101 Blues riffs vol 6 download 10/9/09 09:32 Page 1
101 BLUESBLUES RIFFS RIFFS VOLUME
101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II I , SONNY TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE... 6 AA PLAYALONGPLAYALONG COURSECOURSE FORFOR BLUESBLUES HARPHARP "A real nice approach. For everyone from beginners to intermediates" LEE OSKAR PLAYERSPLAYERS CD THE BEN HEWLETT INSIDE HARMONICA COURSE L&H106 Arranged and transcribed by Paul Lennon L.T.C.L. 101 Blues riffs vol 6 download 10/9/09 09:32 Page 2 101 Blues riffs vol 6 download 10/9/09 09:32 Page 3
101 BLUES RIFFS
101 blues riffs for diatonic harmonica in C, in the style of The Walters, Sonnyboy II, Sonny Terry, Levy, Clarke, Milteau, Piazza, Musselwhite, McCoy, Power and more..
A play-along course for blues harp players
Ben Hewlett
Arranged and composed by Paul Lennon L.T.C.L
© 2009 Ben Hewlett. All text and illustrations. © 2009 Paul Lennon. Musical score.
Published by L & H Publishing. e-mail: [email protected] Web: www.harmonicaworld.net
A catalogue record for this book is available from the British Library.
ISBN 978-1-907058-09-7
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the publisher, nor be otherwise circulated in any form of binding other than that in which it is published and without similar condition being imposed on the subsequent purchaser.
Audio CD © & P 2009 Ben Hewlett & Paul Lennon. All rights of the producer and the owner of the recorded work reserved. Unauthorised copying, public performance, broadcasting, hiring or rental of this recording prohibited.
3 101 Blues riffs vol 6 download 10/9/09 09:32 Page 4
CD TRACKLISTING
TRACK 1 Welcome back 2 (Riffs 1-5) CHUGGING RIFFS 3 (Riffs 6-10) DEFORD BAILEY 4 (11-15) SONNY TERRY 5 (16-20) LITTLE WALTER JACOBS 6 (21-25) SONNY BOY WILLIAMSON II 7 (26-30) ‘MANNISH BOY' STYLE RIFFS 8 (31-35) ENDINGS 9 (36-40) WILLIAM CLARKE 10 (41-45) JJ MILTEAU 11 (46-50) BRENDAN POWER 12 (51-55) SHAKES, RATTLES AND ROLLS 13 (56-60) TONGUE BLOCKED RIFFS 14 (61-65) BIG WALTER (Shakey) HORTON 15 (66-70) CHARLIE McCOY 16 (71-75) HOWARD LEVY 17 (76-80) ROD PIAZZA 18 (81-85) THIRD POSITION RIFFS 19 (86-90) FIRST POSITION RIFFS 20 (91-95) FAST AND FLASHY 21 (96-100) JAZZY RIFFS 22 (101) SONNY TERRY 'WHOOPING' 23 TWELVE BAR BLUES IN G
4 101 Blues riffs vol 6 download 10/9/09 09:32 Page 5
TABLE OF CONTENTS
Page 4 CD Tracklisting Page 5 Book Contents Page 6 Welcome Back Page 7 Introduction (Track 1) Pages 8 & 9 Simple Chugging riffs (Track 2) Pages 10 & 11 Deford Bailey (Track 3) Pages 12 & 13 Sonny Terry (Track 4) Pages 14 & 15 Little Walter Jacobs (Track 5) Pages 16 & 17 Sonny Boy Williamson II (Track 6) Pages 18 & 19 'Mannish Boy'-style riffs (Track 7) Pages 20 & 21 Endings (Track 8) Pages 22 & 23 William Clarke (Track 9) Pages 24 & 25 J.J.Milteau (Track 10) Pages 26 & 27 Brendan Power (Track 11) Pages 28 & 29 Shakes, rattles and rolls! (Track 12) Pages 30 & 31 Tongue-blocked riffs (Track 13) Pages 32 & 33 Big Walter (Shakey) Horton (Track 14) Pages 34 & 35 Charlie McCoy (Track 15) Pages 36 & 37 Howard Levy (Track 16) Pages 38 & 39 Rod Piazza (Track 17) Pages 40 & 41 Third Position riffs (Track 18) Pages 42 & 43 First Position riffs (Track 19) Pages 44 & 45 Fast and Flashy riffs (Track 20) Pages 46 & 47 Jazzy riffs (Track 21) Pages 48 & 49 Sonny Terry 'Whooping' (Track 22) Page 50-51 12-bar blues in G Page 53 Thanks Page 54 Chromatic harmonica tablature Page 56 Ben Hewlett biography Page 57 Paul Lennon biography Page 58 The Series & Forthcoming Titles
5 101 Blues riffs vol 6 download 10/9/09 09:32 Page 6
THE BEN HEWLETT HARMONICA COURSE VOLUME 6 101 BLUES RIFFS
Hello and welcome to the 6th in our series in which we offer you 101 blues riffs to learn, use, modify, and take over their ownership.
Each riff will be played for you at a fast speed, then a slower speed and then in most cases, at an intermediate speed.
Each track contains five riffs in the style of some of my favourite players, starting with simpler riffs to get you started and gradually getting harder.
Whilst studying with Joe Filisko I've learnt that most of the earlier players tongue- blocked most of the time. However, to make it easier, I've decided to ignore this generally, but you should try the tongue-block style as well. Use your tongue to cover a couple of holes to the left of the notes I've given you and it should work out!
