blues harp

Harp Tips 

Overcoming Beginner’s Twitch

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What is beginner’s twitch?

It happens when you first start learning the harmonica. You hit a bum note, so you extend your arms from the elbows to visually locate the right hole on the harmonica, while shaking your head and tutting. By the time you bring the harp back under your nose, the hole’s gone out of focus, you miss your note again, so you tut and extend your arms… That’s beginner’s twitch!

Why do I do it?

Because you’re not keen on playing ‘blind’. That’s perfectly understandable. On every other instrument, you can see what your fingers are doing. On the harmonica your mouth is providing the wind and locating the notes simultaneously. It’s doing what your fingers would otherwise do. That’s just not normal!

What’s the solution?

You haven’t yet developed the navigational systems to locate the right hole without actually seeing it. Think laterally. Ask yourself how you would play the harmonica in the dark? (more…)

Interviews Reviews - Shows 

Charlie Musselwhite (Part II) – Komedia, Brighton, 18th November 2008

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“Why we elected Bush worries my mind“

I must confess, having seen Charlie in action again after a break of seventeen years, I remain unconvinced about his credentials as a performing artist. Last time he was upstaged by his backing band. This time his lengthy digression into solo guitar and rack harp was brave, but wasted. Any impact was lost owing to the wagon load of down home guitar already delivered by Dave Peabody. The audience had thirsted far too long for that big town electric harp. When it came, of course it was well received, but it was still insufficient to quench their frustration. Barely a twenty minute stretch at the end of a long evening. When Deep Purple did that, fans tore down the stadium, uprooted street furniture and rolled cop cars. Tonight people had the last bus home to think about.

I had hoped that my enduring ambivalence towards Charlie’s music would melt in a blinding epiphany this evening. Having seen the show however, there was no change. Instead, I felt my reservations had been vindicated. One nagging question still simmered though – what exactly was it I was blind to that others understood so clearly? It mystified me. The imaginary urchin continued crying out from the crowd – ‘the Emperor’s wearing no clothes.’ (more…)

Beef Up Your Bends Harp Tab How Do They Do That? 

Perfecting that deep 2 draw bend – Low Rider (War)

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Lee Oskar

All my friends know the low rider
Few students ever arrive at the Harp Surgery knowing exactly how many bends there are or where they’re all located. Some think they do, but on closer inspection find there are gaps in their knowledge or ability. Some can draw bend but not blow bend. Some are unable to bend at all. This is a skill area that almost always needs attention. I firmly believe players of any ability should spend time working on the accuracy of their direct bends. No matter how good you are, those 3 hole draw bends can never be taken for granted.

Listen to

When you start bending, it always pays to remember the Harp Surgery’s golden rule – it’s ok to make mistakes. That’s why they put erasers on the end of pencils. Perfecting your bends will involve an amount of trial and error. You will learn from your mistakes. And remember this is one of the most significant points of any harp player’s development. Be patient and persevere. You’re breaking into the big time!

The low rider is a little higher
In another article, we spoke about monitoring the accuracy of bends – How do I know I’m bending in tune? My conclusion was that all the electronic paraphernalia in the world is no substitute for using your own ears. Furthermore, instead of learning each individual bend in isolation with an electronic tuning device to determine your accuracy, what better than to pick a fun tune and learn to play the bends in context. You’re a musician after all; if the bend ain’t right, the tune won’t work. (more…)

Interviews Reviews - Shows 

Charlie Musselwhite (Part I) – Komedia, Brighton, 18th November 2008

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What was all the fuss about?

According to the display of fading gig tickets on the Harp Surgery wall, it was July 1991 when I last saw Charlie Musselwhite live at the Town & Country 2 in Highbury, North London. Charlie’s backing band opened that night with a fabulous rendition of Little Milton’s ‘Hey, Hey, The Blues Is All Right’, while his silver harp case stood open on a table at the front of the stage – a statement of the maestro’s intent. The backing band had the house revved up and jumping. Once he took the stage however, Charlie’s performance proved uninspiring. Accepted, he had flown in from the USA only hours earlier, but amidst his clever display of positional playing and monotone vocals, I grew bored. The band soldiered on but I left early, thinking to myself, ‘what was all the fuss about?’

In the months that followed, I occasionally gave Charlie’s records a spin. More through a sense of duty than as a genuine fan. Each time I concluded this was a white guy who came from the right southern state, had entered the Chicago blues scene at the right time and mixed with the right blues luminaries, but who’s musical contribution was inconsistent, if not over-rated. It just didn’t bounce. The records went back in their sleeves and onto the pile. I still didn’t get him. (more…)

Harp Tips 

Crossing The Bridge

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In cross-harp (2nd position) it is easy to limit your playing to blues patterns between holes 1 and 6. Accepted, some songs require this, focusing on the wealth of ‘low end’ bends, moods and tones. But what do we do with the ‘top end’ of the harp? It’s banjo country and it’s scary – you just don’t want to go there! This is because the tuning sequence changes in holes 7 to 10 and cross-harp patterns have to change with it. Those favoured low end formulae are rendered useless as everything seems to reverse or shift. Remember how mysterious the low end was when you first picked up the harp? Time, determination, experiment and the sense of adventure all spurred you on to greater things. Breaking into the top end is no different. So it’s back to school…

Stick with it – there’s fun and satisfaction to be had. In due course, 3rd position will have you skipping across the divide like a spring lamb, oblivious to worldly perils. For now, the first steps in linking the bottom and top ends are what we call ‘crossing the bridge’ exercises. Try out these helpful 2nd position licks:

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Reviews - Shows 

SaRon Crenshaw – Terra Blues, New York, 16th Oct 2008

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We arrived at Terra Blues for the nightly acoustic set at about 7.30pm, not really knowing what to expect. What we discovered were two rare treasures. The first was the venue itself. We were instantly bowled over by its style and warmth. This place is charming and sophisticated, with mood lighting, a vaulted ceiling and candlelit tables. And teasing us from the stage, like a spotlit still life, was an empty chair, a red Lucille Gibson guitar signed by BB King and a silver-faced Fender Twin Reverb amplifier.

A few minutes later our second great find of the evening took the stage. SaRon Crenshaw is incredible. He has presence and rapport to match the likes of Luther Allison and Eric Bibb. His voice is the equal of any Atlantic soul singer – its richness, depth and expression is astonishing. His guitar work is comprehensively top drawer. (more…)