I never broke the single-hole habit. I like to use tongue-blocking on the IV chord in second position, though, at least on the low end of the harp. It adds an interesting texture, especially when used sparingly. It's not unlike switching from a lead pickup to a rhythm pickup on a guitar.
In all my years of playing, this vid is the most comprehensive take on TBing. BUT...a separate, associated subject is tongue blocking with a "snap and sharpness." Two players who I think demonstrate this very advanced technique on diatonics that I've ever heard are Roly Platt and Little Walter. On chromatic, you can hear the snap with Larry Adler, but by far the most pronounced "snap" with a note I've ever heard is from Franz Chmel. With the snap he produces on draws and blows, his volume is tremendous, and every note is utterly precise. That ability, I submit, is ANOTHER tongue block technique for the most advanced players, and one which I have not discovered as yet. It appears to be a combination (with Platt and Chmel) of severe angling of the harmonica, plus a kind of advanced "CLUCK' while tongue blocking. It is so far a mystery to me how these players pull this off. Any input, feedback is appreciated, because no one seems to know what I'm talking about, or respond to. (Butterfield is the foremost producer of the "snap"...but he is a puckerer, and it's pretty easy to do with practice.
I recently found your channel and it's been really helpful as a beginner. I tried tongue blocking for the first time a couple days ago and immediately noticed how clear my tone was compared to puckering. I still have a lot of practice to do with it, but I think tongue blocking will be my preferred method.
Useful and clear. Thank you. I see you have a little trouble finding the tip of your tongue with your finger. Doesn't seem to affect your playing so I will stop practising that.
I use what my harp teacher called the "forked tongue" method, where I basically roll my tongue and block the holes on either side of hole that that I'm playing. Apparently this is an odd way of playing, but it's always worked for me.
A very good video Jonathon. I can play tongue blocking. When I started with TB, the amount of drooling was crazy. It took about 2 months to get it under control. Slaps, octaves, tongue switching came to me fairly easy, but bending is very hard. I can only get about a half step. Please do some videos on TB bending. I find that when I am singing along with the vocals in my head and I want to add some harmonica the pucker comes easier for me to do that. I hope you understand what I am trying to get across with that last sentence. Mocking the vocals with licks I guess might explain it. This is just a little of the stuff I have had trouble with using TB. Bending being the biggest problem. Thanks for your videos. Very helpful sir.
As a player who had a career in imaging, I have to say that I can't imagine how a harmonica could be preset during an MRI as no metal can be present during an MRI production. In fact, it wasn't. The harmonica in the image at 7:00 has been photoshopped in.
I've discovered if you put the harp UNDER your tongue, you can play it somewhat like a jaw harp. I call this embouchure power of "L" . I use the extra tone to make chords by throat singing without vocalizing.
Been playing for 40 yrs...since I was 8 yrs old. I still lip purse. I've self taught to only lip purse, which is great for really tight bends & clean single notes. Not great for that multi key "chi town" sound. I'm having the hardest time retraining myself on this. Yet have found it absolutely necessary for me to move on. Anyone? Please! Lol ...be well all! Ian
Yes, generally, but I currently am winding that down in exchange for a new program that I'm releasing in February. If you stay on my email list you'll hear about that but I won't be doing one on one private lessons anymore, to be clear.
I like, and appreciate, all your videos, Jonah, but unless I'm mistaken you didn't actually explain how to do slaps and pulls, like, for example, which comes first, the single note or the slap/pull. If I missed sthg, please let me know.
Let me try to explain it like this: the slap is when you block the note next to the one that you want to play like you were normally tongue blocking a note. When you do that with any speed, it’s going to create that percussive and accented effect, that we call slapping. A pull is just the opposite of that, and it’s not really used on its own. It’s when you combine a slap and a pull, you realize that it is an easy way to rearticulate a note and gives these extra rhythmic and tonal effects that are interesting. To make the order of things a little bit more clear, think about it like this. Your tongue is off the harmonica, and you are playing a chord. Then you place your tongue on with a little bit of force, that is the slap. Because your tongue is on the harmonica, notes are getting blocked, and you’re playing a single note. After that, you pull your tongue off, and you hear the chords again. You can repeat this process on every single note, or use it sparingly to accent certain notes, or time and in a way to use the percussive effect in a rhythmic way.
