Stevie Wonder diatonic harmonica

It was 1974. With a string of hit singles under his belt, Stevie Wonder recorded Boogie On Reggae Woman amidst some more reflective compositions for his new album, Fullfillingness’ First Finale.

The song’s title is slightly misleading. This is no Trench Town rasta vibe. There is a reggae skank for reference, but underneath it’s as fundamentally funk as Superstition and just as ground breaking.

For Harp Surgery fans, what makes the song especially interesting, is its infusion of a bluesy piano line and some highly expressive first-position blues harping. Let’s look more closely..

Can I play?

For harp players, this may come as an exciting revelation. Stevie Wonder is of course synonymous with Chromatic harping. Chi-Lites, Eurythmics, Sting and Elton John (amongst many, many others), have all embraced him on their recordings.

But Little Stevie started on the diatonic - albeit a four hole Little Lady – and listened to the likes of Jimmy Reed and Little Walter. He went on to lead the school harmonica band, before eventually falling in love with a Chromatic given to him by an uncle.

Arguably, Boogie On Reggae Woman has it’s roots in Wonder’s 1972 song Sweet Little Girl. There he uses a bluesy F# diatonic in second position, to explore a boogaloo groove. Also that Moog synth is in the mix, providing another heavy bass line.

I like to see you boogie

In his homage to the the harmonica, Harmonicas, Harps amd Heavy Breathers, Kim Field refers to the harmonica line on Boogie On Reggae Woman as textbook Jimmy Reed diatonic playing. He also points out that Stevie Wonder acknowledged Jimmy Reed in one of his 1974 Grammy acceptance speeches.

Certainly Stevie Wonder uses the same upper register configuration popularised by Jimmy Reed, but he warps it into a new dimension. Simply by injecting some unique phrasing and altered rhythm, it becomes soulful.

For my money, Gary Primich probably spotted this too. On his 2002 Dog House Music album, he recorded the title track Dog House and echoed Stevie Wonders soul fixing delivery on the upper blow bends. He uses a Bb diatonic.

Right across the floor

Time to get down to business. You’ll need an Ab diatonic to play along. This is a lower register diatonic harp, which allows us greater control on the blow bend reeds. If you don’t have one handy, get one ordered and check out the following background information in the meantime.

For instruction on how to blow bend visit our Harp Skills page. You will also find our three part series on exploring 1st Position Blues Harp useful.

I like to do it to you

Using an Ab harp, Stevie Wonder first pitches in on the harp at the 2:18 point and delivers a 30 second solo. He comes in a second time after the Moog solo at 3:45 and continues soloing on the harp for a full minute before the song fades out. Here’s the tab and sound files for the 30 second solo. ~8B denotes a bent, or scooped, note into 8 Blow.

              ~8B   ~8B    ~8B..8B’..7B..7B

8B’..~8B..8B’..7B   8B’..7B   6D..6D’..5D

6D’..6D   7B    Can I Play?!!

7B..7B  ~8B..~8B

~8B..9B..~8B   8B’..7B   ~8B..~8B..7B      Can I Play?!!

~8B   ~9B   ~8B     Ow!

7B..7B   ~8B..9B  ~9B..~9B..8B

8B   ~9B   9B’..9B’   9B’..9B.9B’

~8B..8B’..7B   ~8B..7B    Uhh!

8B   ~9B   9B’..9B’   9B’..9B.9B’

~8B..8B’..7B   ~8B..7B

~10B   ~9B..~9B   ~9B..9B’..8B     Ahh!

~9B..9B’..8B   8B   7B..7B

Till you holla for more

Now you have the feel for it, listen to the final minute-long solo for yourself and mess around on the top end of the harp. You’ll notice even Stevie’s lines get a bit ragged at one point, before he momentarily revises his input and simplifies things.

Boogie on reggae people!

To the toppermost of the poppermost

Further to our harmonica study of Love Me Do, we should now take a further look at John Lennon’s harmonica recordings with the Beatles.

Not including the harmonica quartet on Sergeant Pepper’s For The Benefit Of Mr.Kite, we have identified at least a dozen Beatles tracks that feature harmonica. To be brutal, most of these are either ‘minor’ pieces from the band’s catalogue or else examples of Lennon’s harmonica work in its unaccomplished state. Rocky Racoon or Little Child for instance have particularly ‘unsophisticated’ harmonica parts. On I’ll Get You, the harmonica is badly out of tune.

What quickly becomes apparent is that John Lennon’s melodic use of the Chromatic harmonica was probably more comfortable than his diatonic work. With the Chromatic he could skilfully sidestep the need for reed bending on the short harp, which was not something he had yet mastered in the early 1960′s. We’ve chosen to help you nail three tunes where John Lennon’s harp lines feature most strongly..

I Should Have Known Better

This is the perfect number for getting any group of beginners blowing and drawing a C diatonic for the first time. Harp teachers and workshop leaders take note. It’s in C major using straight harp, so grab your C diatonic and get ready.

In 1964 the Beatles met Bob Dylan for the first time. It was a meeting that inspired a whole new level of songwriting for the band. I Should Have Known Better was an early result and the last Beatles song to feature harmonica in its opening bars. The history books also tell us it took Lennon three attempts to get the whole thing right. On the second attempt he dissolved into hysterics over his own harmonica playing. Here’s the tab for the basic lick.

2D-3D-4D   2D-3D-4D

3B-4B-5B   3D-4D-5D   3B-4B-5B

2D-3D-4D   2D-3D-4D

Note that Lennon tends to hold the harmonica with his right hand for the first line and uses the ‘toothbrush’ technique to achieve a trilled chord. Review the full track to see how often this phrase is repeated.

Please Please Me

This was the Beatles’ first number one and again the harmonica provides a famous signature to the intro. Pat Missin has analysed the harmonica used on the track and concludes that it must have been an E major Chromatic. You can play the same riff using straight harp on an E major diatonic from 7B, but it will be an octave higher than the recording. Dropping down an octave to 4B on the same diatonic necessites a direct bend on 3D” to complete the riff which is not what we hear on the original recording either, but there are grounds to suggest Lennon may have used an Echo Vamper diatonic with its lower diatonic octave.

For good measure however, here is the tab for a contemporary E major diatonic..

7B   7D   6D   6B

6D..6B   5B

And for an E major chromatic (I’m using a Hohner CX12)

8B   8D   7D   7B

7D..7B   6B

From Me To You

According to legend, this hit was written on the Helen Shapiro tour bus (the Beatles were a support act) on the way to sunny Shrewsbury. The result is a third example of a harmonica riff providing the memorable signature to a pop song. It only appears in three short bursts, but it is instantly recognisable.

As with Please Please Me, the harp used may not be as obvious as you’d imagine. The song is played in C major, but using a contemporary 10 hole C diatonic from 4B would again necessitate a direct draw bend on 3D” to complete the phrase. Pat Missin’s conclusion is that an Echo Vamper with it’s extended lower octave may have been used from 7B; or else perhaps rather more likely a C major Chromatic.

Venerable as I may be, I don’t possess an Echo Vamper so I’m going to open the tab firstly with a Lee Oskar Melody Maker labelled in G (remembering that G is the cross-harp key stamped on what is actually a C major instrument). This allows you to play the main riff on a diatonic instrument without that awkward 3D” bend. Then for a C Chromatic where again I’m using a Hohner CX12.