The players on which we have based these riffs are chosen haphazardly from my personal music collection so should not be taken as exclusively the best players - although they are all exceptional in my opinion. We also ran out of space on the CD so couldn't use riffs in the style of Paul Lamb, Kim Wilson, Sugar Blue, John Popper, Paul Jones, Lee Sankey, Johnny Mars, Steve Baker and a bunch of other inspirational players. Maybe on the next riffs album!
My playing - (although brilliant!) - is no match for the source players whose styles I've attempted, so my best advice is to encourage you, after enjoying this CD, to go back to the original players and to study them directly. It is much harder of course - what we have we have tried to do here is to present the same information for you in a half digested form - almost regurgitated, and fed from beak to open screeching beak. Imagine us like a Mummy or Daddy bird feeding you, our fat and starving little chicks!
6 101 Blues riffs vol 6 download 10/9/09 09:32 Page 7
INTRODUCTION
Most riffs here are in second position or 'crossharp'.
For those who don't know, this refers to the 'flavour' or mood given to your music through your deliberate choice of notes. Second position gives a great bluesy feel and is based around the low draw chord i.e.- a G chord when you are using a C harp. That’s holes 1 - 4 draw.
When you include hole 5 it becomes a G7 chord which is PERFECT for blues. Chords like G7 - or any other '7th' chord - will instantly give you a bluesy flavour on any instrument.
You will also need to bend lots of notes to get the blues notes (blues scales) which add to the characteristic sound. In 3rd, 5th or 6th positions by contrast, most of the blues notes you need are available unbent and the chords are unavailable. Bent notes have a different sound texture, so choosing different positions alters the flavour, and the technical approach. If you're not clear on bending notes we may be able to help you out - check out the chromatic tablature page. Note bending will be dealt with in future editions.
We've mostly stuck to 2nd position also because it is considered 'normal' or familiar, and most recorded blues that you hear will be in 2nd especially between 1930 and 1990.
For the exact same reason I like to escape from 2nd and experiment with some of the other 11 positions available - I think it's our duty to explore the harmonica!
So plug in the CD and let's get to work!
Try to train your ears (those are the big flappy things attached to the side of your head) by at first NOT looking at this book. Just listen, stop the CD, and copy. You need to work at the ears - music belongs to the EARS. Written music is a handy code, has great historical significance, and is a great aide-memoir, but it's just paper - music is generally an audible experience rather that a visual one.
7 101 Blues riffs vol 6 download 10/9/09 09:32 Page 8
SIMPLE CHUGGING RIFFS RIFFS 1 - 5
I THOUGHT WE JUST AGREED YOU WERE NOT GOING TO READ THIS YET !? TRAIN YOUR EARS!!
Chugging is a system I use for beginners and intermediates alike. It is ‘rhythm’ harmonica, and uses the two basic chords in various rhythmic patterns. Chugging gets you to whisper crazy words into the harmonica to create amazing sound textures. It leads you to encounter breathing problems and helps you to overcome them. Rhythm is the bottom line in music, as breathing is in harmonica playing. So chugging is the foundation in my view.
As with all the chugging chords in Get Chugging, Mastermix, and Nasty Chugs, this technique only works effectively if you whisper these words loudly into the harmonica.
Riff 1 do da (in) do da (out) do (in) Riff 2 da (in) hoo (out) hah (in) hoo (out) da (in) Riff 3 tocketa (in) tocketa (out) tocketa (in) tocketa (out) tock (in) Riff 4 da (in) hoo (out) daaaaaaa (in) da (in) hoo (out) da (in) Riff 5 do da (in) da do da (in) do da (out) do (in)
8 101 Blues riffs vol 6 download 10/9/09 09:32 Page 9
SIMPLE CHUGGING RIFFS Track 2 Riffs 1 - 5
Hewlett & Lennon g2001
Swing = 104/70 Twice each
9 101 Blues riffs vol 6 download 10/9/09 09:32 Page 10
DEFORD BAILEY 1899-1982 Riffs 6 - 10
He was the first African-American star at the Grand Old Opry he became known for his ability to mimic animal sounds on the harmonica. His style is beautiful, crisp, and accurate in the articulation of rhythm and sweet melody. It sounds like ragtime or Charleston to me. In 1926 he got his weekly 15 minutes at the Opry, recording and broadcasting. A publishing battle ended his career in 1941 and sadly he apparently returned to polishing boots, but not before being heard on the radio by Sonny Terry.
10 101 Blues riffs vol 6 download 10/9/09 09:32 Page 11
DEFORD BAILEY Track 3 Riffs 6 - 10
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
11 101 Blues riffs vol 6 download 10/9/09 09:32 Page 12
SONNY TERRY 1911-1986 Riffs 11 - 15
Sonny is perhaps one of the greatest players in the rural blues style. He had a huge global impact and toured the world with his music. From lowly beginnings and with his lack of sight he must have overcome huge obstacles to achieve success. He started playing the harmonica (upside down) - I mean the harmonica, not him; that would be silly - and working on street corners busking. In 1938 he bumped into Blind Boy Fuller and started playing and recording with him for the two years leading up to Fuller's untimely death. He heard Fuller playing on the opposite corner of the street and sent a boy to set up a meeting. At exactly the same time Fuller, it seems, had done the same thing! Sonny said that working in music he only ever met one bad person. A man stole a coin from Sonny's busking hat. Sonny later said “I hope the fool's still spending it” After Fuller's death, Sonny teamed up with guitarist/singer Brownie McGee and thus started a strangely unfriendly partnership lasting about forty years. His career took off like a bird full of air. So check out his albums, especially the solo ones, but here's five Sonnyish riffs to get you started. Paul Lamb - my first teacher - says he studied Sonny exclusively for 12 years. There's commitment for you. He said you can learn everything you need to know by studying Sonny, and maybe he's right.
