Blues Harmonica Student Syllabus

Blues Harmonica Student Syllabus By David Barrett, Mel Bay’s HarmonicaSessions® eZine

October 2007 There is so much to study on the harmonica that it can be difficult to know what to spend time on. Last month I gave you some warm-up exercises as well as what to focus on in your practice time. This month I have put together for you a lesson plan of what I commonly do with my private students. The left column represents the main study areas and the right column represents areas we would work on at the end of a lesson or while the student is working on a song that may take many months. Having multiple areas (but not too many) to work on helps to keep the study interesting. Take a look at this list and see if there are some areas you have overlooked in your study. 1) The Basics The World of Blues Harmonica Construction and original musical intent Techniques available The approach to study Holding Flat Prayer (Good for hand vibrato) Right Hand Pinch (Common) Right Hand End Cap (Most air-tight) Embouchure (Open vocal track) Harmonica Notation Rhythm Training 12 Bar Blues Studies: First Lessons Blues Harmonica  Technique Articulation (Ha, Ga & Ta) Vibrato (Tremolo) Dip Shake Two Note Combinations

Secondary Study A) History of Blues Harmonica Essential Blues Harmonica  B) Rhythm Training Whole notes, half notes & dotted half notes Quarter notes & eighth notes (straight) Swing eighth notes (shuffle rhythm) Triplets Syncopated eighth notes Dotted quarter notes Tie, slur, staccato, accent, fermata, repeat, ritard and volume C) Music Theory #1 - Notes Chromatic Scale (sharps/flats) Major Scale (sing) Scale Degrees Basic Chords Memorizing the harmonica

2) Bending Physics of Bending What happens in the harmonica Notes available Tongue, jaw and throat (vocal track) position Bending for Expression Stopping at the Bottom Starting at the Bottom Chromatic Scale (Half step control) Studies: Exerts from First Lessons Harmonica  “Baby Scratch My Back” by Slim Harpo “Sharp Harp” by George “Harmonica” Smith Heads (famous songs that require bending control) Technique True Vibrato (change in pitch) Dips, Cuts and Falls

Secondary Study D) History of Blues Harmonica Essential Blues Harmonica  E) Test Music Theory #1 F) Music Theory #2 – 12 Bar Blues Count Changes Sing Changes Bass Lines Quick change and turnaround usage Listen to band for changes Openings Endings Breaks

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3) Tongue Blocking Tongue Block (TB) Slap (S) Pull (P) & Pucker Pull (PP) Pull Slap (PS) Flutter & Side Flutter Tongue Octaves TB Bending Studies: Blues Harmonica Level 1, Tongue Block Method  “Walter’s Boogie” by Big Walter Horton “Juke” by Little Walter

Secondary Study G) History of Blues Harmonica Essential Blues Harmonica  H) Test Music Theory #2 I) Playing with a Band #1 Leading a tune Key: (Ex: G) Groove: (Ex: Shuffle) From: (Ex: From the V) Signals Passing solos Breaks Vocal cues (break, speed, etc.)

4) Blues Harmonica Instrumentals (Classic ‘50-‘70) #1 “Easy” by Big Walter Horton Play slow, then full tempo with original track Play with jam tracks and record “Sharp Harp” by George “Harmonica” Smith Play slow, then full tempo with original track Play with jam tracks and record “Sad Hours” by Little Walter Play slow, then full tempo with original track Play with jam tracks and record “Steady” by Jerry McCain Play slow, then full tempo with original track Play with jam tracks and record “Juke” by Little Walter Play slow, then full tempo with original track Play with jam tracks and record “Walter’s Boogie” by Big Walter Horton Play slow, then full tempo with original track Play with jam tracks and record Your Choice Play slow, then full tempo with original track Play with jam tracks and record

Secondary Studies J) History of Blues Harmonica Essential Blues Harmonica  K) Accompaniment Playing #1 Traditional Accompaniment (Fills & Playing w/Vocals) Hooks Listening Examples James Cotton & Otis Spann Little Walter & Jimmy Rogers Walter Horton & Jimmy Rogers Little Walter & Muddy Waters Others Playing exercises

5) Improvising Principle Chorus Forms - the study of repetition Artist song samples and analysis Original composition Focus Notes Analysis Original Composition Instrumental Construction Elements Head Hook Bridge Artist Song Samples & Analysis Original Composition Additional Soloing Concepts Soloing Blocks Climatic, Constant & Saw-tooth Form Turnaround Usage

