December 2011 Newsletter
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December 2011 Newsletter Leader in Blues Harmonica Education since 1994 BLUESHARMONICA.COM - WHAT'S NEW! Improvising Study 10 – The Improviser’s Mind: The Big Picture In this last improvising lesson I review the concepts taught in Improvising Studies 1 through 9 and go into detail about: theory; chorus form usage versus free-form soloing; memorized solos versus improvised solos; perspective for each skill level of player on improvising; perspective for other styles of music; and finally recommendations on how to organize your licks and the value of transcribing. Andy Just Artist Study Join me for an artist study of rockin’ blues harmonica player Andy Just with the song "Misery." He plays the D Harmonica in 2nd Position in this song. Jelly Roll Johnson Interview Kirk "Jelly Roll" Johnson's distinctive, soulful style of harmonica has earned him critical acclaim, numerous awards, and a place among Nashville's top session musicians. A native of Lake Charles, Louisiana, Jelly Roll's career has spanned 35 years. He began playing harmonica at age 19 in Cleveland, Tennessee. After touring with several rock, blues and country groups, he settled in Knoxville to work with the Tommy Cole Band. From 1979 to 1989, Jelly Roll played concerts and club dates all across America with Warner Brothers recording artist Con Hunley. The group opened for acts such as Alabama, The Oak Ridge Boys, Loretta Lynn and Emmylou Harris. Since moving to Nashville in 1984, he has recorded with Trisha Yearwood, Kenny Rogers, Etta James, Guy Clark, Lee Ann Womack, Travis Tritt, Shania Twain, The Judds, Alan Jackson and many others. His unique sound has been heard on over 50 gold and platinum albums. Jelly Roll has made numerous television appearances with various artists, including Faith Hill on "Late Show with David Letterman," Alan Jackson and Jamie O'Neal on "Tonight Show with Jay Leno," Trisha Yearwood and the Judds on the "Country Music Association Awards Show," and Con Hunley on "Austin City Limits" and "Soundstage." In 1998, Jelly Roll won the Nashville Music Award for Best Wind Instrumentalist. After receiving nominations for 1998 and 2000, he won the best Specialty Instrument Award for 2003 and 2008 from the Academy of Country Music. Jelly regularly performs at Nashville's world- famous Bluebird Cafe with hit songwriters Fred Knobloch, Thom Schuyler, Tony Arata and Don Schlitz. 1 Artist Recordings: Alabama, Pat Alger, Gary Allan, Bill Anderson, Anointed, Tony Arata, Suzy Bogguss, Bonepony, Bob Carlisle, Kim Carnes, Peter Cetera, Kenny Chesney, Mark Chesnutt, Mark Collie, Guy Clark, Jessi Colter, Ronny Cox, Lacy J. Dalton, Billy Dean, Kevin Denney, Dean Dillon, Nokie Edwards, Michael English, Skip Ewing, George Fox, Jeff Foxworthy, Gaither Vocal Band, Gatlin Brothers, Crystal Gayle, Bob Gibson, Vern Gosdin (Duet w/ Randy Travis), Josh Gracin, Nanci Griffith, Jennifer Hanson, Wade Hayes, Eric Heatherly, Bertie Higgins, Malcolm, Holcombe, Rebecca Lynn Howard, Con Hunley, Sylvia Hutton, Randall Hylton, Alan Jackson, Etta James, Jamey Johnson, Michael Johnson, George Jones, The Judds, Sammy Kershaw, Hal Ketchum, B. B. King (Duet w/ Randy Travis), The Katinas, Jorma Kaukonen, Sean Keane, Fred Knobloch, Al Kooper, Alison Krauss, McGuffey Lane Lonestar, Kathy Mattea, Tim McGraw, Reba McEntire, Pat McLaughlin, Jo Dee Messina, Victor Mecyssne Buddy Mondlock, John Michael Montgomery, Craig Morgan, Nicole C. Mullen, Joe Nichols, The O'Kanes, Jake Owen, Tom Paxton, Suzi Ragsdale, Kenny Rogers, Jim Rooney, Tom Rush, Darrell Scott, Dan Seals, T. G. Sheppard Sierra, Charles Sizemore, Skid Row, Red Steagall, Doug Stone, Marty Stuart, Barry & Holly Tashian, Verlon Thompson, Pam Tillis, Randy Travis, Travis Tritt, Josh Turner, Shania Twain, Phil Vassar, Bobby Vinton, Susan Werner, Don Williams, Hank Williams, Jr., Jack Williams, Trent Willmon, Lee Ann Womack, Darryl Worley, Trisha Yearwood and Steve Young. Richard Sleigh Interview Richard Sleigh has 35 years experience playing the harmonica, including studio work for films, TV shows, radio, as well as performing with a wide variety of acts from Bo Diddley to the Bridgeton Symphony Orchestra. Richard is respected as one of the world’s top harmonica customizers, working in the Filisko guild of customization. Richard has developed tools for working on harmonicas (covered in our Harp Tech lessons) as well as written one of the best books on the subject. Videos: Introduction; Richard Plays Different Style Examples; Importance of Chording; Major Pentatonic Scales; Essential Listening; 1st Position Playing; 3rd Position Playing; 4th Position Playing; 5th Position Playing; 12th Position Playing & General Position Discussion; Bending; Tongue Blocking, Part 1 and Overbending; Tongue Blocking, Part 1 and Variable Splits; Blow Bending; High End Playing; Harmonicas - Comb Material; Harmonicas - Coverplates; Harmonicas - What makes a Harmonica Play Great?; Closing Joe Filisko 18 Harmonica Insights - 18 Harmonica