This is deep stuff. You learn from this then come back a year later and find other great things in it that were just a little out of reach before hand. Truly the mark of a genius harmonica player and educator. Thanks Adam.
These guys have taught us so much it's unreal. Techniques that would have taken years to figure out on your own and they lay it on you. Many of these things are so subtle but like salt and pepper added to your meal they really make a difference. Just great.
When I started as a teaching assistant almost 30 years ago, I remember an older Chinese student say a good teacher tries to break topics down into smaller parts. A+ for your teaching Professor Gussow.
Thanks Adam. This is important foundational stuff and being able to internalize this kind of rhythm stuff is one of my holy grails. That "schup-tuh" is great percussion. Thanks, Eric
@MarkSlliman: Mouse amps were made by 'Lectrosonics back in the 1980s and 90s. They haven't been produced since then. They were rechargable, loud. Originally intended as battery-powered stage monitors. I still use mine for that. But they're great harps amps for the street.
You are a great 'teach' ... you are righteous and one hell of an inspiration ... love your natural informal one to one off the cuff ways of expressing what to do. Adam, the Bflat we are using would play well with guitar in the key of F ... right !
Thanks Adam for all you do...Between you and Ronnie Shellist ya'll have taught me to put to use the skills Ive learned over a 27 year of playing harmonica.Ive learned a lot over these years but never put them together or switched them up . My music got boring to me regardless what anyone else told me.... I was in a RUTTT for years .Jammin is fun and new everyday again.....Thanks Brother
You know I used to watch your videos and get discouraged because I couldn't do exactly what you were doing. Loosened up a lot which helps with the playing and pick up bits and pieces and my playing just gets better and better. Thanks for the talk about not reifying technique! Big help. Great lesson too.
Thanks for the B flat / A tip! I just started learning but since I’m actually faking it in a band ( I’m the lead guitarist) I wanna get to the most desired tone which is William Clarke. Your tip got me there faster. I just wanna play that low down nasty dirty harp tone with double stop draws.
Kind of similar to half of what Celtic flute players call a "false crann," basically chopping the note off a hole or two up from the bottom of what's being fingered and "warbling" (my made-up term) the bottom two fingers, but in this case merely chopping off the note without the warble. Maybe call it a "chop," except that's already what mando players call those short staccato chords they play. Then again, being you're playing a chord, that might be a better description: A chopped-off chord, thus a "chop," indeed...
Also, I've noticed that while I have trouble with air hissing through my two Black Gold harps (E and F), I also don't have that overinflation problem when I play them, while I do with my better harps (the ancient 1980s Special 20 in D, Marine Band 1896 in G, Blue Midnight in A, and my Lee Oskar in C), so maybe the venting through the upper lip thing would help me in that respect. I've also noticed a similar tendency toward an overfull bellows (analogous to overfilled lungs)when I play my concertina; I frequently have to use the vent button for air management so I don't fill up the bellows (creates a similar effect to the overinflated lungs rendering one unable to suck in effectively or get rid of enough intaken air when blowing out). I play an anglo-german (20 button) type, which means I have different notes on push and pull, similarly to the harmonica. So, it has the problems of the harmonica as well as a similar action - and a similar fix for the problem, as well. Interesting....
