I finally see what you mean with the zero in one. I was playing with a mini 4 hole, the little lady yes and was getting better single notes than when trying to pinhole pucker.
I'm a lip purser almost exclusively and blues harmonica purists have told me that I should be a full time tongue blocker because "lip pursing is limiting" and that tongue blocking will "give me more expression" according to them. Even Michael Rubin told me that he can get a bright tone with it and that I'll miss so much if I didn't learn it. I don't play blues all the time, I play modern country and gospel most of the time. The a big chunk of big players of the modern country and gospel field are either mostly or exclusively lip pursers.
I'm a lip purser exclusively. It's just how I started playing and by the time I heard of tongue blocking, it was too set in. Nevertheless, I do not find it limiting for the music I play and I find that what you call zero out/in is good for providing rhythmic punch in fiddle tunes which is what I mostly play. I also play whistle and recorder and your other techniques are whatvwe refer to as 'tonguing' The mandelino looks interesting.
That was really well presented. I'm currently relearning puckering, because I found it limiting to tb everything now I'm gonna mix em up.and the iddle iddle technique is an aha moment for me Thank you. Love your book as well. Thank you
Nice one, Winslow. But the “mandolino” - my tongue doesn’t want to flutter side to side like that. Can that be learned, or is in genetic like the ability to curl the tongue into a U shape (which I also can’t do)?
It may be genetic as you say, Tom. For me it comes easily, but I remember Paul deLay telling me that he couldn't do it, and he thought it was genetic. But I hvaen't seen medical confirmation.
Great video! I do that pull off technique with my tongue against the roof of the mouth. When I do it on super low harps I can get a secondary effect where I change the size of my mouth after and change air directions. It creates a really cool effect. I like names of terms, but not for proscribing, just for describing. I love your description of the speed different forms of music absorb sounds from other forms. That is precisely why we welcome Indian chromatic playing, and rap and everything else on MBH... if it's got harmonica on it, or should have harmonica on it, we want to hear it. :)
Discover the power of "L" embouchure. Put the harmonica UNDER your tongue. At first this is more difficult, but with practice becomes more controllable. Breathe trough your lower lip.
@@winslowyerxa8505 After 50 years of playing, I wanted to play chords. Not shallow dry chords but rich warm chords. Loud and clear chords are possible, once you find your new sound.
@@winslowyerxa8505 But in the end it is a lot of work for something is done better, much more effective and much easier by blocking. Even if it is the best someone is able to do with puckering.
@@BlackSmurfPunk The iddle-iddle technique is much, much easier by *not* tongue blocking, while the mandolino is practically impossible with your tongue on the harp. Did you even watch the video?
great info, interesting outlook, 100% with you , your tunes are in its own category and sound great, - i listen - i learn and play the way that suits me, (with a little help from @jasonricci) 👍😎