Lee Oskar Melody Maker in G

Opening riff..

4B   4D   5B

4D   4B   4D   4D   3B (Repeat)

Middle section

4B   4D   5B

4D   4B   4D   4D   3B

4B   4D   5B

4D   4B   6D   6D   6B

End section

4D   4B

4D   4B

4D   4B

4B   4D   5B

4D   4B   4D   4D   3B

C Major Chromatic (Hohner CX12)

Opening riff..

5B   5D   6B

5D   5B   5D   5D   3D (Repeat)

Middle section

5B   5D   6B

5D   5B   5D    5D   3D

5B   5D   6B

5D   5B   7D   7D   7B

End section

5D   5B

5D   5B

5D   5B

5B   5D   6B

5D   5B   5D   5D   3D

[We are delighted to re-publish our most popular post with some helpful new learning features].

Much has been written about John Lennon’s harmonica playing with The Beatles. He started playing at a time in the 1960′s when American blues music was taking the UK by storm. Little Walter, Muddy Waters, Sonny Boy Williamson and Howlin Wolf all toured the UK. The Rolling Stones were stiff competition in the popularity stakes, with harmonica work by the multi-talented Brian Jones and many other UK R&B bands followed.

Bruce Channel was also touring the UK on the back of his ‘Hey Baby’ hit (many will be more familiar with the 1990′s cover version, famous for its loutish Ooh-Aah chant). With him was Delbert McClinton, the harmonica player on the hit. Legend has it that Delbert McClinton taught John Lennon cross harp while Channel’s band was touring Merseyside. In a later interview however McClinton busts this myth.

Was it a diatonic or a chromatic harmonica?

Apparently Lennon had already figured it out for himself. But what did he use to record Love Me Do? Pat Missin has studied the Beatles’ harmonica songs very closely. With the aid of modern computer technology, an encyclopedic knowledge of all things harmonica and some clever analysis, he has managed to pinpoint which harmonicas were used on which Beatles songs.

Until you listen closely to Love Me Do, you might imagine that a regular C diatonic was used. The main riff sits very comfortably on a blues harp. Further into the song however, the riff changes across the ‘someone to love..’ passage; the accompanying notes cannot be found on a diatonic harp without serious bending and this is something at which John Lennon was not yet proficient.

Someone to love, someone like you

It is generally accepted that Lennon’s ability to bend reeds was not highly developed at the time Love Me Do was recorded. This, together with Pat Missin’s observations and perhaps the basic tone of the harmonica make it evident that a Chromatic harmonica was used. Below is the tab for the whole song on a C Chromatic (three octave Hohner CX12), followed by a C diatonic in case you don’t have a chromatic. A key to our tab can be found in the Harp Theory section. But first a reminder of the song..

Full tab on a 3 octave Hohner CX12 Chromatic

First main riff…

6D   6B 5D..4D   3B   3B   3B..3B   (with hand vibrato)

6D..6D..6D   6B..6B..6B   5D..4D   3B   3B   3B..3B

6D   6B 5D..4D   3B..3B   3B..4B..4D   (with rolled or drilled ‘r’ tongue effect)

3B   3B..3B   3B   3B   3B..4B..4D

Second riff…as first main riff, but without the last line…

6D   6B 5D..4D   3B   3B   3B..3B   (with hand vibrato)

6D..6D..6D   6B..6B..6B   5D..4D   3B   3B   3B..3B

6D   6B 5D..4D   3B..3B   3B..3B   (with rolled or drilled ‘r’ tongue effect)

Third riff and bridge…repeat the first line of the main riff

6D   6B 5D..4D   3B   3B   3B..3B (with hand vibrato)

6D   6B 5D..4D   3B   3B   3B..3B (with hand vibrato)

…Leading straight into…

“Someone to love…”   3D..3D..3B..2D#   (together)

..”Somebody new”..

“Someone to love…”   3D..3D..3B..2D#   (together)

..”Someone like you”..

Fourth riff and solo…start with lines one and three of the main riff

6D   6B 5D..4D   3B  3B   3B..3B (with hand vibrato)

6D..6D..6D 6B 5D..4D   3B   3B   3B..3B (with rolled or drilled ‘r’ tongue effect)

…Leading straight into…

3D..3D..3B..2D#   (with hand vibrato)

3B   2D   2B   1D    (with gentle hand vibrato)

3D..4D..3D   3B..2D#   (grace note)

3B..3B   2D   2B   1D

3B   3B   3B..3B

3B   3B   3B..5B..4D-5D

3B   3B..3B   3B

Outro

6D   6B 5D..4D   3B  3B   3B..3B (with hand vibrato)

…6D..6D   6B 5D..4D   3B  3B   3B..3B

6D   6B 5D..4D   3B   3B   3B..3B (with rolled or drilled ‘r’ tongue effect)

6D..6D..6D 6B 5D..4D   3B   3B   3B..3B (with rolled or drilled ‘r’ tongue effect)

_______________________________________________________________

Full tab on a 10 hole C diatonic

First main riff…

5D   5B 4D   3D..2D   2D   2D..2D   (with hand vibrato)

5D..5D..5D   5B..5B..5B   4D   3D..2D   2D   2D..2D

5D   5B 4D   3D..2D   2D   2D..2D   (with rolled or drilled ‘r’ tongue effect)

2D   2D..2D   2D   2D    2D..4B..3D-4D

Second riff…as first main riff, but without the last line…

5D   5B 4D   3D..2D   2D   2D..2D   (with hand vibrato)

5D..5D..5D   5B..5B..5B   4D   3D..2D   2D   2D..2D

5D   5B 4D   3D..2D   2D   2D..2D   (with rolled or drilled ‘r’ tongue effect

Third riff and bridge…repeat the first line of the main riff

5D   5B 4D   3D..2D   2D   2D..2D (with hand vibrato)

5D   5B 4D   3D..2D   2D   2D..2D (with hand vibrato)

…Leading straight into…

“Someone to love…”   3D”   3D”..2B..2D’   (together)

..”Somebody new”..

“Someone to love…”   3D”   3D”..2B..2D’ (together)

..”Someone like you”..

Fourth riff and solo…start with lines one and three of the main riff

5D   5B 4D   3D..2D   2D   2D..2D (with hand vibrato)

5D   5B 4D   3D..2D   2D   2D..2D   (with rolled or drilled ‘r’ tongue effect)

…Leading straight into…

3D”   3D”..3B..2D’   (with hand vibrato)

2D   2D”..2B..1D (with gentle hand vibrato)

3D”..3D’..3D”   2B..2D’   (grace note)

2D..2D   2D”..2B..1D

2D   2D   2D..2D

2D   2D   2D..4B..3D-4D

2D   2D..2D   2D

Outro

5D   5B 4D   3D..2D   2D   2D..2D (with hand vibrato)

…5D..5D   5B 4D   3D..2D   2D   2D..2D

5D   5B 4D   3D..2D   2D   2D..2D (with rolled or drilled ‘r’ tongue effect)

5D..5D..5D 5B    4D..3D   3B   3B   3B..3B (with rolled or drilled ‘r’ tongue effect)

For further background and tab on John Lennon’s harmonica work, visit our More Beatles Harmonica post

In a previous post we had the good fortune of reviewing Rod Piazza & The Mighty Flyers live in Las Vegas. It was a welcome treat as the Harp Surgery has always been a fan of his work. Little Bitty Pretty One (Rockin’ Robin) brought back happy memories of a time when this instrumental was a hot topic of conversation. It is not just a catchy tune; more importantly it includes a devilish switch between separate draw bends in hole 3 and the straight draw in hole 2. Something the Harp Surgery likes to call a wobble.

