Summertime and the livin' is eas y, the fish are jumpin' and the cotton is high
8b / 7b 8b 8d 7b 8d 8b 7b 6d 5b 5b 6b 5b 6b 6d7b 8b 8d 7b 6d
Your Daddy's rich and your Ma is good looking, so hush little baby dont you cry
When you get new harps, check out Ron first. http://www.rockinronsmusic4less.com/
Join the Jam Camp team for a West Coast Jam Camp
in a great California town. ..
RJ Misho Brian Purdy and camper Eddie Campers Jerry and Kate, and coach TJ Klay
With only 30 campers, 6 coaches, a great band for daily improvement
Here are some of the ways Jam Camp itself keeps reaching a new level:
* Expansion from typical weekend seminar to five days camp. ( started two years ago)
*Moving the event to the Blues Chapel in tthe Shack Up Inn for increased community.
* Emphasis on singing results in campers breaking through and singing.
* Classes on songwriting results in songs written and performed.
* New emphasis on Saturday Jam Show in which each camper prepares a peformance has resulted in many campers singing their own songs and also incorporating other campers as back up singers or "guest soloists." (increasing over last year)
*People bringing ukleles to camp has in late night uke jamming, ( started with May Camp) and uke playing in final Saturday Jam Show.
*Inclusion of guest coaches along with a core coaching team. The guest coaches keep us fresh, the core coaches keep- getting more effective in mentoring our campers.
*Having the band come in four times over the five days for training sessions as opposed to free form jams has made a big difference. Now each electric band jam focuses on mic-grip, relaxing, listening, even scat singing with a coach standing besideyou "coaching" you.
*Having a strong program for beginners that IS separate but equal and includes EVERYBODY in all the electric jammingbut also gives an accoustic beginner oriented alternative. --(from the beginning.)
*People coming back time after time gives us a chance to guide their evolution.
Doing Jam Camps at the Shack Up Inn in the Mississippi Delta has allowed us become a part of the Clarksdale Music Scene, and also housed the campers one one of the best hotels in the world for this sort this sort of thing.
*Getting Jam Camp catered for lunches and dinners with greens salads and fruit salads as well as wonderful main courses.
*Using a well balanced team of great player/musician/teachers who have a strong combination of different musical skillsand personalities and yet share one common goal: to get you to your next level.
*Locking down a great rhythm section who knows what we need, with Jam Camp Great "Hash Brown" on guitar, Ralph Carter on bass, Lee Williams on drums.
One of the great things about Jam Camp is its location, the Shack Up Inn. No stuffy hotels, unopenable windows, and daily maid service for us! This is rural Mississippi, baby, and the ghosts of the legends are smiling at us, and teaching us their tricks.
over and over, with gaps, or hesitations. The exhale helps you keep your breathing solid.
Good Morning Circle Riff
1d 2d 1d 2b (x infinity)
And here's another easy one, and oh so funky! Slide the 2 draw into the 3,
and, like through a ball back and forth, play catch with the 4 blow.
You can end the riff on the 2 draw, as shown, or on the 3d, or actually just abpout any old note.
Go gaps, no hestitations. Focus on these small subtle moves. Make them efficient.
Funky 3d to 4b
3d 4b 3d 4b 3d 4b 2d
Now let's head up to that funky non bending but big talking 5 draw, one of the most important reeds
in 1st, 2nd, or 3rd position. Right now, we're talkin' 2nd position. The 5 draw is the
Beatle's "Love Me Do"
5d 5b 4d 3b / 5d/ / 5b// 4d 3b / /
5 Draw Slider Down
5d 4d 5d 5b 4b 5b 4d 3d 4d 4b 3b 4b 3d 2d
All the way back in open mouth , pushed up towards nose gives you great tone.
A Trip to Gindick's Store
Order books and cds shipped to your door
or save on shipping and time, by ordering them as downloads.
This is where blues players should start...
Country & Blues Harmonica for the Musically Hopeless
112 page e-book and 73 minute audio $19.95
The New Musical Miracle Worker from America's Best Selling
Harmonica Instruction Author
The original sold over 1.5 million copies, and created generations of harmonica players. Now this 112 page book and audio lesson have been completely revised, to get you playing sooner, and better, and faster than you ever imagined.