Insights, #8 - Dynamics - 18 Harmonica Insights, #7 - Rhythm, Groove & The Sway - 18 Harmonica Insights, #6 - Bending - 18 Harmonica Insights, #5 - Tongue Blocking - 18 Harmonica Insights, #4 - Relax & Breathe - 18 Harmonica Insights, #3 - Posture Gary Smith Contributor Videos - Submission #27 - Accompaniment Playing 1, Gary's Tips - Submission #27 - Accompaniment Playing 1, Tramp in D - Part 1 - Submission #27 - Accompaniment Playing 1, Tramp in D - Part 2 - Submission #27 - Accompaniment Playing 1, Slow Blues in D with Chord Slides - Submission #27 - Accompaniment Playing 1, Flat Tire in D 2 - Submission #27 - Accompaniment Playing 1, Slow Blues in Dm - Submission #28 - Playing the Tramp Groove: Intro & History - Submission #28 - Playing the Tramp Groove: Rhythmic Variations, Part 1 - Submission #28 - Playing the Tramp Groove: Rhythmic Variations, Part 2 - Submission #28 - Playing the Tramp Groove: Rhythmic Variations, Part 3 - Submission #28 - Playing the Tramp Groove: Improvising, Part 1 - Submission #28 - Playing the Tramp Groove: Improvising, Part 2 Mark Hummel Contributor Videos - Submission #14 - Song Writing 5 "Summertime" Part 1 - Submission #14 - Song Writing 5 "Summertime" Part 2 - Submission #15 - Choosing Positions, Part 1 - Submission #15 - Choosing Positions, Part 2 - Submission #15 - Choosing Positions, Part 3 Joe Tartaglia Contributor Videos - Checking in after Lesson 26 - Lesson 27 - Introduction and Lesson 26 Review - How to Apply a Lick - Part 1: AAA and AAA with Fills - How to Apply a Lick - Part 2: Hints for Dealing with the I7 and IV7 - How to Apply a Lick - Part 3: AAB and AAB with Fills - How to Apply a Lick - Part 4: A BA C and IV7 Chord Ideas - How to Apply a Lick - Part 5: Review - Review: Take it Easy Now, Chorus 1 - Review: Gary's Blues Choruses 1 and 2 - Checking in after Lesson 27 - Lesson 28 - Introduction and Lesson 27 Review - Review: Gary's Blues, Chorus 3 - Part 1 - Review: Gary's Blues, Chorus 3 - Part 2 - Review: Gary's Blues, Chorus 4 - Review: Take it Easy Now, Chorus 1 - Take it Easy Now, Chorus 2 King of Swing - Blues Harmonica Original Instrumental Songwriting Contest It’s time to place what you’ve been learning at BluesHarmonica.com into context! The three winners of the King of Swing Original Blues Harmonica Instrumental Songwriting Contest will have the opportunity to perform with Mark Hummel’s band (markhummel.com/calendar) Saturday, Jan 28th at the legendary Yoshi’s Nightclub (www.yoshis.com/oakland) in Oakland, California. The audience will judge the three performances, with the overall winner given the opportunity to perform in the grand finale with Charlie Musselwhite, Billy Boy Arnold, Sugar Ray Norcia, Curtis Salgado, Mark Hummel and David Barrett! Follow the 10 detailed studies on songwriting on the site to help you write a memorable instrumental. Good luck to everyone! 3 Rules 1. Use Diatonic or Chromatic Harmonica - Custom tunings, valving, etc. are allowed. You may also use more than one harmonica if you wish (switching harps in multiple positions). 2. Original instrumental composition (no vocals) - Adapting a non-harmonica tune to the harmonica or rearranging another popular harmonica tune is allowed, but arrangements too close to the original will be scored low. 3. May be acoustic or amplified 4. Accompanied - There must be at least one other instrument to accompany you. Using a pre-recorded jam track (most will do this), a live band or just a guitarist/pianist are all good examples. You may have other instruments solo in your instrumental. 5. Groove – Even though the contest is called “King of Swing,” the groove can be of any type as long as it’s 80bmp or faster. We will score grooves higher that are closer to the swing feel than ones that are not. 6. Must be recreatable live on the bandstand (including no electronic loopers or sound-on-sound devises). 7. Less than 5 minutes in length 8. Must be a current, subscribed member of BluesHarmonica.com from the date of your submission to the announcement of the winners. 9. You may not use a submission previously used at BluesHarmonica.com (such as the Shuffle King) 10. Have fun… enjoy the process! Judging Criteria Good instrumental writing practices are taught in detail in the Improvising Study lessons at BluesHarmonica.com (10 in all), but here are the general areas we’re focusing on as judges (David Barrett, Mark Hummel and Gary Smith) for this contest. 1. Head/Hook - How catchy is your hook or head in your composition? If we can't stop humming it after we listen, you did a great job! 2. Body - This is the solo section of your instrumental. How well you use Chorus Forms, Focus Notes, Rhythm, Texture, Breaks, Bridge, Dynamics and possible Soloing Theme to make your soloing interesting. 3. Execution - This is the technical side of your performance: your tone, rhythm, control of technique (bends played in tune), etc. This doesn’t mean that you have to use difficult techniques in your composition (areas 1 and 2 above are scored higher), but what you do play should be executed well.