Wobbles can be executed in several departments of the harp. They are achieved by direct bending in one hole (this could be a draw bend or a blow bend), rolling into an adjacent hole and then returning to the original bent note or, as in this case, a second bent note in the original hole. Join us on our journey into rocking blues and all will be revealed.

Lovey dovey lovely one, come sit down on my knee

Rod recorded the instrumental on his 1993 solo album Harpburn, but both melodies incorporated in it are from the 1950′s. The first was composed and originally recorded with the The Satellites by Bobby Day. It was popularised by Thurston Harris in 1957 and has since been covered by countless artists including TheDoobie Brothers, Delbert McClinton and Huey Lewis & The News. Thurston Harris’s single on Beverley Hill’s Aladdin label shows the composer as R.Byrd, which was Bobby Day’s real name; Robert James Byrd, Snr.

Musically it is worth noting that the tune does not change key. Day and Harris both recorded it in Ab major complete with the all-important finger clicks. Rod Piazza switches it up to A major, playing cross harp on a D major diatonic.

Here’s some more information from Honey Piazza: Hi. Rod had been playing it for years, but first recorded it in 1993 (Harpburn). It started in Watts at “Small’s Paradise” with George ‘Harmonica’ Smith. George was doing Little Bitty Pretty One so Rod decided to take another 50′s classic “Rockin Robin” and did it instrumentally. The biggest thrill for Rod, as he had been playing a lot of George’s songs, was when George started doing Rockin Robin (and laughing because now he got one from Rod!!). Thanks for the great article. Cheers…Honey Piazza

He rocks in the tree tops all day long, hoppin’ and a-boppin’ and singing his song

A year later in 1958, Bobby Day hit No.2 on the Billboard chart with his solo recording of Rockin’ Robin, a tune written by Leon René. It was also recorded in Ab major but has the three chord changes common to blues and rock’n'roll, as well as a middle eight.

Again this tune has been widely covered. The best known version was of course recorded by Michael Jackson for Motown in 1972 on his solo album Got To Be There. He sang it in the key of F major. And here’s some trivia for you; he also recorded Little Bitty Pretty One the same year as part of the Jackson 5 on the group’s Motown album Lookin’ Through Windows.

Ah ah-ah-ah ah-ah ah-ah!

Now down to business. First you need to crack the intro melody, Little Itty Pretty One. Check out Rod Piazza in action in the video below, then come back and start work. You’ll need your favourite D major diatonic and your chops. This is where you need to master that killer wobble we mentioned earlier! For the key to our tab by the way, check out our Harp Theory section.

The first sequence looks and sounds like this:

3D’-4D’..3D-4D 3D-4D..2D..2B (really ‘squawk’ that first double note 3D-4D3

3B 3B 2D..3D

3D’-4D’..3D-4D 3D-4D..2D..2B (really ‘squawk’ that first double note 3D-4D)

3B 3B 3D 3D”

3D’-4D’..3D-4D 3D-4D..2D..2B (really ‘squawk’ that first double note 3D-4D)

3B 3B 2D..3D

3D-4D..2D..3D”..2D

2B 3B..3B 3D..2D

The second sequence looks and sounds like this:

3B-6B 5B..4D..5B

4D..4D 5B..6B

6B 5B..4D..5B

4D..4D 5B..4D [4D..4D 6B..5B+]

3B-6B 5B..4D..5B

4D..4D 5B..6B

6B..6B..5B..4D..4B

3D-4D..3D-4D 3D”..3D

Note: If you can overblow and want to remain faithful to the original melody, try showing off with the tab in blue.

All the little birdies on Jaybird Street, love to hear the Robin go tweet-tweet-tweet

And so to the second melody, Rockin’ Robin. Take another look at the video below then come back for some more harp action. We’re still in A major, playing cross harp on a D major diatonic. And there’s that wobble again.

The first sequence looks and sounds like this:

4D..5D 5B 4D..6B

4D..5D..4D 5B..4D

4D..5D 5B 4D 4B

3D’..3D..2D..3D”..2D

4D..5D 5B 4D..5B

4D..5D..4D 5B..4D

4D..5D 5B 4D 4B

3D’..3D..2D..3D”..2D

The second sequence looks and sounds like this

3D-4D..3D-4D  3D”..2D

2D 2D 2D

3D’..3D”..3D’..4D..5B 2D

2D 2D

3D..3D 4B 4B..4B..4B

4B..4B 4D

4B..4D 3D’..3D..2D..2B 2D

2D 2D 2B 1D

2D..2D” 1D..1D

The penultimate sequence looks and sounds like this:

1B-4B 1B-4B..1B-4B 1B-4B

1B-4B..1B-4B 2B-5B 1B-4B 1B-4B

4D 4D..4D..4D

4D..4D 3D..4D..5B..2D

1B-4B..1B-4B 1B-4B   1B-4B..1B-4B 1B-4B

5B 1B-4B 1B-4B

4D..4D 4D 4D..4D 5B..4D

5D..5B..4D

Repeat the first two passages, then move into the outro by repeating the second section of part two thus:

3D..3D 4B 4B..4B..4B

4B..4B 4D

4B..4D 3D’..3D..2D..2B 2D

2D 2D 2B 1D

2D..2D” 1D..1D

And then a truncated version of the same:

3D..3D 4B 4B..4B..4B

4B..4B 4D

4B..4D 3D’..3D..2D..2B….

And the finale which is a sustained octave while the band descends in semitones beneath..you just need to familiarise yourself with the timing. We have marked the downbeat in bold.

1B-4B 1B-4B..1B-4B 1B-4B

1B-4B 1B-4B   1B-4B..1B-4B

1B-4B 1B-4B   1B-4B..1B-4B 1B-4B

3D..4D..5B..6B

2D……

Alternatively you might like to try following the descent

6B 6B..5D 5D

5D 5D (partially bent)

5B..5B

4D..4D

4D..4D’..4B

3D..4D..5B..6B

2D……

Well done, now you’re all set to get the band involved and blow away the audience at your next gig! Don’t have a band? No matter – get your shades on, hit the video again, click your fingers and play along with Rod Piazza & The Mighty Flyers.

Regular visitors will remember we recently ran a post about Paolo Nutini’s priapic UK No.1 hit Pencil Full Of Lead from his chart topping album Sunny Side Up. When the song first hit breakfast radio, the Harp Surgery resembled a madhouse as The Good Doctor, Elwood, Otis and Monica cavorted around the kitchen in total abandon. The The Riverboat Captain is still sounding his horn from the wheelhouse and singing along.. most of all, I’ve got my baaaaaay-bee!

