Do you want to learn how to play on minor blues or in general on minor tunes ?
This new harmonica course has been created for intermediate level students, who know how to use the bending technique and wish to improve the way they used to play the minor blues in third position but not only; what you will learn with this lessons also applies to every minor key tunes.
In this lessons you'll not only get the oppotunity to learn and practise more than 50 minor licks, but the chance to grab some valuable concepts too in the last section, to implement what you have perceived relating improvisation.
These lessons focus on the progression of minor blues chords, for the purpose of studying musical phrases specially created for the above mentioned. We've conceived what actually happens when we improvise to draw licks; that's the reason why I don't recommend to study simple licks at random, but only the phrases which are functional and deeply integrated with the harmonica progression of the blues itself. The presented routines incorporate bending, split notes, octaves as well as some tongue blocking rhythm articulations like slaps and pulls.
When following these lessons, together with the practise, you'll get fringe benefit of learning some excellent theoretical notions; they will assist you to interpret wisely as when and why to play a certain note on any specific chord.
Take this auspicious possibility of improving the way you play your most cherished genre of harmonica, regardless of your location around the world!
How to use this new course and which harmonica you need:
Each exercise will be notated with holes and notes and while watching videos you are expected to practise these along with I, using a metronome or a backing track. The video intimates you precisely at the time when it's your turn to play.
Your learning will also be supported by tabs as well as audio files that you may download.
Too follow this course you just need a C diatonic harmonica.
A few words about the wonderful world of minor tunes:
Most of the time, when all else is held constant, music in a major key is judged as happy while minor key music is heard as sad.It seems to be mostly the result of cultural conditioning. When we listen to tunes we rely heavily on our memory for the body of music we’ve heard all our life. Constantly touching base with our musical memory back catalogue helps to generate expectations of what might come next in a tune, which is an important source of enjoyment in musical listening. The downside of this over reliance on memory is that our musical reactions are frequently led by stereotypes.
In the western musical tradition major music is played at times of celebration (Mendelssohn’s ‘Wedding March’ or ‘Happy Birthday’), jubilation (Brian May’s ‘National Anthem’ on top of Buckingham Palace) and general fun times (‘Celebration’ by Kool And The Gang) whereas minor music is used to mark mourning (Chopin’s ‘Funeral March’), heartache (‘Back To Black’ by Amy Winehouse) and despair (‘Hurt’ by Johnny Cash or ‘Gloomy Sunday’ by Billie Holiday).
We are exposed to this repeated pairing of sound and emotional meaning from the time our ears are functioning (around the fifth – sixth month in the womb) so it is no wonder that we leap to emotional assumptions based on experience.
Cultural exposure will always vary, but there may be something deeper in music that triggers our overwhelming responses to major and minor sounds.