Albert King. Pete J ohnson..A mm... Ful son. [0 0 ther bl ues-re la bed ba nds and. Listen to! Count Biasile.. 8.a. Harpe. Howlin' Wolf.. Listen. A 1bert Ammons.. Me:M phis SUm and Otis Spann. t WalelS..y Charles: . Know' their classic Lightn j.ceo Merriweather. B{g W. 'Louis J ordan and Cleanhead Vinson.n ists. and great blues piano players .ow'leU. great boogie- woogte pil.erj' Guitar Slim.. Ma gJlc Sam.e W~lk.·" Boy Williamsons. ·D~Fold. " . [u nior Ps rker. instrumenta lis ts: the.

but listen a. the note' s.ound of one ble bea utiful no te placed in the 'fight setting can . H isn't.m -thing.a... listening is a passive experience. True Iistening ]$ an . can.r."" ' listen _.0'1' IS it cris p an d cle an? The' note is a livlng.M sav ..m~~.Hs~eIl eo Louis Armstrong. and meaty note.U" 'UDlenote! Is it a.:. :n't..r..m c@. -" . It ~. 'Pam p. deep and dense at its core'? Or is it thin or hollow soundi fig at the center? s the edge around. your intelligence.ges.. and eng..d .ar sou·n.. And! 'most It'be tm. Close YOiur eyes. each 1'[1 s.iJ)u·t·"': your p'~ay]iD. Listen 'to g.ea't music and it· w·n. r mean . .~.. Listen to tile total sound.".port. Q p1e:n yout ea rs r and listen as deeply as you. h.8ctiv e experienoe that requires focus and concen tra tion..-. .-. _ ~ _: m the .of~: nd a fu zzy? . To most people.~ See 'how their parts complement and dove-tail one another ._ '.s well to... nd ~\\!hen . A i'.fu:m.:G:~ ... rich. _ '...an'tly . The .e. truest and deepest sense.~...

.' .'o\!\rn '. 'you:r best friend.J' . JEaC'hone 'has. ~~ f:ll ven-1·1Ii. oj • . to be ad d. trying to [e:U.that is.!Il 'ilL..the st v r-v .. Every note' you pla y h as to re ceive Ithe pnJper attenti on so that U :£u~JUllsts role. i Some notes are 1ead actors others I are b~·tplayers or extras.&: 0 w: l·'~.'g" ll!li:.. And you should" When you are trying to learn a 'fiU Oil' SO'~OI off ': record.g the' right notes win be much quicker. J v nu I""J ''::I. .stir emotions in people in ways they don"t p10WIet even understand .nc.resse d correc H y. however s·Hgltt.~.' J.h -'..·i·n. Remem b e:r: Your ear is..3 .1'1_ liF'Io f "".n. 'h I" .. . but ·t~hey all des r. . can get these off of records. thi18~ ~c.I ~ . That: s the and mystery of music. sequences T hiere are thousands j" of notes to play. . Iisten to it u'oliJ.V!QU... !G "ii ~ ~ opiI. In case you haven't noticed.. "I....~s ru ..IlI. T here are no throw-away notes. A 'b':"" 9:1 .. you can sing the part you are trying to play~ Then find in.r~ !<lll II... 5. course' ~ . of licks t hat have b een pla yed and you.. N -" 111' ··I _OIW :~e'tme say something about how and b u. hatve their fu nc t h) n in !.t I~ what to practice.

he.'_.Then address the torre. g.! ~ . V . then they've got it.. 1"'\] ' ..'I!I"~ . passage 't'hal :$leenrllS diffie.oIi." y" .I.vi'np' vou trouble. ...il):£ nOItes at fh e correct time intervals. It you.(C\e.i3J te com'pa"ftln.. 'n0 r where vou finish.try to ge~:as close as 'possible the original. o TherE' are lots. .I . Ij I~ ~. ve a ~nd .t.. 01 .~ I t' •- th . 'I~. The truth is tha t ordering H}.lick or riff or1olo and think that if they replicate the correct sequ." . Once vou have the right of .M .L!Ij~.iF\] . phrasing and tOI nuances and .U abou t making .e'cor rect n ores in fh€.. . '.len ta liz e g·:j. . of people who listen to a. .ult ]5. . .]I 0..0 ]...t ~'~!I !IC.m. ha .0'1"1 . p roper time seq UEll1C€' 1s 'where' you Start.!!oJ.. . I 111!::li1 .it musical.a '! ~~~. Do if' '" 'Ute section that's over and over until Y' u can do it smooth! v.'lI'1 ~ C h [ ]j'n~'~ II ~'a' ".'en.f th ~{n --I' II "'L.IL --!. . _. ... making the .