One player from Nutini’s band, The Vipers, caught our collective eye of course – Fraser Speirs, Scotland’s Laird of the Moothie. That’s King of the Gob Iron to those of us south of the border. And having listened to the track with his good ear, The Doc concluded that Fraser was using a G major diatonic in 2nd position for the harmonica solo. A week or so later, Otis delivered a letter from our dear friend Tenbar who wrote I’ve been trying to figure out the Paolo Nutini track and knew it was a G harp, but is it a high G harp? Straight away the Good Doctor dispatched a missive to the tartan territories, enquiring about Fraser’s choice of instrument and which position he used on the hit.

I’ve got a sheet for my bed and a pillow for my head

Well this morning Otis the Postman dropped in for a nice cup of tea and a sit down and brought us the reply we’d been waiting for: Doctor, Sorry it’s taken me a while to get back to you. The Tombo Folk Blues 10 hole diatonic is my main instrument and I carry a few 12 and 14 hole Marine Bands and XB-40 Hohner Diatonics as well. For “Pencil Full Of Lead” I used a Tombo Folk Blues 10 hole low G for the riff and rhythm parts and switched to the high G for the solo. Hope that is of some help to your readers. Best wishes, Fraser Speirs.

So there you have it. Mystery solved and any equivocation laid to rest. Fraser also drew our attention to a track called My Father’s Coat from James Grant‘s June 2009 album Strange Flowers, on which he plays. He adds: I have worked for many years with James and this is one of his most moving songs. Hopefully it demonstrates the versatility of the instrument, played through a Line 6 Pod and performed live in the studio. No synth pads or overdubs; most of the decoration and pads are just the harmonica.

Our thanks and congratulations go to Fraser for his wonderful reply and his harmonica success respectively. To find out more about Fraser and the catalogue of top artists he’s played with, take a butcher’s at his splendid website. You can view our original post Pencil Full Of Lead here.

To recap for a moment, Judd Lander is purported to have taken lessons from Sonny Boy II during his formative playing days in Liverpool. He subsequently relocated to London where he found studio session work and launched Charisma Records. His playing is not complex, relying as it does on cross harp blues sequences, but it is highly polished and instantly recognisable. Full of natural tone and excellent phrasing, Judd Lander gives his harp licks real ‘voice’ without resorting to digital trickery or overdriven tubes.

Loving would be easy if your colours were like my dreams

On Karma Chameleon Lander uses exactly the same style of harp as Church Of The Poison Mind, but this time the harp enjoys greater presence throughout the song. The harp parts comprise that signature Karma Chameleon intro riff, two chorus fills, a lead break after the ‘middle 8′, a third chorus fill and a final chorus outro fill. You’ll need an Eb major harp to play in Bb major cross harp. As you work through the tab below, be aware that Lander likes to ‘scoop’ into certain notes for effect. In our tab, an italicised note linked to a regular note indicates a scoop.

Let’s start with that signature introduction. It’s a dandy. Lander adds sustained throat vibrato on the final note:

1D 2B 2D

3D’…3D 3D’ 2D

4D’..4D 4D’ 4B

3D’..3D 2D 2D

2D”..2D……..

The first chorus looks and sounds like this:

1D 2B 2D

3D’..3D 3D’..3D 3D’..3D

3D’..3D..3D’..2D….

This pattern is repeated to complete the first chorus contribution.

For the second chorus, Lander adds a couple of extra fills. He starts with the same few notes and then ascends the scale like this:

1D 2B 2D

3D’..3D..4D 5B 6B

He then adds the following lick:

4D’..4D..5D

4D’..4D..4D’ 3D..2D

A further bluesy fill completes the second chorus contribution :

3D’..3D………3D’..3D……

The lead break starts low down in draw 1. Lander uses a Sonny Boy II style wah-wah on the first note, a bent draw 1 into a straight draw 1.

1D’..1D………1D’..1D…………1D’

The second part of the break looks and sounds like this:

2D 3D’..3D 4D 4D’..4D

3D’..3D 3D’..3D 3D’..2D……

You then catch a hint of harp behind the vocal just after the break. The lick is:

1D..1D 2B..2D 3D..3D’

The fills in the third chorus starts with this bluesy sequence. Big pull from the throat:

3D’..3D…….3D’…..2D…..2D”..1D

4D’..4D 4D’..4D 4D’..4D.. 4D’..3D..2D

A gentle fill lower down the harp can be heard amidst the vocals that follow, but we won’t worry about this as it is hard to detect :

1D 2D 2D’..2D………..

The song production is then scaled down to vocal harmonies with a military style snare drum backing, before relaunching into the final chorus, where the first fill is a repeat from the initial chorus above:

1D 2B 2D

3D’..3D 3D’..3D 3D’..3D

3D’..3D..3D’..2D….

Then a simple repeated note:

4D’..4D 4D’..4D 4D’..4D 4D’..4D

Followed by an adapted Landeresque phrase:

1D 2B 2D

3D’..3D..4D

3D’..3D……..3D’..2D

An elongated 3 draw bend:

3D’..3D 3D’..3D…….3D’…….3D”

A lick adapted from the intro phrase as the song fades:

1D 2B 2D

3D’..3D…….3D’..2D

And the song fades. And there you have it! There’s a loving in your eyes all the way. Here’s the video on Youtube, and before you ask, no that’s not Judd Lander on harp. And I don’t believe Boy George really plays harp either! Red, gold and green. Red, gold and gree-ee-ee-een.

See also our coverage of Judd Lander on Culture Club’s Church Of The Poison Mind.

And here’s a word from Judd himself!

“Many thanks for the flattering comments about my playing.  It is really nice to be appreciated.  Warmest regards – Judd Lander”

In the heady days of post-punk Britain, the Sex Pistols‘ erstwhile manager Malcolm McLaren branched into the New Wave pop market with his new creation for the 1980s, Bow Wow Wow. We could look into how and where he found the lead singer Annabella Lwin, his promises to side step the Lolita and Svengali traps, how old Lwin wasn’t, that scandalous album cover, the Vivienne Westwood effect, and how utterly brilliant the music actually was. But we won’t.

Instead let’s consider what followed. During their early performances Bow Wow Wow were joined on stage by a second singer, the androgynous Lieutenant Lush. When Lush’s talent started eclipsing Lwin’s however, he (for it was a he, contrary to media speculation) was asked to move on by the management. Lush promptly founded his own band, Culture Club, and re-named himself Boy George. The rest of the story is probably more familiar. Unperturbed by the failure of their debut album and two singles, Culture Club released a second album, Colour By Numbers. Their next single, Church Of The Poison Mind, hit the top 10.

Judd Lander’s playing is instantly recognisable, yet he doesn’t use any complex tunings, positions, overbends or special effects. Instead he relies on a regular cross harp formula and his natural, semi-acoustic tone. It’s the strength, clarity and character of that tone which makes him unique. Add to this his attack, phrasing and a tasty vibrato, and you have the whole package. So how did he do that?