Let me give you some more words to whisper loudly into your harmonica for the chordal part of these riffs. I’m quite sure Sonny would laugh at my approach but it seems to work so we’ll stick with it for now.
12 101 Blues riffs vol 6 download 10/9/09 09:32 Page 13
SONNY TERRY Track 4 Riffs 11 - 15
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
13 101 Blues riffs vol 6 download 10/9/09 09:32 Page 14
LITTLE WALTER JACOBS 1930-1968 Riffs 16 - 20
Another of the old classics. In his short life Little Walter sent harmonica messages around the world. He 'studied' with Sonny Boy Williamson in the 40s and then worked in the Muddy Waters Band in 1948. He is reputed to have started the 'Chicago' electric style in 1951 - on July 11th - by plugging a microphone into an amplifier. His reputation was that of a great innovator, experimenting with sound, recording techniques, swapping mics and amps to get 'his' sound - a sound nobody has really recreated yet. He was also known for staying out late drinking heavily - it's thirsty work you know - and doing a little of everything. Then he would arrive at the studio at 5am to start recording! His recordings are all wonderful especially 'Juke' which was a hit staying top of the charts for 13 weeks in 1952, and 'My Babe', 'Last night', 'Off the wall' and so on, the list is huge - buy them all! He toured extensively throughout the 50s and 60s sometimes using the UK blues revival bands such as the Rolling Stones as backup men. His style mixes a playful and easy lyrical flow with hard edged blues and often giving that rock'n'roll feel to many pieces. It seems he played softly and let the gain take the strain. We can all learn from that I feel. The booze got to him in the end and he died, it is said, as a result of injuries sustained in a street fight in 1968.
14 101 Blues riffs vol 6 download 10/9/09 09:32 Page 15
LITTLE WALTER Track 5 Riffs 16 - 20
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
15 101 Blues riffs vol 6 download 10/9/09 09:32 Page 16
SONNY BOY WILLIAMSON II Alex 'Rice' Miller 1897-1965 Riffs 21 - 25
Sonny Boy Williamson II - not to be confused with Joe Filisko's favourite, the also excellent John Lee 'Sonny Boy' Williamson 1914-1948 - was another busker who was mixing with all the people who are now known as famous bluesmen. He even taught harmonica to his brother-in-law, one Howling Wolf! In 1941 he landed a job with the King Biscuit Flour Company playing on a midday Radio program on KFFA, presumably adding 'Rice' to his name 'Miller'. Cashing in on John Lee Williamson's record sales, the station manager apparently billed Miller as 'Sonny Boy Williamson' with great success, and the name stuck glutinously. Chess signed Sonny Boy in 1955 after he had been recording and playing with increasing popularity and his fame spread to Europe working with the Yardbirds and the Animals in the 60s. There is lovely black and white TV footage of him wearing a bowler hat and a smart suit playing hands-free with the harp bobbing around in his mouth! Buy all his albums, do yourself a favour.
16 101 Blues riffs vol 6 download 10/9/09 09:32 Page 17
SONNY BOY WILLIAMSON Track 6 Riffs 21 - 25
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
17 101 Blues riffs vol 6 download 10/9/09 09:32 Page 18
'MANNISH BOY' STYLE RIFFS made famous by Chicago bluesman MUDDY WATERS 1915-1983
Riffs 21 - 25
Although Muddy played harmonica as a kid he had changed to guitar by his twenties. He provided a professional platform for so many great harmonica players and developed the 'Mannish Boy', 'Mojo Working' feel that he just couldn't be left out here and his style is still widely used by harp players everywhere.
This is my 1963 Watkins Scout valve amp with 1960s Hohner Echo Super Vampers and a 1950s ex US miltary PA mike - fab gear! Inside the amp, written in chalk, it says 'Manfreds 1964' Was this Paul Jones' amp when with Manfred Mann?
18 101 Blues riffs vol 6 download 10/9/09 09:32 Page 19
MANNISH BOY Track 7 Riffs 26 - 30
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
19 101 Blues riffs vol 6 download 10/9/09 09:32 Page 20
ENDINGS Riffs 31 - 35
Never know how to finish neatly? Now you will. Here are some riffs to end a blues in a clear and obvious way.
Some people who have inspired me...
20 101 Blues riffs vol 6 download 10/9/09 09:32 Page 21
ENDINGS Track 8 Riffs 31 - 35
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
21 101 Blues riffs vol 6 download 10/9/09 09:32 Page 22
WILLIAM CLARKE 1951-1996 Riffs 36 - 40
William Clarke was another fabulous harp player who died too young. I was lucky enough to see him play in the UK and was very impressed. Also on the same bill was Rod Piazza, who, like William Clarke, did a lot of work with George 'Harmonica' Smith. Bill's style is 'west coast swing' and has that jazzy big-band feel that I love. The other thing you get from Bill is POWER by the truckload. His rhythms are spot on and his phrasing is beautiful: we can learn a lot by listening to Bill Clarke's work. There are loads of his albums out there-go buy them.
Photos of Bill Clarke by Linda Maria of Linda Marie Entertainment and Mortone
22 101 Blues riffs vol 6 download 10/9/09 09:32 Page 23
WILLIAM CLARKE Track 9 Riffs 36 - 40
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
23 101 Blues riffs vol 6 download 10/9/09 09:32 Page 24
JJ MILTEAU Riffs 41 - 45
Jean-Jacques is a stunning French player whose blues can be fast and furious, funky, or lyrical. He uses diatonic and chromatic with equal skill and has plenty of albums out for you to listen to.
