More brilliance from George this week as we continue to study Juicy Harmonica. The third chorus is another strong example of George Smith borrowing ideas from the sax players - it is a common motif for them to run through an entire chorus like this one playing only one note (the root). How can you get away with that? With rhythmic and tonal variation! Joe suspects George is hanging on the two draw and using hand and mouth technique to get his tonal variety. This chorus is also a good example of how you can blow right through the chord changes and make the root note "work" over the V chord. You'll get away with this A) if it's an uptempo tune, B) if the momentum pushes through strongly or C) if you're George!
The fourth chorus is brilliant for three reasons:
It builds incredible tension with the use of the flat 7.
It requotes the head (we love that melodic repetition!).
Bars 9-12 completely ignore the turnaround. Again, his strong rhythmic drive pushes that six blow hard and leaves you hanging...wondering what's coming next...check back here in two weeks to find out where he goes with it!
Bud Boblink and Bill Morris Visit B1!!!
The rhythm and chording class was treated to some fantastic harmonica trio entertainment and instruction from two Windy City Harmonica Club members yesterday. Bud Boblink of the Harmonicats and his bass-playing friend Bill Morris wowed the class and ran through a bunch of rhythmic groove techniques. Even Joe got in on the act, doing the famous Peg O' My Heart with them.