Love will make you blind in the church of the poison mind

Church Of The Poison Mind features only three short snippets of harmonica, but the impact is immense. Lander covers 16 bars during the intro, another 16 bar break midway and the fading few bars at the end of the song. The signature intro riff is more or less repeated for the break, while the outro is free-form. We’re using an F major harp for cross harping in C major. Learn to work ‘inside’ your harp, make musical statements and give it ‘voice’. As you work through the tab below, be aware that Lander likes to ‘scoop’ into certain notes for effect. In our tab, an italicised note linked to a regular note indicates a scoop.

The intro looks and sounds like this:

1D..gliss..4D..4D’..4D……

4B….

3D 2D’..2B 1D

1D..gliss..4D..4D’..4D……

5B 5D 5B

4D 3D’..3D..3D’ 2D

The middle break is virtually the same as the intro but looser on the timing. It looks and sounds like this:

1D..gliss..4D..4D’..4D……

4D’..4D 4B

3D..2D 1D

…4D…

5B 5D 5B

4D 3D’..3D..3D’ 2D

The outro is more free-form, still using cross harp patterns. It looks and sounds like this:

6D’..6D….

6D’..6D 6B 5D 4D’..4D 4D’ 4B

3D’..3D 2D 1D

And one final fading lick:

4D’..4D-5D

4D’..4D 4B 3D 4B

In our follow-up post we’ll look at the next red-hot release by Culture Club, Karma Chameleon, also featuring Judd Lander on the harp. Until we do, here he is in action with Culture Club!

See also our coverage of Judd Lander on Culture Club’s Karma Chameleon.

And here’s a word from Judd himself!

“Many thanks for the flattering comments about my playing.  It is really nice to be appreciated.  Warmest regards – Judd Lander”

Don’t start me talking, I’ll tell you everything I know

Elwood reminded folks at the Harp Surgery it’s the anniversary of Sonny Boy II’s birthday this week. How about we tab out one of his monster tracks? he suggested. The Doc stroked his goatee and lifted his bowler down from the coat stand. No need to tab one number, young Elwood, we’ll do them ALL he replied. But how is that possible? quizzed Elwood.

The Doc raised a sagely eyebrow. Once you’ve mastered his trademark cross-harp licks and timing, my boy, you can tackle much of his material. Then it’s a case of studying the first position harp work, timing and tone. But always remember you will never sound exactly like the master, nor should you . Elwood started warming his favourite blues burger. So where do we begin? he asked. From the turn around, answered the Doc, it’s his signature lick. It goes like this…

Please come home to your Daddy, and explain yourself to me

Almost exclusively, Sonny Boy II played acoustic harp into a standing microphone, leaving him hands-free (at times quite literally) to add a wealth of expression to his playing. From behind the harp these effects are driven by tones which are thin and reedy one moment, deep and fully choked the next. To our detriment, we are often so preoccupied with nailing amplified Chicago harp that we turn our backs on other equally important styles. Sonny Boy reminds us there are plenty of other options which deliver an equally devastating payload. So let’s start with his signature lick. He uses it at the turnaround on a huge number of his songs.

The signature turn around

The underlying rhythm is WAH wah-WAH wah-WAH wah-WAH wah-WAH-uh duh-WAH WAH. Try articulating it aloud. On the harp, each wah, accented or otherwise, is created with a precise opening of the hands. (For more information visit our Harp Skills Wah-Wah page). You must also learn how to choke the harp, using fully extended throat vibrato on the unbent draw 2 reed. All the control comes from the back of the throat and is anchored in the diaphragm. The end product is a ‘weeping’ harp. (For more information check out our Harp Skills Vibrato page).

Before we study the essential building blocks, here is an impression of the full effect using an Eb diatonic. See if you can copy it:

Now let’s analyse the key components, starting with the basic notes without any hand effects. Accenting the bold notes for the down beat, the tab looks like this: 2D 2D-2D 2D-2D 2D-2D 2D-2D-2D” 1D-1D 1D.

Remember that all the control comes from the back of the throat, with just a little help from the tongue around the 2D” stage (huddle-dah). Now let’s work on the throat vibrato. Using the basic note pattern, dig in and augment the entire phrase with full throat vibrato. The throatier the better, almost to the point of stalling the reed. This is what we mean by choking the harp – you can hear the throat pulls, or choking, in the background of this clip:

Now let’s add the hand effect to the note pattern. Each ‘wah’ is produced by opening the hands as the note is played. This lends a human speech quality to the sound. Once you’ve tried this part, go back to the first clip and try it again, combining all the components.

You gotta help me, I can’t do it all by myself

There are two licks on the classic track Help Me which are well worth learning. They are fundamentals of the Sonny Boy style and frequently appear in his recordings. One is straightforward, the other is not quite what it seems. Grab a Bb major diatonic if you have one, otherwise an A major will do (and you’ll be more popular with guitarists).

Here is a sound clip of the first lick. It starts with the basic notes 3D-4B-4D, then repeats them cleanly at tempo. Next with 4D changed to 4D and finally with 3D changed to 3D’. Now, somewhere between the last two lies the actual lick. The important point is while 4D is not a clean draw, neither is it a full bend. For this reason it is annotated askew and in bold. As the whole lick is played over the IV chord, 3 draw is also slightly bent for true ‘blues’ effect. If you don’t ‘blues’ everything up you’ll sound way too polite.Experiment, use the force, and work towards the optimum balance to emulate the master’s feel.

The finished lick is a triplet rotation 3D’..4B..4D, accenting the last note each time. Sonny Boy also uses it in Born Blind and Don’t Start Me Talking. It cuts in late in the Help Me track (at around 2:16) and it’s great for working those diaphragm muscles.

Now listen to the second lick. It uses the ’2D’ option first and the ’3B’ option second. In the 2D version you can detect the breath rolling across the bridge between holes 2 and 3. The 3B option avoids hole 2 entirely, so no ‘rollover’ effect, just a punchier push-pull staccato.

Logically, you might think the tab to this famous Help Me lick should be.. one 4D 4B 3D..2D..3D 4B..3B..4B 3D..2D..3D. The bold characters represent the downbeat. This facilitates a unidirectional ‘wobble’ between 4B..3B, and 3D..2D respectively. But is this accurate? Perhaps there’s an alternative. If so, what’s the Harp Surgery’s take on matters?

Subject to Sonny Boy telling us I did it like this, the following seems more expedient and more authentic. One 4D 4B 3D..3B..3D 4B..3B..4B 3D..3B..3D. It’s the second option in our clip, the one that avoids the 2 hole. This option lends itself to a more syncopated rhythm from the diaphragm and produces better staccato.

This little trickster has provoked a schism between 2D advocates and 3B partisans ever since it was recorded. Sonny Boy also uses it in Born Blind and Keep It To Yourself. In Help Me it appears at the 1:25 mark and once again it’s a repeated triplet played over the IV chord. You could play it anywhere in the song, but it will only sound authentic when you reproduce it over the IV chord. Make a mental note.

The other vital detail is the timing. The lick comes in after the down beat. So, in triplets, you count ‘one’-dah-dah dah-dah-dah dah-dah-dah dah-dah-dah. Rehearse and memorise this so you don’t get confused real time. The timing doesn’t come naturally to everyone straight away so be patient. Finally, remember to ‘blues up’ the 3 draw (3D, and 3D with the beat).

