Getting a Feel for the Blues
Step1
Listen to as many blues recordings as possible.
Step2
Pay attention to the chord changes and try to anticipate them.
Step3
Try to single out the different instruments.
Step4
Clap your hands and tap your feet to the rhythm of the songs.
Step5
Count 1-2-3-4 to find the 4/4 rhythm common in blues.
Step6
Emphasize the 2 and the 4 (shuffle rhythm), which is 1 and the2 and the3 and the4 and the ... rather than straight 1-2-3-4. (See "How to Play the Blues on the Guitar," under Related eHows.)
Bending the Blues
Step1
Draw on hole 4 of your harmonica, breathing deeply; avoid sucking. (For breathing technique, see "How to Play the Harmonica," under Related eHows.)
Step2
Say the vowel "e" ("yeeee...") while drawing.
Step3
Change your mouth and tongue position to say the vowel "u" ("eyuuu..."). This should lower the pitch of your tone.
Step4
Go back between "e" and "u."
Step5
Note how the pitch changes while you're playing. This is called "bending" notes, a technique essential for playing the blues.
Step6
Try bending on holes 5 and 3 of your instrument.
Step7
Try it on all 10 holes and note the differences in how difficult they are to bend.
Step8
Close both hands around the harmonica while still drawing.
Step9
Open the right hand and note the "waaah" sound - another nice bluesy effect.
Step10
Practice opening and closing your hand to create the effect.
Step11
Try the bending technique while blowing - rather than drawing - on different holes. Note how much more difficult it is to create the effect.
Step12
Draw on the second hole of your harmonica. On a harmonica in the key of G major, that would be the C note, the first note of your five-note scale.
Step13
Draw on the third hole, bending the note down a halftone; this would be Eb, the second note on the scale.
Step14
Blow on the fourth hole (F), the third note.
Step15
Draw on the fourth hole (G), the fourth note.
Step16
Draw on the fifth hole (Bb), the fifth note.
Step17
Blow on the sixth hole, the octave of the first note. You've just played the notes predominant in blues music, which would be C-Eb-F-G-Bb-C' in the key of C.
Step18
Practice the blues scale up and down until you can hit all of the notes clearly.
Step19
Note that the harmonica you're playing is in the key of G, while the scale (or the song you're playing on that harmonica) is in the key of C. This is called "crossed position" as opposed to "straight" harmonica, where the harmonica you use is in the same key as the song (C).
Step20
Practice bending notes on holes 4 and 5. These are the bends most frequently used in blues.
The Blues Progression
Step1
On your G harmonica, play the C-major chord (draw on holes 2-3) counting 1-2-3-4 four times (four bar measures).
Step2
Play the F-major chord (blow on holes 4-5) two times.
Step3
Play the C-major chord again two times.
Step4
Play the G7 chord (draw on holes 4-5) one time.
Step5
Play the F-major chord one time.
Step6
Play the C-major chord two times. You've now played the 12-bar chord progression typical for blues: C/C/C/C F/F C/C G7/F C/C.
Step7
Practice this progression, playing along with different blues recordings using harmonicas in different keys.
Step8
Put all the elements together: the shuffle rhythm, the bending, and the 4/4, 12-bar chord progression. Presto - you've learned the basics of blues harp playing.
Step9
Start tapping your feet, put your harmonica to your mouth and go.
Comments
Anonymous said
on 11/22/2005 For info on the harmonica, go to http://www.garply.com/harp-l/archives to search for anything you are interested in that has to do with the harmonica. If you have searched for harmonicas on the Internet already, chances are you have found it before.
Anonymous said
on 11/22/2005 Go to a club and watch these harp players in action. See how they cup the harp and mike. Some of these artists also teach. To play real Chicago blues' harp, you must learn the tongue-blocking technique!
Anonymous said
on 1/16/2006 Jimmy Reed: A great blues harmonica player. I just picked up his greatest hits and it's brilliant!!
Anonymous said
on 11/22/2005 Listen to the greats! Some personal favorites: Sonny Boy Williamson II, Sonny Terry, Junior Wells, Little Walter, Big Walter, Sugar Blue, James Cotton, James Harman, William Clarke.
Anonymous said
on 11/22/2005 Klutz Press's "Harmonica for the Musically Hopeless" by Jon Gindick is a MUST if you truly want to learn well and quickly. I have gone through that book and another by the same author and now play in a band because of it.