Picture from website http://jjmilteau.free.fr/
24 101 Blues riffs vol 6 download 10/9/09 09:32 Page 25
J.J. MILTEAU Track 10 Riffs 41 - 45
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
25 101 Blues riffs vol 6 download 10/9/09 09:32 Page 26
BRENDAN POWER Riffs 46 - 50
Brendan comes from New Zealand but now we've happily got him in the UK! Arriving as a well-known NZ player he instantly became an un-known UK player. But not for long. He set up evening harmonica courses in London in 92/3 and then through a lot of hard work and award winning performances toured with the Irish music and dance show 'Riverdance' for several years. I was having lessons with him at that time and eventually inherited his evening classes. That turned into a full time career for me (including creating this book) but that's another story! Brendan's Irish ancestry and interest in folk and Celtic styles have led him to study and excel in these types of music. He must be regarded as the best all-rounder in the UK and one of the finest players on our little planet. He has also (amongst others) revolutionized custom tunings and now has a wide variety of retuned and unique harmonica concepts. Check out his many outstanding recordings and visit www.brendan-power.com
26 101 Blues riffs vol 6 download 10/9/09 09:32 Page 27
BRENDAN POWER Track 11 Riffs 46 - 50
Hewlett & Lennon g2001 Swing = 104/70/90 three times each
27 101 Blues riffs vol 6 download 10/9/09 09:32 Page 28
SHAKES, RATTLES AND ROLLS Riffs 51 - 55
Tricks and effects. You should be able to do them just by listening carefully and working them out. To be used judiciously - they can get a tad boring!
I started all these children playing harp on the same day, so now there are 350 more harp players in this world - a good thing I feel!
28 101 Blues riffs vol 6 download 10/9/09 09:32 Page 29
SHAKES, RATTLES & ROLLS Track 12 Riffs 51 - 55
Hewlett & Lennon g2001 = 104/70
29 101 Blues riffs vol 6 download 10/9/09 09:32 Page 30
TONGUE BLOCKED RIFFS Riffs 56 - 60
Tongue blocking is one of the two best ways to get a singe note. The other way is puckering. I don't even want to talk about the masking tape method. The advantage of tongue blocking is a fuller sound (generally, although you can get great tone and full sound from puckering, listen to Brendan or Howard) and by lifting the tongue for a moment, you expose the chord, which gives you a rhythmic feel or a nice attack to your notes. My personal view is that you need to pucker sometimes and tongue block sometimes but always learn puckering first because it's hard to give up the tongue block when you start with it but it's much easier the other way round. The disadvantage of tongue blocking is that it is harder (but possible) to bend notes, pop the overbends, and slows you down on fast passages. So learn both styles but try tongue blocking now - you'll love the sound.
Phil Jon Ben Three great tongue-blockers!
30 101 Blues riffs vol 6 download 10/9/09 09:32 Page 31
TONGUE BLOCKED RIFFS Track 13 Riffs 56 - 60
Hewlett & Lennon g2001 Swing = 104/70/90
31 101 Blues riffs vol 6 download 10/9/09 09:32 Page 32
BIG WALTER (Shakey) HORTON 1917-1981 Riffs 61 - 65
Walter was a stunning player with the fat tone all harp players want. He was a behind the scenes man really and never got the recognition he deserved. He started learning with Will Shade and the Memphis Jug Band at an early age, and in 1952, replaced Junior Wells in the Muddy Waters band. Lots of recording followed in the next 3 decades, usually as a sideman, working with Waters, Carey Bell, Willie Dixon, and others. He even recorded a beautiful sketch with John Lee Hooker in the street scene of the Blues Brothers film just before he died. Just in time really. There are lots of his albums around for you to listen to - go get them! Big Walter Horton - the man with the tone.
32 101 Blues riffs vol 6 download 10/9/09 09:32 Page 33
BIG WALTER (Shakey) HORTON 1917-1981 Track 14 Riffs 61 - 65
Hewlett & Lennon g2001 Swing = 104/70/90
33 101 Blues riffs vol 6 download 10/9/09 09:32 Page 34
CHARLIE McCOY Riffs 66 - 70
The great country player. Charlie's style is so fast and sweet you just have to be impressed. Studios have been impressed, and since 1960 he has done over 10,000 sessions! He seems to have worked with everyone in country music and continues to record and tour and occasionally plays a little blues. His influence is worldwide - it even stretched to New Zealand where Brendan Power was living. He tells me Charlies's playing blew him away! So visit Charlie's site www.charliemccoy.com and buy his albums - you will love that country harp style to add to your blues playing!
34 101 Blues riffs vol 6 download 10/9/09 09:32 Page 35
CHARLIE McCOY Track 15 Riffs 66 - 70
Hewlett & Lennon g2001 Swing = 104/70/90
35 101 Blues riffs vol 6 download 10/9/09 09:32 Page 36
HOWARD LEVY 1951 Riffs 71 - 75
Yet another outstanding player - many would say the best all-round diatonic player the world has yet seen! He is probably the first to play fast be-bop and modern jazz chromatically on a standard diatonic. Howard studied music most of his life, specializing in piano and organ for 8 years, and has revolutionized the way the diatonic is approached. He didn't start playing until he was 18 but since then has done over 1000 studio sessions, and lots of musical guest appearances. He was certain the 'missing' notes were available somehow and set about finding them. He called the technique 'overblowing' and 'overdrawing' and although they existed before Howard - Richard Hunter tells me he first came across it from Mike Tratner in the spring of 1971 - but certainly Howard was the first to explain and demonstrate the skill on video. 'Overbending' is the collective term 'overblowing' and 'overdrawing' and it is becoming increasingly used and therefore acceptable. There are many players who don't like or use it who say that since Little Walter didn't use it why should I, and fair play to them! Personally, I like to use overbending to achieve the notes I want in the right register. I also love the strange sound texture and the physical feeling or vibration you get! It's like popping a wheelie on your bike - once you figure it out you want to show everybody, and also you can't resist doing it for your own amazement - it's fun, and a bit rebellious! It is also probably the hardest technique to learn and is even harder to do if you are a 'tongue-blocker'. Anyway all Howard's recordings are mind blowing so put some on your shopping list. His main bands have been Bela Fleck and the Flecktones and more recently Trio Globo. Visit www.levyland.com and buy EVERYTHING!
