Here is a short except from one of my classes at this years spah, I will include the handout bellow as well. Any questions let me know!
Spah 2024 -Tasteful Blues Accompaniment Playing Seminar: D Kachalon
Tasteful accompaniment playing should always be the ultimate goal. Blues harmonica players only spend between 5-10% of their time on stage soloing. Therefore, it is important for every blues harmonica player once on stage to play tasteful accompaniment. That means sometimes playing something continuously while others might take a solo or sing, and adding to the sound.
Rhythmical Awareness: Never ever get in the way of the other musicians by creating counter-rhythms or stepping on another performer’s solo. Playing something at a lower volume underneath the rhythm section can add another level to the sound. By using either rhythmic or non-rhythmic chordal accompaniment, we can lay down something solid that the rest of the band can fall back on and enjoy playing over. Rhythmical awareness and precision is vital. We must be sure to be in the pocket and stay within the lines so to speak.
Dynamics control: Being very careful to control our volume is the best way to make other members of the band happy and want to play with us again. Using extreme repetition and/or creating a quiet layer within the music allows for the harp player to be playing all the time while actually adding something beneficial to the overall sound.
CE’s = Chordal Effects
Sustained Chordal Effects: These are a group of harmonica sounds that is legato and sustained. They create an under layer to the sound that can be almost unnoticed, but if it was to disappear would create a definite loss, or let down in the music. These include shakes (head or tongue), rapid vamping, dirty train whistle sustains, and organ sustain.
Un-sustained Chordal Effects: These sounds are used to create a staccato and highly rhythmic effect in our music. There is no sustain and should be as clipped as possible. They include the hard shuffle/ghost shuffle, and chord bombs.
What should you use? Ask yourself what is the song lacking? What does it need? More rhythmical snap and punctuation? More sustain on the chord changes? It’s up to you. Use your best judgment. Start off quiet. Try to read the other musicians and if they are digging what you’re doing.
There’s incredible satisfaction in connecting with other people through music. Learning as many songs, riffs, licks, and study pieces as possible helps create mastery over the instrument. I’m A Man, Mannish Boy, the Boogaloo, Hambone, Boogie, Box Shuffle, Tramp and Cha Cha Cha all have recognizable riffs to be acquainted with that are not that difficult. You can also usually simplify the riff and create a chordal pattern that is a very good to accompany or add to a groove that a band is already laying down. You never know when you might be called upon to sit in with a band and need to play one of these well known blues riffs or grooves.
A Big THANK YOU to the entire SpahTeam, the fabulous Tulsa Volunteers, Tulsa Harmonica Club, and Joe Filisko for making all this possible. More info can be found at Filiskostore.com and Davidkachalon.com