Please do me a favour, keep our business to yourself

There are another couple of classic licks which feature right at the end of Keep It To Yourself. They turn the rhythmic emphasis back onto the down beat and, in doing so, they stand out from the pack. At the same time they follow the chord changes, which ensures they sit perfectly with the musical flow. Here’s how it sounds when you put the first two parts together. We’re on a D major diatonic in cross harp.

Now let’s break this down into manageable building blocks. The first lick is played over the one chord. Here’s the tab and the corresponding sound clip.

2D..2D”..1D 2D..2D”..1D

2D..2D..2D..2D 2D“..2D”..2D”..2D”

The second lick is over the IV chord. Again here’s the tab and the corresponding clip.

3D’..3D”..2D 3D‘..3D”..2D

Now we can start hanging it all together. The first line is repeated as the song returns to the I chord. Next we add a simple bent 3D over the V chord and then move to the outro. In this number the band stops momentarily, allowing Sonny Boy time to fill the false ending with a passing phrase before slotting in a standard blues finish. The final notes are not played altogether cleanly – Sonny Boy catches adjacent holes for effect. Here’s the outro he uses:

1D 2D..3D’..3D 2D..2D”..1D [passing phrase. Note 3D'..3D indicates a scoop from the bent up to the straight 3D]

6B 5D..4D..4B 3D’..3D

2D’..2D 2D’..2D

Well done, you’re now ready to use this whole sequence whenever you like. You could use it at the very end of a song. You could also use it midway through, substituting the ending here with a standard turn around (above). Try the full sequence now, with the complete tab and sound clip here:

2D..2D”..1D 2D..2D”..1D

2D..2D..2D..2D 2D“..2D”..2D”..2D”

3D’..3D”..2D 3D‘..3D”..2D

2D..2D”..1D 2D..2D”..1D

2D..3D”……… [band stops]

1D 2D..3D’..3D 2D..2D”..1D

6B 5D..4D..4B 3D’..3D

2D’..2D 2D’..2D

Hold up your head, and don’t let your conscience get you down

Pick up your C major diatonic and let’s hit this very basic, yet essential Sonny Boy II lick. It appears 26 seconds into Let Your Conscience Be Your Guide at the end of the first I chord sequence. Timing is essential. Basic as it is, you must ensure it punctuates the lyrics at the optimum moment: 2D 2B..1 D..2B..2D 2D 2B..1 D..2B..2D. Grab your C harp, it sounds likes this..

She asked me to wait until tomorrow, and she said everything would be alright

This is a line from Like Wolf where SB2 adopts the ‘sore-throat’ vocal style made famous by his brother in-law, Howlin’ Wolf. The number is also a great example of another essential aspect of Sonny Boy’s harp playing – his hand vibrato. In simple terms this is the quivering sound generated by rapid movement of the free hand. Keep the heel of your free hand anchored into the harp-holding hand, but flutter the fingertips as rapidly as you can. On a C harp, draw 4, draw 3 and draw 2, it sounds like this..

Another simple lick.

Here’s another typical lick (a wobble as we like to call it) that Sonny Boy uses over the IV chord. As ever, it involves a triplet pattern. The tab is one 3D’..2D..3D’ 2D 3D’. The rhythm is one dah-dah-dah duh duh and the result should sound like this..

More wobbles and elite syncopations

Here’s another Sonny Boy circuit over the I, IV and V chords. It is a further example of how he picks the twists, tucks and turns that nobody else thinks of. Add to this his visceral sense of syncopation and it is soon apparent why we’ve been celebrating his ingenuity for decades. Any harp will do, although the clip uses a C major. This time we’ll let you figure out the wah-wahs and hand flutters for yourself. The penultimate line of tab should be familiar by now; you just need to add the standard turn around lick to complete the exercise:

2D..2D’..1D 2D..2D’..1D

3D’..3D’..3D” 2D..2D..1D 2D”

3D’..3D”..2D 3D’..3D”..2D

2D..2D’..1D 2D..2D’..1D

1D 2D”..3D” 2D”..1D 4B

3D..4B..4D~ 3D..4B..4D~ 3D..4B..4D~ 3D..4B..4D~

3D..2D..2D

Out on the intro; somebody’s got to go.

Well done. We hope you’ve found everything helpful. Finally, now that we know about the turn around, playing over the I, IV and V chords and a couple of endings, it’s time we looked at how to start a Sonny Boy number! No better example than his intro to Don’t Start Me Talking (which makes a great ring tone for your mobile incidentally). Here’s the tab for the main part of the intro. All you have to do is add the wah-wahs and standard turn around. Enjoy.

2D 2D..2D”..1D 2D”

4D’..4D 4D’..4D 4D’..4D 4D..4D’..3D..2D

Goodbye Little Girl

Hang on, I hear you say, I don’t recognise that Sonny Boy II title! And you’d be quite right. It’s a song by Gary Primich on his fabulous Botheration album. GP picks out some quintessential SB2 licks and weaves them into his song to the very best effect. Check it out and learn from it. Alternatively try Cross Your Heart by Lester Butler on the Red Devils album King King. And as a precursor to Sonny Boy’s phenomenal use of 1st position blues, grab a G harp and check out Kim Wilson’s rendition of Trust My Baby on his Tiger Man album. We’ll see you there another time.

Oh yeah, a couple more things: the best Sonny Boy II album ever? Try this one! Meanwhile check out the Master right here playing Keep It To Yourself on a low D harp. Maybe the Doc was right about that trickster lick after all. This is where Sonny Boy actually spells it out for us beyond all reasonable doubt. I did it like this…

Groovy baby – yeah!

Otis stopped by this morning for a nice cup of tea and a sit down and brought us a lovely letter from Stuart Willowgate.

Been blowin’ since Christmas ’08 – or trying to, and loving it! I heard the song Groovin’ with Mr Bloe as the out music to Oz and James’ beer tour of Britain and have now found it on your site. I remember it the first time round! I think its on a C harp based in or around the 5 or 6 hole draw. Any tips to playing it, or a tab perhaps?

Thanks for your comments Stuart. You’d be referring to the entry about Groovin’ With Mr Bloe on our Harp Trivia Who Played That page. It’s not the first time Mr Bloe has come into conversation, so we ought to investigate the song and nail that tab for you right away.

Background

Groovin’ With Mr Bloe reached No.2 in the British pop charts in May 1970. It was held off the top slot by Mungo Jerry‘s In The Summertime. Unbeknown to many, it is actually a cover version. The original, called Grooving With Mr Bloe, was released in the USA as a B side on Life Records by a studio band called Wind and the song’s creation is credited to their band members Bo Gentry, Paul Naumann and Kenny Laguna.

Wind had briefly teamed up with Tony Orlando in 1969 to record the US hit Make Believe. Stuck for a B side, they threw together Mr Bloe, another bubblegum groove with some thrown together harmonica lines. And yes, it is the same Tony Orlando who had the hit record Tie A Yellow Ribbon in 1973 with his band Dawn. The British hit featured Harry Pitch on harmonica and was issued on DJM Records.

