Bending Study 7 - Overbending InterviewsOur series on overbending starts with instructor Ross Garren interviewing the harmonica players that have pioneered the use of overbends in the blues. Our original intention was to do a written article, but it quickly became apparent that we should video record these Skype interviews for you to watch. Skype video quality is not the best, but we thought you would appreciate seeing and hearing them over just reading an article. After watching these interviews Ross will start to walk you through the art of overbending in the blues.
Blues Harmonica For Dummies downloads torrent
1st Position Study 1We have three common positions that we play in as blues harmonica players: 2nd Position, 3rd Position and 1st Position... studied in that order. 1st Position offers great low-end (think Rice Miller's "Trust My Baby") and high-end playing (think Jimmy Reed's "Honest I Do"). In this lesson you'll learn how to navigate the lower four holes of 1st Position with the study song "The Tub." This study is for advanced skill level players. You'll need the G Harmonica for this study.1st Position Study 2In this lesson you'll learn how to navigate the upper four holes of the harmonica in 1st Position. This is also your first study song to use blow bending... each chorus progressively working your blow bend skills. This study is for advanced skill level players. You'll need the G Harmonica for this study.
William ClarkeWilliam Clarke was one of the greatest blues harmonica players of all time. In this artist study we'll dig into his slow blues "Lonesome Bedroom Blues" from his Live Bootleg Cassette Anthology. This study is for advanced skill level players. You'll need a C Harmonica for this study.Jerry PortnoyJerry Portnoy is one of the great classic blues harmonica stylists. Jerry is best known for his work with both Muddy Waters and Eric Clapton. In this artist study we'll dig into his slow blues "Blues for Big Nate" from the release Red Hot & Blues, The Legendary Blues Band. This study is for intermediate skill level players (though the opening chorus is doable for the beginning player). You'll need an A Harmonica for this study.Gary SmithGary Smith is one of the great classic blues harmonica stylists in the San Francisco Bay Area. We have a full interview with Gary at bluesharmonica.com, so make sure to check that out. In this Artist Study we dig into his great harmonica instrumental "Minor Mambo." This study is for advanced skill level players. You'll need a C Harmonica for this study.James HarmanJames Harman is one of our great multi-instrumentalists and songwriters of today. In his instrumental "Skeet-A-Little Taste" James gives us a fun taste of playing the Low-F Harmonica in a super-cool shuffle groove. Bending and tongue blocking are at a minimal speed, so this is a perfect study for our intermediate players.Steve GuygerJoin me for an artist study of tone monster Steve Guyger with his instrumental "Snake Oil." An added bonus is that this instrumental is minor and played in 2nd Position.Little Walter - PhrasingJoin me for a study of one of the four great post war Chicago blues fathers, Little Walter. In this lesson we dig into his hugely influential approach to phrasing. Most of the licks used in the study song "Walter's Mood" are Little Walter's, providing you with great vocabulary for you to study and draw upon for your own improvising. You may record yourself playing to the provided jam track and submit it to me for review if you wish. This study is for advanced skill level players. Videos include: Introduction; Little Walter's Approach to Phrasing; Chorus 1 - Walter's Mood; Chorus 2 - Walter's Mood; Chorus 3 - Walter's Mood; Chorus 4 - Walter's Mood; Chorus 5 - Walter's Mood; Chorus 6 - Walter's Mood; Closing ThoughtsSonny Boy Williamson II (Rice Miller) Artist Study - ChordingJoin