I honestly can't hear any difference with tongue blocking. I just pick up my harmonica, put it to my lips and play it. I don't make any conscious effort to pucker my lips or do anything fancy with my tongue, etc etc etc... I've been playing harmonica since l was 7yo and l will soon be 71yo.
A fine video, but I am concerned when you state that tongue blocking makes a bigger tone than puckering in the clean single note method. First, when you play the two methods, it is audible that you are slapping during the tongue block. That's not fair. Keep it clean on both. Then, you say puckering is about making your lips a tiny hole to play the tiny harp hole. This makes me concerned that your pucker method is incorrect. Most pucker players pucker poorly. I trade lessons with a TB only player and when I asked him to show me what he thought puckering was, he was way off. It was no wonder his puckering sounded weak and puny compared to his TB. My pucker hole is 3/4 inch long (nose to chin) and half an inch wide (cheek to cheek). Remember, to the left of hole 2 is the post between 1 and 2. To the right of hole 2 is the post between 2 and 3. Your width should be just to the right of hole one and just to the left of hole 3. When I play holes one and two it can get bigger as I place the left side of my lips on my left hand, not on the harp. Then you claim the pucker embouchure uses muscles that get tired out. This also makes me think you are puckering incorrectly. I never get tired from puckering. To me, the bigger tone of tongue blocking is due to split double stops, slaps and lifts. I can achieve the same single note tone by using either embouchure. Even if the two tones were different, tone is subjective and one cannot be said to be better than the other. That said, keep up the good work!
Good points. I agree with you on the slaps, I shouldn’t have done that, and I regretted it before the video was even published. I’ll be honest, my puckering technique is pretty bad. I can do it somewhat OK, and I’m better with the deep relaxed embouchure. I just don’t really care to learn both styles, I know it would be helpful as a teacher but frankly, I just don’t have the time or desire. And I know I’m not the only one who is puckering technique is tiring, multiple of my students have said the same thing when they stop playing for a couple days. Maybe they all have bad technique, but that’s a trade off you don’t even have to slightly make with the other embouchures. It’s been a while, so I don’t remember what I said in the video, but puckering players can definitely have a good tone. Some of my favorite players are puckering players. Tongue blocking is by no means a requirement or vastly superior. It’s just more versatile with techniques and I find that beginners sound better once they learn it, and I did too in my past. I appreciate the comment, though, I don’t mean to deceive people, but I’m not perfect. A lot of times when I make these videos I catch imperfections or things that I didn’t say exactly the right way. In most cases, I don’t have the desire to re-shoot things, and I just put it out there. It’s hard to make content, you gotta cut corners where you can.
Also check out my vibrato lesson:
th-cam.com/video/6YnRlANddoE/w-d-xo.html
I learned to play by tongue blocking. It was on a little piece of paper in the box of my first Hohner Marine Band. It's still what I use the most.
Great lesson, thank you very much!!!
Nice Lesson, hardest for me when switching to tong blocking was to relearn bending. Maybe you have some tips here as well?
Great Thanks Jonah,
It is like starting again but well worth it 👌
Much Appreciated
You are very articulate, in a way you communicate Jonah
I never broke the single-hole habit. I like to use tongue-blocking on the IV chord in second position, though, at least on the low end of the harp. It adds an interesting texture, especially when used sparingly. It's not unlike switching from a lead pickup to a rhythm pickup on a guitar.
In all my years of playing, this vid is the most comprehensive take on TBing. BUT...a separate, associated subject is tongue blocking with a "snap and sharpness." Two players who I think demonstrate this very advanced technique on diatonics that I've ever heard are Roly Platt and Little Walter. On chromatic, you can hear the snap with Larry Adler, but by far the most pronounced "snap" with a note I've ever heard is from Franz Chmel. With the snap he produces on draws and blows, his volume is tremendous, and every note is utterly precise. That ability, I submit, is ANOTHER tongue block technique for the most advanced players, and one which I have not discovered as yet. It appears to be a combination (with Platt and Chmel) of severe angling of the harmonica, plus a kind of advanced "CLUCK' while tongue blocking. It is so far a mystery to me how these players pull this off. Any input, feedback is appreciated, because no one seems to know what I'm talking about, or respond to. (Butterfield is the foremost producer of the "snap"...but he is a puckerer, and it's pretty easy to do with practice.