Writer Kenny Laguna recalls: Bo Gentry and I found him [Tony Orlando] looking rather portly, and working behind a desk at April Blackwood Publishing. We talked him into singing a hit called ‘Make Believe’, a shameless Four Seasons knockoff. I sang the high voice and Tony sang baritone..When ‘Make Believe’, the first Wind single, was ready to be released, we needed a B-side.

Our Buddah releases were known for their ridiculous B-sides, like A-sides played backwards in order for the business dudes to copyright something with themselves as writers, even though they couldn’t write songs. (One of the record company heads actually had a 3-year old daughter who had written more songs than Cole Porter).

We dusted off a backing track from a ‘Yummy Yummy’, ‘Chewy Chewy’, ‘Sugar Sugar’, ‘Money Money’ wannabe song that was called something like ‘Bingo Bingo’, and improvised a haphazard harmonica and melodica overdub for the B-side. After ‘Make Believe’ was a Top 20 hit in the United States, we sent it to England. There, the very exited and supportive BBC was happy to showcase the latest hit by our bubblegum dynasty. It was an instant success.

I got a call from Bo Gentry, who said, I’ve got a wedding present for you, you wrote the #1 record in Great Britain. What song? I asked. Groovin’ with Mr Bloe was the answer. I didn’t remember a song with that title. It turns out the Beeb (BBC) had unwittingly played the wrong side of the single and the throw away B-side became a worldwide hit, one of the biggest instrumentals of all-time, one of my greatest songwriting efforts, and, although in the US it only reached top 50 in Billboard, it was used as Dick Clark’s American Bandstand theme for many years. Ah, the many and varied wondrous ways of the record business.

Chatting with Roger and Harry

Roger Trowbridge, chairman of the UK National Harmonica League, has been researching the track for some time and has gathered a lot of information which we may cover in a future post. Roger comments, the original was played on a diatonic harmonica and appeared on the b-side of a single by the US ‘bubblegum‘ band Wind.

Zac Laurence provided sheet music for the session which he had scored from the original record. Harry Pitch was the session harmonica player. He didn’t use diatonic harps and had to play the harmonica melody on his standard C chromatic. I doubt if anyone thought of using a diatonic. I don’t think Harry ever heard the original either – he just played the session from the music provided.

Harp Surgery rang Harry Pitch to double check a few details. Harry was happy to talk about the recording. He explained I had a phone call two weeks before my birthday in May 1970 by Dick James, the Music Publishers. They booked me for a two week session at their London studios to record Groovin’ With Mr Bloe.

Zack Laurence arranged it and wrote out the score. I recorded it and then went back to alter it a couple of times, adding wah-wah-wah wah-wah [the blow bent notes towards the end of the track - Ed.].

Zack said ‘now we know the notes are correct and in sequence, I want you to play it like this – wah-wah-wah, wah-wah, like you did for Frank Ifield. The band were all sessions musicians. By the time the track hit number 2 in the charts, the ‘band’ was unavailable – and would have looked out of keeping for Top Of The Pops, so the BBC just played the song and Pan’s People choreographed a dance routine to it!

I’m gone man, solid gone!

Here are the tabs for the original US (diatonic) and the UK (chromatic) versions of Mr Bloe.

US version ‘Grooving With Mr Bloe’

D diatonic 1st position

VERSE ONE

5B (shade of 6B also)…..

…4D’..4D 3B 3D’..3D 3B   3B

3D’..3D 4B   4D’..4D..4D’..4D 3B

…5D’..5D (shade of 6B also)   5B   4D’..4D 3B   3B

4D’..4D 4B   4D-5D   4D-5D 4D-5D..4D-5D

…6D~….   6B 6D   6B   4D’..4D 3B

…3B   4D’..4D-5D 4B-5B   4D’..4D-5D 4B-5B

6D’..6D 6B

5D’..5D 5D’..5D   5D’..5D 5D’..5D 5B

4B 3B 4D   5B   5D..5B..4D

6D~….

4D   4B   4D’..4D 4D’..4D   4D’..4B

CHORUS

4D’..4D 4B

….4D..4D’..4D 4B

4D..4D’..4D 4B

4D..4D’..4D 4B

…4D   4D    4D’..4D..4D..4D   4D..4D..4D

4D’..4D 4B

…4D..4D’..4D 4B

4D..4D’..4D 4B

4D..4D’..4D 4B

..4D..4D’

4D’..4D..4D..4D   4D’..4D..4D..4D

VERSE TWO

5B (shade of 6B also)…..

…4D’..4D 3B 3D’..3D 3B   3B

3D’..3D 4B   4D..4D’..4D 3B   3B

…5D’..5D 5B   4D 4B

4D..4D’..4D 5B

4D..4D’..4D 4D’..4D   4D’..4D

…6D~..6B   4D’..4D 3B   3B   3B

…4D’..4D   4D’..4D 5B   5D

6D’..6D   6B

4D’..4D   4D’..4D   4B

3B

5D’..5D    5B   4B   3B

3B   4D   5B 6D..6B

4D’..4D   4B

4D’..4D   4D’..4D   4D’..4D

CHORUS

4D’..4D 4B

4D   4D..4D’..4D 4B

4D..4D’..4D 4B

4D..4D’..4D 4B

…4D   4D 4D..4D..4D   4D..4D..4D

4D’..4D 4B

4D 4D..4D’..4D 4B

4D..4D’..4B

4D..4D’..4B

4D’..4D   4B

4D’..4D   4D’..4D   4D’..4D   4B

4D..4D’..4D 4B

BREAK

4D..4D’..4D 4B

…4D 4D..4D’..4D 4B

4D..4D’..4D 4B

4D..4D’..4D 4B

…4D..4D

>4D’..4D   >4D’..4D   >4D’..4D   >4D’..4D

4D’..4D 4B

4D..4D’..4D 4B

4D’..4D   4B

3D   3B

4D’..4D   5D

4D..4D’..4D   4B

..Ad lib to end and fade

TAB 2 – Chromatic for UK version ‘Groovin’ With Mr Bloe’

Tabbed using a C major Hohner CX12 three octave chromatic harmonica

VERSE 1

6D#…….

…6B   5D   5B# 3D..3D

5B#..5D..6B   6B 3D

…7B   6D#   6B 3D..3D

6B 5D   7B..7B..7B

…8D   7D..8D..7D   6B   3D

5D   6B   5D   6B   5D

(gliss)…8D..7D   7B..7B..7B   7B 6D#

5D 3D   6B 6D#   7B 6D#   5D (gliss)…8D

..5B# 5D   6B..6B..6B …..

CHORUS 1

6B 5D

6B~   6B 5D

6B~   6B 5D

6B~   6B 5D

..6B..6B

6B..6B..6B   6B..6B..6B   6B..5D

6B..6B   6B~   5D

6B   6B~   5D

6B   6B~   5D

..6B..6B

6B..6B..6B   6B..6B..6B ….