36 101 Blues riffs vol 6 download 10/9/09 09:32 Page 37
HOWARD LEVY Track 16 Riffs 71 - 76
Hewlett & Lennon g2001 Swing = 90/60/80
37 101 Blues riffs vol 6 download 10/9/09 09:32 Page 38
ROD PIAZZA 1947 Riffs 76 - 80
Rod in full flight
Rod is one of the first 'West Coast Swing' players I ever heard and I was knocked out by his skills. His band The Mighty Fliers has stood the test of time, they were formed in 1980 and if you don't own some of their albums you are missing a treat! His first great collaboration was with George 'Harmonica' Smith in Bacon Fat from 1968 to 1982 when George died. After that it has been the Mighty Fliers gigs and a lot of studio work to keep him busy.
Thanks to Honey for permission to use the pic.
38 101 Blues riffs vol 6 download 10/9/09 09:32 Page 39
ROD PIAZZA Track 17 Riffs 76 - 80
Hewlett & Lennon g2001 Swing = 94/60/80
39 101 Blues riffs vol 6 download 10/9/09 09:32 Page 40
THIRD POSITION RIFFS Riffs 81 - 85
Third position for a C harmonica puts you in the key of D minor (D 'dorian' to be accurate) so use these riffs on a blues in D or D minor and they will sound sweet. In the blues at the end of this CD (which is in G) these riffs work best on bars 9 and 12 as they are based on a D chord, but try them anywhere you like them! Pat Missin taught me the trick bending on riff 84!
Essentials from Lee Oskar and Hohner.
40 101 Blues riffs vol 6 download 10/9/09 09:32 Page 41
THIRD POSITION RIFFS Track 18 Riffs 81 - 85
Hewlett & Lennon g2001 Swing = 104/70/90
41 101 Blues riffs vol 6 download 10/9/09 09:32 Page 42
FIRST POSITION RIFFS Riffs 86 - 90
Using a C harmonica, first position is when you play in the key of C. Bars 5,6 and 10 of a twelve bar blues in G (like the piece at the end of the CD) are based on a C chord (the IV chord if you prefer) so use these riffs then. You can also play them using a C harmonica in a twelve bar blues in C throughout. Have a listen to Sonny Boy Williamson's 'Trust My Baby' or Kim Wilson's cover of it for classic first position feel. Also anything by Jimmy Reed will usually feature first position playing.
A nice bit of Bass.
42 101 Blues riffs vol 6 download 10/9/09 09:32 Page 43
1st POSITION RIFFS Track 19 Riffs 86 - 90
Hewlett & Lennon g2001 Swing = 104/70/90
43 101 Blues riffs vol 6 download 10/9/09 09:32 Page 44
FAST AND FLASHY Riffs 91 - 95
The first two are (something like the) riffs that I remember Charlie Musselwhite playing at a gig in London a few years ago and the others are hybrids from here and there. Some sound a bit JJ Milteau - ish Charlie told me how he was interested to hear how other people perceive his playing and I should call him up and play down the phone! Visit his website www.charliemusselwhite.com and listen to his music. If you want some crazy fast phrasing check out some of John Popper's work with his band 'Blues Traveller'. Blues it ain't, but they certainly travel.
picture: Charlie Musselwhite
44 101 Blues riffs vol 6 download 10/9/09 09:32 Page 45
FAST AND FLASHY Track 20 Riffs 91 - 95
Hewlett & Lennon g2001 Swing = 94/60/95
45 101 Blues riffs vol 6 download 10/9/09 09:32 Page 46
JAZZY RIFFS Riffs 96 - 100
These are fun. There's no reason why you can't use the diatonic in jazz, except that compared to blues it's harder, but you can work on it if you have the drive. Paul Lennon is a jazzer by default and he came up with these riffs. I think they are very refreshing when you play a lot of blues, and I loved learning them - have a go at them. How about a book of jazz riffs for diatonic? Tell us if you want one.
Queen Mama-Willie Mae Thornton. Blues singer and sometime harmonica player.
46 101 Blues riffs vol 6 download 10/9/09 09:32 Page 47
JAZZY RIFFS Track 21 Riffs 96 - 100
Hewlett & Lennon g2001 Swing = 104/70/90
47 101 Blues riffs vol 6 download 10/9/09 09:32 Page 48
SONNY TERRY 'WHOOPING' Riff 101
Sonny and others have 'whooped and hollered' for years and it's another string to your bow if you can do it, so now it's your turn. The C harp is too high for me to whoop with really, but it's a bit of fun and adds texture, dynamics and interest to your playing. Listen to Sonny Terry or Joe Filisko playing 'Lost John' unaccompanied - the detail and variation involved.