Secondary Study L) History of Blues Harmonica Essential Blues Harmonica  M) Accompaniment Playing #2 Bass Lines N) Accompaniment Playing #3 Horn/Organ Lines Memorize harmonica th Memorize 7 chords Play roots (all ranges) Play 3rds (all ranges) Play 5ths (all ranges) Play Flat-7ths (all ranges) Hole Changes Octave Hole Changes Listening examples Sequences 2 & 3 Note 4 & 5 Note

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6) 3 Position Basic Theory Non-Bending (Full range) Holes 4-10 with Bending Holes 1-4 with Bending D Blues Scale Major-Focused Soloing Holes 4-10 Holes 1-4 (Arpeggios) Converting chromatic harmonica soloing Studies: rd  Exploring 3  Position  “Blues in the Dark” by George “Harmonica” Smith “I Got to Go” by Little Walter Original composition

Secondary Study O) History of Blues Harmonica Essential Blues Harmonica  P) Accompaniment Playing #4 Sonny Terry & Country Blues Q) Microphone & Amp Microphone Bullet (Body, cartridge & output connector) Vocal (stick/wand) Amp Size (S, M & L) Effects Pedals (Delay, reverb, EQ, pre-amp, etc.)

7) Blues Harmonica Instrumentals (Classic ‘50-‘70) #2 “Off the Wall” by Little Walter Play slow, then full tempo with original track Play with jam tracks and record “Juicy Harmonica” by George “Harmonica” Smith Play slow, then full tempo with original track Play with jam tracks and record “Chitlin’ Con Carne” by Jr. Wells Play slow, then full tempo with original track Play with jam tracks and record Your Choice Play slow, then full tempo with original track Play with jam tracks and record

Secondary Study R) History of Blues Harmonica Essential Blues Harmonica  nd S) 2 Position Scales Major Blues Minor

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8) 1 Position Basic Theory Holes 1-4 Holes 7-10 (Middle range?) Studies: st  Exploring 1 Position  Rice Miller (Sonny Boy Williamson #2) & Jimmy Reed Original Composition

Secondary Study T) History of Blues Harmonica Essential Blues Harmonica  rd U) 3 Position Scales Blues Minor nd V) Position usage over 2 Position changes

9) Blues Harmonica Instrumentals (Classic ‘50-‘70) #3 “Roller Coaster” by Little Walter Play slow, then full tempo with original track Play with jam tracks and record “Creeper” by James Cotton Play slow, then full tempo with original track Play with jam tracks and record Your Choice Play slow, then full tempo with original track Play with jam tracks and record

Secondary Study W) Test nd rd 2 & 3 Position Scales st X) 1 Position Scales Major Blues Y) Test Harmonica Note Spread w/Bends Chords of the 12 Bar Blues st nd rd 1 , 2 & 3 Position Scales Chromatic Scale

10) Chromatic Harmonica Basic Theory Slaps Pulls Fake Octaves Octaves Button Usage

Secondary Study Z) Playing with a Band #2 – Groove Instruments in the Blues Band Shuffle (stand, double & backwards) Rock Beat Swing

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1 and 2 Position Soloing Studies: Basic Blues Chromatic for the Diatonic Player  “Blues in the Dark” by George “Harmonica” Smith Original Composition 11) Non-12 Bar Blues Changes Scale Study Maj, Mix, Dor & Min (all) Chord Study Maj, Min, Dim, M7, Mm7, m7 Arpeggio Study Mm7: C, D, E, F, G, A & Bb m7: C, D, E, F, G, A & Bb th ii—V at 9 Measure Turnaround None I—IV—I—V I—VI—ii--V Substitutions Song Studies “Ain’t Nobodies Business if I Do” “Stormy Monday” by T-Bone Walker “A Real Romance” by John Garcia

Slow Hook Rhumba (Latin) Grooves based on blues standards

Secondary Study AA) Playing with a Band #3 – Form How to make a chart Modal 16 Bar Blues 8 Bar Blues Alterations (Watermelon Man) BB) Building a Set List Straight ahead tunes vs. arrangements Instrumentals Standard vocal tunes Keys Grooves Tempo

About the Author David Barrett http://www.harmonicamasterclass.com/david.htm

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