VERSE 2

6D#…….\

..3D.. 3D   4B#

3D..3D   4B#..5D   6B..6B~   3D

..7B   6D#..6B

..3D   6B~..6B   6D#..7B..6B   6B..6B

(gliss)…8D..   7D   6B 3D..3D

6B~..6B   6D#..7B

(gliss)…8D..   7D   6B..6B..6B   6B

..7B 5D   6B^..3D

5D   6B..6D#   8D..7D

..5D..5B#   6B~..6B~..6B~

CHORUS 2

6B..5D

6B..6B..6B..5D

..6B..6B..5D

..6B..6B..5D

6B..6B   6B..6B..6B   6B..6B..6B   6B..5D

6B~^..6B..5D   6B~^..6B..5D   6B~^..6B..5D

6B..6B..6B..5D   6B^..6B..5D

BREAK

6B..5D

6B..6B   6B..5D

6B..6B..5D   6B..6B..5D

6B..6B   6B..6B..6B   6B..6B..6B 6B..5D

6B..6B   6B..5D

6B..6B..5D   6B..6B..5D

6B..6B   6B..6B..6B 6B..6B..6B 6B..5D ……..fade

Hark, what peaceful music rings!

[This post is dedicated to the Memory of the great Herbert Harris, Bajan choirmaster and organist of All Saints Church, Harpenden, Hertfordshire, UK].

Welcome to the Harp Surgery, home of all things harmonica, where one minute we’re honking the blues and next minute we’re power harping to heavy metal. This post we’re turning the clocks back nearly three hundred years to the ornamentation and etiquette of Baroque. Keep smiling, it’s more fun than you might imagine.

Whether or not you’ve ever studied and performed classical music, it is a certainty you’ll already have encountered some of its stars. They have steadily colonised slow elevators, invaded telephone hold music and squatted The Antiques Roadshow for a while now. A house favourite at the Harp Surgery is Johann Sebastian Bach. As a young church chorister, Jesu Joy Of Man’s Desiring, composed by Bach in the early 1700′s, was regular fayre for the Harp Surgery’s Good Doctor. Other spiritual standards were too, but Bach was cool. While Stainer was invigorating and Wesley warmed the heart, Bach was just hip.

Taking part in Bach’s St.Matthew Passion “Bach wrote the Brandenburg Concerto for the electronic keyboard” from the organ loft of St.Alban’s Abbey as schoolboy soprano was another supreme moment. Learning Bach’s Two and Three Part Inventions on the piano was an adventure. In fact wherever JS Bach was encountered, life was good. Somehow he always raised a grin.

Then of course there was the radical side of Bach. He was way ahead of his time. He is probably the reason why academics believe maths and music have much in common. Appropriately, with the advent of the Moog Synthesizer, came the brilliant album Switched On Bach by Wendy Carlos (then Walter Carlos). It was a perfect match. Without doubt, Bach had composed the Brandenburg Concerto for the electronic keyboard. If you’ve never heard it, now is your moment to catch up. It’s wicked stuff. Just click the link.

“this saccharine schmaltz mutation climbed to number 7 in the UK charts”Sadly dear reader, ten years down the line things took an ugly turn for Johann Sebastian when The Beach Boys released Lady Lynda. Of course it was based on the melody from Jesu Joy but, inexplicably, this saccharine schmaltz mutation climbed to number 7 in the UK charts, to the consternation of every music, Bach and Beach Boys fan. What the hell had happened? The Beach Boys reappeared in 1996 on Status Quo’s cover of Fun, Fun, Fun, but for Johann, the curtain had fallen once more.

Why bother with church music on the blues harp?

Where do we start? Try it before you knock it. Playing Jesu Joy introduces you to first position playing patterns you wouldn’t otherwise explore. You can also experiment with new tongue techniques and harmonies. It’ll expand your repertoire. It’ll certainly turn heads. And, who knows, one day you might like to stand up in church and play it as a dedication to a loved one. Religious music is right at the roots of the blues and soul traditions. Little Walter’s My Babe, for instance, was a reworking of the Spiritual This Train. Check out Terry McMillan playing it below and, once he gets cooking after the 2:05 mark, tell me you you ain’t uplifted by them country licks. Allelujah! He’s playing in G major, using a C major diatonic in second (cross harp) position. More on My Babe and the crossover of spiritual songs into secular R&B here.

Origins

But back to the main plot. J.S. Bach was the king of German baroque music in the 1700s. The likes of Mozart and Beethoven adored his compositions. During his lifetime he wrote copiously for choirs, orchestras, chamber ensembles, the church organ and solo instruments. Sadly he lived before the Harmonica was invented. Given his creativity and imagination however, who knows what would have happened had he heard one. Jesu Joy is a chorale “Sadly he lived before the Harmonica was invented…who knows what would have happened” he wrote as part of the Herz Und Mund und Tat und Leben (Heart and Mouth and Deed and Life) cantata.

In Harp Surgery terms, a cantata is a posh piece of church music for choir and solo voices, accompanied by a modest orchestra. It tends not to be an over lengthy affair so your bum won’t get too numb. If it does, you can stand up and join in the sing-along section with other members of the congregation. That’s the chorale. There are two in Herz und Mund, with Jesu Joy being the second and closing chorale. You can familiarise yourself with this serene piece of music by playing the link below. Take note of the lyrical accompaniment of the orchestra and the slower melody line (starting at 24 seconds) which draws it all together.

So how did he do it?

He didn’t! On the harmonica that is. But here’s how to tackle this famous piece on your harp. We’re using a C major diatonic and playing in straight, or first, position. Enjoy the three hole harmony splits which mimic the unison line of the chorale. If you forget where it all happens or how the melody kicks in, start by building and holding the notes of the G7 chord, 2D-3D-4D-5D. You could also use this to grab your audience’s attention and build suspense, before commencing the melody on 4B.

[2D-3D-4D-5D..................]

5B 4B 4D 5B 6B

5D 5D 6D

6B 6B 7B 7D 7B (6B 7B ) 6B 5B 4B

4D 5B 5D 6B 6D 6B

5D 5B 4D 5B 4B 3D 4B 4D

2D 3D 4D 5D 5B 4D

5B 4B 4D 5B 6B

5D 5D 6D

6B 6B 7B 7D 7B (6B 7B) 6B 5B 4B

4D 5B 5D 6B 5D 5B 4D 4B

3B 4B 3D [you could use 2D instead of 3B on the first note here to save jumping]

4B 5B 6B 7B 6B 5B

2B 3B 4B

3B-5B 3D-5D 4B-6B

4B-6B 5D 5B 4D

2D 3D” 3D 4D 4B 4D

5D 5B 5D 4D 3D

2D 3D 4D 5D 5B 5D

3B-5B 2D-5D 4B-6B [you could substitute 2D-5D with 3D-5D and 4B-6B with a 3B-6B octave]

6B (5B 6B) 5B 4B

4D 5B 5D 5B 4D 4B

5B 4D 5B 6B 5D 5D

6D 6B 6B 7B 7D 7B 6B 5B 4B

4D 5B 5D 6B 6D 6B

5D 5B 4D 5B 4B 3D 4B 4D

2D 3D 4D 5D 5B 4D

5B 4B 4D 5B 6B

5D 5D 6D 6B 6B

7B 7D 7B (6B 7B) 6B 5B 4B

…. 3D” 6B 5D 5B 4D 4B [ralentando]

3B 4B 3D

2B-4B 3B-5B 4B-6B 5B-7B

Here’s Buddy Greene playing Jesu Joy and, as a bonus, the William Tell Overture at the Carnegie Hall