My main man
48 101 Blues riffs vol 6 download 10/9/09 09:32 Page 49
SONNY TERRY Track 22 Riff 101
Hewlett & Lennon g2001 = 64/30
49 101 Blues riffs vol 6 download 10/9/09 09:32 Page 50
12 BAR BLUES IN G
Here Paul Lennon plays a 12 bar for you to practice your new riffs. I also play some of the riffs with him but if you want to fade me out - and I recommend that you do - turn your balance control to the left and leave just you and Paul. Next, find any blues recording in G and jam along. Then do the same with a live muso, go to jam sessions, join a band, tour the globe - the world is your lobster!
Sonny Boy Williamson II
50 101 Blues riffs vol 6 download 10/9/09 09:32 Page 51
12 BAR BLUES STRUCTURE - SIMPLIFIED VERSION
51 101 Blues riffs vol 6 download 10/9/09 09:32 Page 52
Ben with Joe Filisko on the left and Steve Baker on the right.
52 101 Blues riffs vol 6 download 10/9/09 09:32 Page 53
THANKS
To Peter Krampert's 'Encyclopedia of the Harmonica' for biographical details an also to Sheldon Harris's 'Who's Who in Blues'. We also need to thank all the fantastic players listed here or not who inspire us all to play and to improve.
If you've enjoyed this course you also owe a debt to Brendan Power for encouraging me to start teaching the harmonica in the 1990s.
Without Paul Lennon's faith in this project and his myriad skills both musical and technological none of this would have happened.
I wish to acknowledge a debt to some of my teachers Howard Levy, Joe Filisko, Paul Lamb, Brendan Power, Pat Missin, Carlos del Junco, Douglas Tate, Steve Jennings, Paul Lennon… Thanks hugely to Ian Kay at Hills Archer Studios, designer of all our books.
Thanks to Hohner UK for use of some photos - oh, and building some damn fine harmonicas for the last hundred and odd years!
Also to Leslie and Lee Oskar for help, encouragement, the 'exploding' harp and groovy case pictured herein, and loads of other stuff.
And finally huge THANKS go to YOU for buying this CD/Book which makes all the hard work worthwhile.
Don't forget, if you've enjoyed this and want more half regurgitated riffs let us know and we will do another 'Riffs' album.
53 101 Blues riffs vol 6 download 10/9/09 09:32 Page 54
CHROMATIC TABLATURE (TAB) CHART
54 101 Blues riffs vol 6 download 10/9/09 09:32 Page 55
THANKS
We hope you have enjoyed playing these riffs and have found them useful,
challenging and fun. As always it's worth saying that our advice is for you to go
and seek out original riffs from other players and get them into your repertoire.
But don't stick at harp players - why not learn riffs from sax players, guitarists -
anybody whose style you like. There are two other riff books in this series which
you might try if you've found these good - Vol.17 50 Awesome Blues Riffs and
Vol.18 Sonny Terry Blues Riffs. You can pick them up from Harmonicaworld.net
or Amazon.
See you next time.
Ben and Paul 2009
55 101 Blues riffs vol 6 download 10/9/09 09:32 Page 56
He has also run a Blues Band workshop to provide a setting for new harp players to gain band BIOGS experience. He ran Saturday 'learn to play in a day' courses all over the west of England and continues BEN HEWLETT CTABRSM b.1959 to teach many private students. Ben runs 'Blues Jam Factory' now a successful Ben Hewlett became a musician at the age of ten corporate team-building and training operation with learning the trumpet. He went through the school a growing client base including DHL, Exel, Lloyds system of exams and performances, finally escaping TSB, Brittish Gas, Sanofi Aventis, University of the mandatory classical repertoire with the discovery Singapore, Novartis, TBL, The Hemsley Fraser Group, of Louis Armstrong and Dizzy Gillespie. He was a Instant Teamwork, Axa, Spice UK and BNI. To see minor third addict at fourteen and still has a passion this in action visit www.BluesJamFactory.com for jazz and blues. Ben received a harmonica at the Ben has played with Jools Holland in a blues jam age of 7 and started playing it properly at the age of Ben organised in London; he is a Guinness World 27 having seen the Blues Brothers film a number of record holder for 'Largest Harmonica Ensemble'; he times. Ben Has studied harmonica with top organised a group of 100 Children dressed as the harmonica players including Paul Lamb, Brendan Blues Brothers playing the Peter Gunn Theme on Power, Charlie McCoy, Howard Levy, Joe Filisko, harmonicas to an audience of 2,500. Ben and Paul Richard Sleigh, Steve Baker and Carlos del Junco. Lennon introduced 850 children to the harmonica During two years of running evening classes at Ocklynge Junior school in Eastbourne where all (inherited from Brendan Power) he qualified as a the children studied their 10-week harmonica Music Workshop Leader and worked full time course. Ben's students have received countless UK teaching music in different settings. Since leaving Harmonica Championship title and he was the first London Ben has gone into full-time harmonica ever harmonica teacher at Dulwich College, London. teaching. In 2002 he successfully completed the With Paul Lennon he is now an internationally teaching qualification 'Certificate of Teaching, published author with 'Get Chugging'. He once Associated Board of the Royal Schools of Music' taught Didgeridoo on Radio 4 with Rolf Harris and (CTABRSM). has played on the same bill as, and talked shop Ben and his team of ten teachers now visit 40 with, the legendary Larry Adler. schools a week to teach five hundred harmonica He also had an unexpected two hour lunch with students - he is therefore the only full-time Billy Connolly while setting up a harmonica festival professional harmonica teacher in the UK. in Bristol. This is known as harpscool.co.uk Ben can be contacted at [email protected]
56 101 Blues riffs vol 6 download 10/9/09 09:32 Page 57
