Harp tab

Harp Tab How Do They Do That? 

It’s Bad You Know – R L Burnside [..with tab]

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She asked me why. I just went on and told her. The engineer blown the whistle, the fireman he rang the bell
I remember seeing R.L. Burnside in Brighton in the late 1990’s. The gig was above a pub (the Flying Pig I think) on Queens Road, just down from the railway station. My enduring memory will always be of Cedric, his grandson, silhouetted behind the drum kit, pumping out ‘tribal’ blues rhythms. There were just the two of them, musicians that is, but it was utterly mesmerising. I’d never experienced blues of this kind before; far removed from standard Chicago 12 bar romps. It took the audience somewhere humid and remote. Down in Mississippi, but back up in the hills.

Who’s blowing the harp?
So who’s responsible for all that raw harpooning on It’s Bad You Know? Only Lester Butler of The Red Devils! I believe recorded scraps were sequenced and engineered by Tom Rothrock and the track was released into the underground dance scene in 1998. Where it flourished. The message was then adopted by the likes of Moby, Little Axe and now Alabama 3. More recently by Son of Dave. If it’s any testament to quality, this track and, of course, Alabama 3’s Woke Up This Morning have been used in the TV series The Sopranos.

Harp tab (C major diatonic, 2nd position)
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D 2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D”  2D”  2D”  2D”  2D”  1D  2D”  2D”  2D”  2D”  2D   2D
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D”  2D”  2D”  2D”  2D”  1D  2D”  2D”  2D”  2D”  2D  2D
2D’  2D  2D  3D’  2D
1D  2D”  2D”  2D”  2D”  2D  2D
2D’  2D  2D  3D’  2D
1D  2D”  2D”  2D”  2D”  2D  2D
2D  3D’  4B  4D’  4B  3D’  2D
2D”  2D”  2D”  2D”  2D”  1D  2D”  2D”  2D”  2D”  2D  2D
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D”  2D”  2D”  2D”  2D”  1D   2D”  2D”  2D”  2D”  2D  2D

Fading
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D”  2D”  2D”  2D”  2D”  1D  2D”  2D”  2D”  2D”  2D  2D
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D’  2D  2D  3D’  2D  2D  2D”  1D  2D”  1D…1D’
2D”  2D”  2D”  2D”  2D”  1D  2D”  2D”  2D”  2D”  2D  2D

Harp Tab How Do They Do That? 

The Mighty Ship – The Housemartins [..with tab]

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The Mighty Ship seems to crop up on a regular basis on TV, Radio, at training seminars and on line, the same way that Groovin’ With Mr. Bloe does. It is a rare ‘good time’ harmonica instrumental. As a resident Brightonian, nay Hovite, the fact that The Housemartins‘ bassman (Norman Cook alias Fat Boy Slim) is an extremely close neighbour geographically, and former sponsor of The Albion through Skint Records, makes this tune all the more poignant.

At the Harp Surgery, we will forever remain convinced that The Mighty Ship is a secret Groovin’ With Mr. Bloe derivative, principally because of the common ‘sweet notes’ produced in the scooped 4 draw bend and straight 4 blow. The decision, as they say, is yours…. (more…)

Harp Tips 

1st Position Blues – Crossing The Canyon

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‘…Who shall tempt with wandering feet, The dark unbottomed infinite abyss, And through the palpable obscure find out, His uncouth way.’ Paradise Lost (Milton)

As a journeyman blues harp player, there comes a point when we start to explore blues in different positions. We learn that in theory the number of positions available on any one harp is exponential. In reality however, most of the top guys we listen to use only 1st, 2nd or 3rd position – straight, cross and slant harp respectively. Put simply, they can get the most effective results from these positions. We will look at 3rd position playing another time, but for now I want to focus on 1st position or straight harp.

I would bet any money that you learnt to play Amazing Grace, Camptown Races, When The Saints or Oh Susanna when you first picked up the harp! These are folk tunes we all know. They can be readily navigated in the key of the harmonica – normally starting from, or ending on, blow 4. That’s traditional straight harp. It’s what the diatonic harmonica was built for.

I’ll put another wager on the fact that, having cracked these pedestrian folk melodies, you then hurried off to cross harp blues playing on a mission to find all the funky bends necessary to sound like Little Walter, Big Walter, James (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…)

Harp Tab How Do They Do That? 

The Blues Band with Paul Jones – Flatfoot Sam

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Flat Foot Sam bought an automobile

It was Blues at The Fort, Portsmouth 2007 and the Good Doctor was in the backstage marquee with The Elevators. Three years earlier he was playing the same gig with The Blackjacks. ‘Who else is on the bill tonight?’ he asked. ‘Eddie Martin is after us,’ came the reply, ‘and The Blues Band are headlining.’ The Good Doctor smiled at the news; an excellent evening’s harpoonery lay ahead.

Then the Good Doctor’s thoughts rolled back to 1979 and radio reports of a new blues band that was taking the country by storm, featuring Paul Jones, former front man of Manfred Mann. It was a time when Punk Rock and New Wave were peaking on the UK music scene and live music gigs were where you still went to be cool. No MTV, no internet, no DVDs. The erupting live music scene had belched forth a number of red hot R&B bands. The Blues Band, 9 Below Zero, The Inmates and The Cheaters to name a few.

 

A year later, amidst great media interest, The Blues Band took the stage at the 1980 Knebworth Festival. The Good Doctor was in the crowd with the ‘naughty botty’ gang, ready for a musical feast which also featured Lindisfarne, Elkie Brooks, Santana and The Beach Boys. It was a fabulous day compered by Richard Digence and the bands were exceptional. After the festival, one song in particular stuck in the Doctor’s mental jukebox – Flatfoot Sam by The Blues Band. It was his favourite track on their Bootleg LP and just as good performed live.

(more…)

Harp Tab How Do They Do That? 

Orange Blossom Special – Charlie McCoy [..with tab]

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Background

When I heard Charlie’s recording of Orange Blossom Special for the first time, I was utterly stunned at the speed and accuracy of his technique – it is both jaw busting and jaw dropping. In fact it ranks right at the top of the “I’ll never play like that” top 40.

How do you unravel something so fast and complex? First you need to establish the key Charlie’s playing in. Clearly he starts in the key of C and an F harp in second position seems to do the trick. Initially that is. Until the tune takes a twist. Suddenly, as the melody ascends, modulating the same country lick four times, your F harp no longer does the business. Frustration sets in until the tune recommences its cycle and for a brief period you’re safe again.

So what devilry enables Charlie to reproduce this lightning bluegrass fiddle part on a tin biscuit? Is it some closely guarded Nashville technique? Could it be a particular playing position or a crazy tuning? Only one thing to do in such circumstances. Call international rescue. (more…)