'~IVI~I..~h v ibrato? M ake your ear a it 50 YOIU can.co0·· 1!I. '1' n learn ... w·i. in 'OJtln..~. ' s s urp pos edl to ~ Wh.. :::i A'8······ 1_' .!L -e .i. .1.!IiLJ invaluable.IIll~.a'Y'·ed.vouIl be . 1110Ve learning all kinds of licks and w'ays to '4' .sh l' Is it p~..J!..1Ii .l.phrasing fully realized.~·I"'I""'·m··· . At the same time. . an d tech 11 ical rre.. mastery that yau will gain by the dis cipl ine .....ed OF played d :~..c h i t 110 t es are emphastzed? Is the note played Hght and. . Il. ''!''lirnlg 'Iii" V Ii . pretty or heavy and deep?' ]s i..•. .~ .e':~Itg' ~.play lU...n ' W .. ~ ILl...mjini...t pUflc'11...."""a. elv ...!LlJ .. T he ear tralni n.'~ ....: ~ . so that it conveys the :fe.g.~.

of going backwa rds so that eventuall y you ca n go forward. process. New combinatio ns wi ~ 1.radition of it'he blues is a. . 'begin to erne rge' 5 ponta n.ythful1g tbaJ[ I would ~~$"[.en to withou t a gun to my head... As your mastery and confidence gl'OI\fVjI' your own stamp and style '\i"viU It's a long 'be. And some (.lte~1' Sonny 'Boy or anybody else. wasn't OWl' style/ am. bees use they went to have .gj:n to emerge.heir own style.around the harmonica and move within the able to use elements oi them to play new and dl f:[le':f1e n t tbi'n gs.a nd tr adi tion. I've . heard people say that they don't 'want to learn Little Via. proC'€'s8.l y a 5..eotu. yo u gaj 11 confidence.t. The process of learning [a m usic w~"ththe rich ~. but it 'begins 'W it h knowi ng th e classies .~ them did have their but it.

'. -ld" n cons ci 0 usly con stru ct. BuJJdy Gta..h~ ·W'be·n..'.'. Londc.high in tr be world like it..p": bv rote a 0 ~ ..·h3lvin. "J ON' memorization h) and you begin to trust yourself relax a nd let the music come calls it an act of t·hrougb.. .on stop .d'-_.a I.E ventu enough al ly.Ii ..cil(:n~lSmind go ot your become and hope to to flow a conduit fo r the music U:rrou:g.nRoy.r I 0\V11 perso nal ity will IJ elmJ~I'o:e' as y·. You have' 'to trust enough to let c.-.re -1e. you.t.with a n inner logic of itts own. Ill. : '. almost architectural t.. :" iii. on an. and one day I hope you get there. Eric C~apt:o.s.a.. At this point yo 11 are truly breathing music and the harmonica wil ~ seem to pia y itse lf~There i51 no .-.. . '..'_h' ..ens.a. With !R'o'ber~ CRY'. P.Albi~rt Fbll.. it happens.1I1 1991 1 . balance of .Y'~and. the music will come t hro u gh Yo'U. . yo'U~ Br:ic Clapton faith~and it is. _ . yo I! co U .(nl.se . with an.

.l@\- head of lil: own band The 'lrreElnli~nrefS and another . . In additton....~ .. I) udng.:n:.OI Blues.ne'm~er rs at. .ers Shies Band. u ~ on fi v e conti nents with p rfermanees at The Wlit[~. M el. R [HtiIJ II 6 .sS<i.albe 'in the U n[oln aJ. M. 'FI.. 1996 was n Grammy .{I' ror r~he fabll d Muddy \OVat. he has lectu red at: the 'IB.l 'of Musk ill Boston a J:ld has .. anomer six a's leader off the Lege ndawy 'Blues. albums while recording wirh a wide "variety of artists . Band" ~OlliF.e now rna kes his home outsid e Bcsron. sdes s:ix yea lIS·as a r.uage olf Chic.ag.v'ri tten and performed origina l music t.fou r as a faa rured member off The Eric Clap ~on Bi1Jnd ..g·©J...nd twenty-Ii ve coun tries C itv 1\11 s..lch usetts.('1 _.iesam _ Streert.[ du wing. 'tm...\fat~r5 Tribute Band.his tou ring' bas carried him b) 1~71ery st.Jerty Portrtoy was 00111 in 1943 iii ndJ yew up in the blues 'rich atmosphere of Chicago s famous Maxwell Su'@@t.. .d~'r. Award nominee for his work with The )'1uddy \.e JoUl~t Carnegie Ha ~L .i'r'kt!.erldeeSchoo. c career Itl1~t inch .' c Hall. ~he.Radio Th ~ Smi til soni an" L ond on /-..iibtlldlin.