He has produced books on Music Training Basics, Practising and Ear-Training as well as collections of pieces for piano, violin, guitar and flute. From 1993 BIOGS Paul taught at the City Literary Institute in London and wrote a three-year jazz harmony and ear-training PAUL LENNON L.T.C.L. (b.1957) course. From July 2001 to June 2002 Paul played Paul is a composer/arranger, bass and shared lead vocals in a band based in multi-instrumentalist and teacher. He is a former Claridges Hotel in London during which time he built pupil of Bishop Wordsworth School, Salisbury and a large pad of vocal material. From then he played in former member and leader of the Wiltshire Youth and various duos on violin with Charles Alexander, Jamey Salisbury Junior Orchestras on violin. He also played Moore and Dominic Grant (guitars) and on piano and in rock and folk bands in the Salisbury areas from guitar with saxophonist Howard Turner. Since the the age of 15 onwards and later graduated from summer of 2002 he has studied violin and piano on Trinity College of Music, London in violin, piano and the Jamey Aebersold Jazz Summer Schools in composition (1976-80). Paul has been involved in London for three years running. As a music editor many classical/light music ventures including and copyist he has worked for many years with Dave orchestras, a flute quartet, a duo with cello and even Hewson on his projects for KPM/EMI with at least a 1930’s cabaret act. He went on to play bass, eight albums to Paul’s credit. 2002 also saw the guitar, violin and keyboards in various bands and recording of a harmonica sample album with Ben from 1988-91 he was the bass player and Hewlett for ZERO-G, a major sample company. composer/arranger with EPJ, a 13-piece modern jazz Currently Paul is very involved in big band. He played guitar, keyboards and vocals in composition and recording particularly with Ben a 4-piece pop band, then violin in a duo with guitar Hewlett on the ongoing Harmonica Course and also until mid 1996, followed by piano in his own original his own playalong projects for guitar and piano. jazz quartet with guitar, bass and drums. Various projects are in preparation including a four In 1998 in collaboration with The Booming album set of songs with lyrics by John Goldman, a Cherries, a contemporary dance troupe, he produced blues/rock CD/book of riffs in the styles of great Gravy Bones, a jazz-oriented dance work. The guitarists including Santana, Jimmy Page, Rory following year he wrote and recorded the score for an Gallagher etc. and the CD/book 101 Blues Riffs for adaptation of King Arthur, a current production by the Harmonica played on guitar. He has also teamed up Spiral Arts dance-theatre company. Other works with voiceover artist Neill McKenzie to form a include string quartets, pieces for flute and production company that produces music and piano/guitar and solo piano. All these works reflect voiceovers for ads, documentaries, film etc. an eclectic experience and a leaning towards music He also continues to teach piano, guitar, violin, bass for dramatic and visual media. He writes from his and singing privately along with theory, harmony and Kent-based home recording studio and has composition. composed and produced many albums there including the playalongs for harmonica with Ben Paul’s current showreels can be heard on Hewlett and spoken-word material with Shaun de www.paullennon.com and he can be contacted at: Warren and Marietta Pinto-Hayes. [email protected]
57 101 Blues riffs vol 6 download 10/9/09 09:32 Page 58
OTHER VOLUMES AVAILABLE
Volume 1 Get Chugging - Rhythm harmonica for beginners and intermediates. It teaches rhythm, breathing, and articulation. Now published globally by Mel Bay Publications Inc. and available from all good music shops. Volume 2 Search for the Single Note - the next step on from Get Chugging. It introduces you to getting single notes and teaches you simple tunes/exercises with a series of beautiful backing tracks – for newish harp players. Volume 3 Blues jam Factory - an introduction to the blues for complete beginners. Different styles of 12-bar blues are covered in this volume using single notes and chugging techniques. All this with original backing tracks in each style. Become an instant blues star with your own backing band! Volume 4 HarpsCool Mastermix - a mixture of train chugs, riffs, standard tunes, and easy original tunes for newish harp players. Volume 5 Bones of the Blues – the blues in five different keys on a C harp. Eight original blues tunes all taught in short phrases and come with the appropriate scale for improvising. NO NOTEBENDING NEEDED – for intermediate and advanced players. Volume 6 101 Blues Riffs - learn classic blues riffs and sound like the players you love to listen to! Sonny Terry, William Clarke, the Walters, Sonny Boy Williamson, etc. plus riffs for specific situations – endings, fast & flashy, jazzy etc. For intermediate to advanced players. Lots of note-bending needed here! Volume 7 Funky Folk – folk tunes reworked with funky backings. …. coming soon. Volume 8 Funky Nursery - ten nursery tunes (each sung once and played at three different speeds) with the funkiest backings in existence – for beginners. Volume 9 Funky Christmas - ten festive tunes (each sung once and played at three different speeds) with the funkiest backings in Christendom and beyond – for beginners. Volume 10 Nasty Chugs - another chugging book but with disgusting words! Designed for children and in the style of Roald Dahl. Each chug has a rhythmic pattern, a groovy backing track and a simple tune. For younger beginners – these are horrible! Volume 17 50 Awesome Blues Riffs - for intermediate players. A response to requests for more challenging material. These riffs will challenge the best of you! Volumes 11 to 16 are all in preparation including books on notebending etc.
Current details are on the website www.HarmonicaWorld.net or email us at [email protected]
58 101 Blues riffs vol 6 download 10/9/09 09:32 Page 59 101 Blues riffs vol 6 download 10/9/09 09:33 Page 60
GROW WITH THE RANGE...