me for a study of one of the four great post war Chicago blues fathers, Rice Miller (Sonny Boy Williamson II). In this lesson we dig into his hugely influential approach to chording. Almost all of the licks used in the study song "Sonny's Bird" are Rice Miller's, providing you with great vocabulary for you to study and draw upon for your own solo harmonica playing. You may record yourself and submit it to me for review if you wish. This study is for intermediate skill level players. You'll need the Low F Harmonica for this study. Videos Include: Introduction; Technique (Pull-Slap); Chorus 1 - Sonny's Bird; Chorus 2 - Sonny's Bird; Chorus 3 - Sonny's Bird; Chorus 4 - Sonny's Bird; Chorus 5 - Sonny's Bird; Chorus 6 - Sonny's Bird; Chorus 7 - Sonny's Bird; Chorus 8 - Sonny's Bird; Chorus 9 - Sonny's Bird; Choruses 10 and 11 - Sonny's Bird; Performance Thoughts for "Sonny's Bird"; ClosingBig Walter Horton Artist Study - ShuffleJoin me for a study of one of our four great post war Chicago blues fathers, Big Walter Horton. In this lesson we dig into what Big Walter Horton is really known for... his killer shuffles. All of the licks used in the study song "Shakey's Shuffle" come from Big Walter, providing you with great vocabulary for you to study and draw upon for your own improvising. You may record yourself playing to the provided jam track and submit it to me for review if you wish. This study is for advanced skill level players. You'll need an A Harmonicas for this study. Videos include: Introduction; The Writing Process of Shakey's Shuffle; Chorus 1 - Shakey's Shuffle; Chorus 2 - Shakey's Shuffle; Chorus 3 - Shakey's Shuffle; Chorus 4 - Shakey's Shuffle; Chorus 5 - Shakey's Shuffle; Chorus 6 - Shakey's Shuffle; Chorus 7 - Shakey's Shuffle; Chorus 8 - Shakey's Shuffle; Chorus 9 - Shakey's Shuffle; How to Play Shakey's Shuffle with a Band; Closing ThoughtsAndy Just Artist Study - ShuffleAndy Just is one of the great rockin' blues harmonica players in the San Francisco Bay Area. We have a full interview with Andy at bluesharmonica.com, so make sure to check that out. In this Artist Study we dig into "Misery," a great shuffle in the key of A that really showcases his rockin'-fast style. This study is for advanced skill level players. You'll need a D Harmonica for this study. Videos: Introduction to Andy Just Artist Study; Head to "Misery"; Solo, Chorus 1 "Misery"; Solo, Chorus 2 "Misery"; Call & Response "Misery"; Final Chorus (Head) "Misery"; How to Play "Misery" with a Band; Andy Just Artist Study ClosingGeorge "Harmonica" Smith Artist Study - Swing ChromaticJoin me for a study of one of our four great post war Chicago Blues fathers, George "Harmonica" Smith. It's generally accepted that George was the greatest Blues chromatic harmonica player of his time, and that's what our focus is for this lesson. The majority of the licks used in the study song "Swingin' with George" comes from George Smith, providing you with great vocabulary for you to study and draw upon for your own improvising. You may record yourself playing to the provided jam track and submit it to me for review if you wish. This study is for advanced skill level players. You'll need the C Chromatic (12 or 16-hole) for this study. Videos include: Introduction to Swingin' with George; About George Smith; Technique for Swingin' with George; Chorus 1 - Swingin' with George; Chorus 2 - Swingin' with George; Chorus 3 - Swingin' with George; Chorus 4 - Swingin' with George; Chorus 5 - Swingin' with George; Chorus 6 - Swingin' with George; Chorus 7 - Swingin' with George; Chorus 8 - Swingin' with George; How to Play Swingin' with George with a Band; Closing