It walks, guide, explains, illustrates and jams you through a lesson devoted to the basics of tone, bending and jamming. You will learn to play beautiful chords, great single notes. You will learn to play several easy 1st position songs, and then move on to Cross Harp (2nd position), the style of the blues.
Before long, you will understand rhythm, tone, articulation, phrasing, vibrato, tongue-blocking, bending, playing the I-IV-V and the arts of jamming like never before.I'll explain how 2nd position jamming works, how the 1,2,3,4,5,6 draw holes will always work when accompanying a chord progression. I'll show you how wailing notes create musical tension, and Notes of Resoltion resolve it.Then I show you six blues harmonica riffs, short patterns that will never make a mistake when jamming with a chord progression. All you have to do is adjust the timing the suit to rhythm of the song, and I show you how to do that.
You will need a diatonic harmonica in the key of C.
If you have the original Country and Blues Harmonica for the Musicially Hopeless, this revision is all new, yet retains the original charm. Get it by clicking this link.
2011 Edition Rock n' Blues Harmonica
A World of Harp Knowledge, Songs,
Stories, Lessons, Riffs, Techniques and Audio Index
For a New Generation of Harp Players224 Page e- book and 73- Minute Audio Jamming Buddy $19.95 (Beginners through Intermediate)
Hoppin’ and a-boppin’ and singing his song
All the little birdies on jaybird street
5d / 5b / 4d / 4b 3d 2d /
Rockin’ robin, rock rock
Blow rockin’ robin
4b / 4d / 4b 3d 2d /
Are You Singing?
As you know, I am all about harmonica playing and making the world more musical.
By musical, I mean more music-making, more musicality.
...not just turning on the radio, rather turning it off and singing
and playing harp, making your own music.
I mean being true to the music you love, not the music you think you should love.
And I mean, singing.
Yes you, playing harp and singing.
"I love my baby!" wa wa wa wa
"Like wino loves his cabernet!" wa wa wawa
Singing develops your ear and timing. Singing gives the music a context.
Singing makes you the most important member in the band.
I remember how I used to feel about singing.
My voice was throttled in 3rd grade (age 8) when I decided that it was girls who sing
and I was no girl.
So I closed down the heart, resticted the airpipe.
None of that girl stuff for me.
Throttled more growing up as I found out how much trouble I could get in by speaking carelessly,
or just wising off. I strangled myself to stay out of trouble.
"Watch what you say" is an important, but throat-closing injunction.
Think before you speak is wisdom.
Think before you sing may not be.
Ol' Gin Voice was throttled again at age 24 when I took a college singing class in Sacramento. As an assignment I played guitar and sang "The Gypsy Rover" for the class of some thirty people.
When I was done, the singing teacher turned to the class and said,
"And THAT is EXACTLY how NOT to SING!"
Even though I continued to sing, I was singing into the void of those memories.
I was singing from fear.
I sang from weakness.
Which meant, all I could do was mumble.
When you sing, you have sing from courage.
Then came Jam Camp. Then came a fire to perform.
Then came a singing teacher who got through to me.
She taught me the secrets of humming and smiling.
Then came performing and recording with a friend who beleived in me.
Singing is your passport in the world of music.
When you go to a jam, don't say you are a harp player, or you'll be off in the corner
playing through an underpowered pa channel.
No, tell them you're a singer.
Then they are all over you to try to please you.
To a certain extent, it's now all about them doing a good job for you.
You call the tune, set the tempo, set the key for your voice and harp.
If you haven't done it, it takes nerve.
You make be asking yourself, is that me up here singing?
Of course you need something to sing,
You can turn to the amazing collection of songs and artists that make up the blues
and use those lyrics, or adapt them.
You don't even have to sing.
Humm, scat, rap...just don't mumble!
Be bold. Open your heart. Embrace your audience.
And smile, always smile when you sing!
Look at it this way...
Anyone who can talk can sing...
Anyone who can fill their lower
torso with air as though it were a balloon
and let the air escape through their lips as they talk
can sing on key.
And yes you can sing better, MUCH BETTER very very quickly
in the right environment.
For almost everybody, the key to singing the blues is embracing singing the blues.
Jam Camp teaches embracing.
But you can be your own jam camp.
Start Now. Sing every day. Add your voice to your harp.
When you play a riff on your harp, answer it with your voice.