SEARCH FOR THE L&H103 HARPSCOOL BONES OF 101 VOLUME VOLUME VOLUME VOLUME SINGLESINGLE NOTENOTE BLUESBLUES JAMJAM FFACTORYACTORY MASTERMIX1MASTERMIX1 VOLUME THETHE BLUESBLUES BLUESBLUES RIFFS RIFFS
HOW TO PLAY BLUES TUNES & IMPROVISE IN 5 KEYS ON ONE ‘C’ HARMONICA WITHOUT BENDING NOTES I HOW TO GET AND USE SINGLE NOTES ON THE DIATONIC HARMONICA 2 AN INTRODUCTION TO PLAYING BLUES ON A DIATONIC HARMONICA IN THE KEY OF C 3 HOW TO PLAY CLASSIC TUNES, CHUGS & RIFFS ON A ‘C’ HARMONICA WITHOUT BENDING NOTES 4 5 101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II , 6 A PLAYALONG A PLAYALONG A PLAYALONG A PLAYALONG ASONNY PLAYALONG TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE... COURSE COURSE COURSE COURSE COURSE FOR FOR FOR FOR FOR NEW NEW NEW NEW BLUES HARP BLUES HARP HARP HARP
"A real nice approach. "A real nice approach. "A real nice approach. "A real nice approach. "A real nice approach. For everyone from For everyone from For everyone from For everyone from For everyone from beginners to intermediates" beginners to intermediates" beginners to intermediates" beginners to intermediates" beginners to intermediates" LEE OSKAR PLAYERS LEE OSKAR PLAYERS LEE OSKAR PLAYERS LEE OSKAR PLAYERS LEE OSKAR PLAYERS
just CD 2CDs is CD THE BEN HEWLETT HARMONICA COURSE INSIDE CD THE BEN HEWLETT HARMONICA COURSE CD INSIDE L&H102 THE BEN HEWLETT HARMONICA COURSE THE BEN HEWLETT INSIDE HARMONICA COURSE L&H104 INSIDE L&H102 THE BEN HEWLETT INSIDE HARMONICA COURSE L&H106 Composed and transcribed by Paul Lennon L.T.C.L. Arranged and sung by Paul Lennon L.T.C.L. course Arranged and composed by Paul Lennon L.T.C.L. Composed and transcribed by Paul Lennon L.T.C.L. Arranged and transcribed by Paul Lennon L.T.C.L. M HOHNER "Thiswhat we need"
978-1-907058-00-4 978-1-907058-02-8978-1-907058-04-2 978-1-907058-06-6 978-1-907058-08-0
FUNKY FUNKY 50 AWESOME SONNY TERRY VOLUME VOLUME VOLUME NURSERYNURSERY CHRISTMASCHRISTMAS VOLUME NASTYNASTY CHUGS CHUGS BLUESBLUES RIFFSRIFFS BLUESBLUES RIFFSRIFFS VOLUME HOW TO PLAY TRADITIONAL NURSERY RHYMES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS 8 HOW TO PLAY CLASSIC XMAS TUNES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS 9 RHYTHM HARMONICA FOR KIDS 10 FOR DIATONIC HARMONICA IN 6 KEYS A, Bb, C, D, F PLUS G MINOR 17 60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS 18 A PLAYALONG A PLAYALONG A PLAYALONG A PLAYALONG A PLAYALONG COURSE COURSE COURSE COURSE FOR COURSE FOR FOR FOR FOR NEW NEW INTERMEDIATEINTERMEDIATE YOUNGER HARP HARP DEVELOPING HARP HARP
"A real nice approach. "A real nice approach. For everyone from For everyone from beginners to intermediates" beginners to intermediates" PLAYERS LEE OSKAR PLAYERS PLAYERS PLAYERS LEE OSKAR PLAYERS PLAYERS
CD CD THE BEN HEWLETT CD HARMONICA COURSE THE BEN HEWLETT CD HARMONICA COURSE CD THE BEN HEWLETT INSIDE HARMONICA COURSE L&H108 THE BEN HEWLETT INSIDE HARMONICA COURSE L&H109 INSIDE L&H110 INSIDE THE BEN HEWLETT INSIDE HARMONICA COURSE L&H118 course is just Arranged and sung by Paul Lennon L.T.C.L. Arranged and sung by Paul Lennon L.T.C.L. Composed and performed by Paul Lennon L.T.C.L. Arranged and recorded by Paul Lennon L.T.C.L. t we need" Arranged and transcribed by Paul Lennon L.T.C.L. ha M HOHNER "Thisw
978-1-907058-12-7 978-1-907058-14-1978-1-907058-16-5 978-1-907058-30-1 978-1-907058-32-5
Ben Hewlett became a musician at the age of ten in 1969 learning the trumpet. He went through the school system of exams and performances, finally escaping the mandatory classical repertoire with the discovery of Louis Armstrong and Dizzy Gillespie. He was a minor third addict at fourteen and still has a passion for jazz and blues. Godfather Dennis Corble gave Ben a harmonica at the age of 7 thus unknowingly sowing the seeds of a lifelong love of this instrument!
Paul is a composer/arranger, multi-instrumentalist and teacher. He is a former pupil of Bishop Wordsworth School, Salisbury and former member and leader of the Wiltshire Youth and Salisbury Junior Orchestras on violin. He also played in rock and folk bands in the Salisbury areas from the age of 15 onwards and later graduated from Trinity College of Music, London in violin, piano and composition (1976-80).
£9.99 (UK) 101 Blues Riffs Hewlett & Lennon Recommended price 9 781907 058097 ISBN: 978-1-907058-09-7