Bassman ChroniclesThe 1959 Fender Bassman Amplifier has been the standard for gigging blues harmonica players since we've had to deal with loud bands in the 1960's. Priced around $10,000, the originals are now collectors items and are no longer practical options. The 1959 Fender Reissue Bassman (originally released in 1990), though not the most friendly amplifier to play stock, can be purchased for a very reasonable price in the used market ($700) and with some tube changes it can sound fantastic. The new LTD gets closer to the common modifications used by customizers (tube rectifier, shellacked pine cabinet and adjustable bias pot... though the speakers are less desirable than the 1990's models) and can be purchased at most music stores. With the help of my student and friend Mark Overman, artists such as Mark Hummel and Gary Smith and amp experts like Skip Simmons and Dale Laslie, this ongoing series is dedicated to chronicling the complete story of how to purchase, modify, setup and perform with the 1959 Fender Bassman Reissue Amplifier.- Submission #1 - Introduction to the Bassman Chronicles, Part 1- Submission #1 - Introduction to the Bassman Chronicles, Part 2- Submission #1 - Qualities of a Good Sounding Amp, Part 1- Submission #1 - Qualities of a Good Sounding Amp, Part 2- Submission #1 - Why Choose the Fender Bassman?- Submission #1 - History and Construction of the 1959 Fender Bassman Reissue- Submission #2 - 1990 Bassman Journey- Submission #2 - Comparing Stock 1990 Bassman & Fully Modded 1990 Bassman- Submission #2 - Bridging Channels 1 & 2- Submission #2 - Tube Values- Submission #2 - Changing Tubes on 1990 Bassman, Part 1- Submission #2 - Changing Tubes on 1990 Bassman, Part 2- Submission #2 - Before & After Tube Changes- Submission #2 - Comparing 1990 Bassman with Tube Changes & Fully Modded 1990 Bassman- Submission #3 - 1990 Bassman Hits the Bandstand, Part 1- Submission #3 - 1990 Bassman Hits the Bandstand, Part 2- Submission #4 - Mics & The Bassman: Introduction- Submission #4 - Mics & The Bassman: Shure CM and CR Elements- Submission #4 - Mics & The Bassman: Shure & Astatic Crystal and Ceramic Elements, Part 1- Submission #4 - Mics & The Bassman: Shure & Astatic Crystal and Ceramic Elements, Part 2- Submission #4 - Mics & The Bassman: Impedance Matching- Submission #4 - Mics & The Bassman: Kinder Anti-Feedback+- Submission #4 - Mics & The Bassman: All Mics Compared- Submission #4 - Mics & The Bassman: Final Thoughts- Submission #5 - Gary Smith's Bassman: Introduction- Submission #5 - Gary Smith's Bassman: Cabinet- Submission #5 - Gary Smith's Bassman: Speakers- Submission #5 - Gary Smith's Bassman: Tubes- Submission #5 - Gary Smith's Bassman: Prefered Mics- Submission #5 - Gary Smith's Bassman: Why the Bassman?- Submission #5 - Gary Smith's Bassman: Bias Pot & Circuit Longevity- Submission #5 - Gary Smith's Bassman: Cost- Submission #5 - Gary Smith's Bassman: Stage Placement- Submission #5 - Gary Smith's Bassman: Effects & Closing- Submission #6 - Amp Setup Night at the Dell: Intro- Submission #6 - Amp Setup Night at the Dell: Part 1- Submission #6 - Amp Setup Night at the Dell: Part 2- Submission #7 - Amp Setup Night at the Dell: Comments, Part 1- Submission #7 - Amp Setup Night at the Dell: Comments, Part 2- Submission #8 - Amp Setup Night: Tester Comments, Intro- Submission #8 - Amp Setup Night: Tester Comments, Part 1- Submission #8 - Amp Setup Night: Tester Comments, Part 2- Submission #8 - Amp Setup Night: Tester Comments, Part 3- Submission #8 - Amp Setup Night: Tester Comments, Part 4- Submission #8 - Amp Setup Night: Tester Comments, Part 5- Submission #8 - Amp Setup Night: Tester Comments, Part 6- Submission #8 - Amp Setup Night: Tester Comments, Part 7- Submission #8 - Amp Setup Night: Tester Comments, Closing- Submission #9 - Bassman LTD, Part 1- Submission #9 - Bassman LTD, Part 2- Submission #10 - Finish- Submission #10 - Resistor Change and Bias Intro- Submission #10 - Hearing Bias Change- Submission #10 - Using Bias Meter- Submission #10 - Closing
2ff7e9595c
Комментарии