I recently found your channel and it's been really helpful as a beginner. I tried tongue blocking for the first time a couple days ago and immediately noticed how clear my tone was compared to puckering. I still have a lot of practice to do with it, but I think tongue blocking will be my preferred method.
Useful and clear. Thank you. I see you have a little trouble finding the tip of your tongue with your finger. Doesn't seem to affect your playing so I will stop practising that.
I use what my harp teacher called the "forked tongue" method, where I basically roll my tongue and block the holes on either side of hole that that I'm playing. Apparently this is an odd way of playing, but it's always worked for me.
That’s called U-Blocking. It’s perfectly legitimate. I can’t get my tongue to do it personally, but if it’s working for you, don’t change it.
I like U blocking and have always played that way. However, it has kept me from being able to tongue block as explained here.
A very good video Jonathon. I can play tongue blocking. When I started with TB, the amount of drooling was crazy. It took about 2 months to get it under control. Slaps, octaves, tongue switching came to me fairly easy, but bending is very hard. I can only get about a half step. Please do some videos on TB bending. I find that when I am singing along with the vocals in my head and I want to add some harmonica the pucker comes easier for me to do that. I hope you understand what I am trying to get across with that last sentence. Mocking the vocals with licks I guess might explain it.
This is just a little of the stuff I have had trouble with using TB. Bending being the biggest problem.
Thanks for your videos. Very helpful sir.
good luck on bends using tongue blocking
As a player who had a career in imaging, I have to say that I can't imagine how a harmonica could be preset during an MRI as no metal can be present during an MRI production. In fact, it wasn't. The harmonica in the image at 7:00 has been photoshopped in.
I've discovered if you put the harp UNDER your tongue, you can play it somewhat like a jaw harp. I call this embouchure power of "L" . I use the extra tone to make chords by throat singing without vocalizing.
Been playing for 40 yrs...since I was 8 yrs old. I still lip purse. I've self taught to only lip purse, which is great for really tight bends & clean single notes. Not great for that multi key "chi town" sound. I'm having the hardest time retraining myself on this. Yet have found it absolutely necessary for me to move on. Anyone? Please! Lol ...be well all! Ian
You teach lessons online?
Yes, generally, but I currently am winding that down in exchange for a new program that I'm releasing in February. If you stay on my email list you'll hear about that but I won't be doing one on one private lessons anymore, to be clear.
I like, and appreciate, all your videos, Jonah, but unless I'm mistaken you didn't actually explain how to do slaps and pulls, like, for example, which comes first, the single note or the slap/pull. If I missed sthg, please let me know.
Let me try to explain it like this: the slap is when you block the note next to the one that you want to play like you were normally tongue blocking a note. When you do that with any speed, it’s going to create that percussive and accented effect, that we call slapping. A pull is just the opposite of that, and it’s not really used on its own. It’s when you combine a slap and a pull, you realize that it is an easy way to rearticulate a note and gives these extra rhythmic and tonal effects that are interesting.
To make the order of things a little bit more clear, think about it like this. Your tongue is off the harmonica, and you are playing a chord. Then you place your tongue on with a little bit of force, that is the slap. Because your tongue is on the harmonica, notes are getting blocked, and you’re playing a single note. After that, you pull your tongue off, and you hear the chords again. You can repeat this process on every single note, or use it sparingly to accent certain notes, or time and in a way to use the percussive effect in a rhythmic way.
@@HarmonicaRevolution Thanks for the lengthy reply. I've tried it before, and will try it again soon, but I'd like to incorporate it into my playing.
Something I can't do mate. My tongue is too short and too fat.
😝🤪😜😋😛 good tips for tongue blocking
👅
I honestly can't hear any difference with tongue blocking.
I just pick up my harmonica, put it to my lips and play it. I don't make any conscious effort to pucker my lips or do anything fancy with my tongue, etc etc etc...
I've been playing harmonica since l was 7yo and l will soon be 71yo.
A fine video, but I am concerned when you state that tongue blocking makes a bigger tone than puckering in the clean single note method. First, when you play the two methods, it is audible that you are slapping during the tongue block. That's not fair. Keep it clean on both. Then, you say puckering is about making your lips a tiny hole to play the tiny harp hole. This makes me concerned that your pucker method is incorrect. Most pucker players pucker poorly. I trade lessons with a TB only player and when I asked him to show me what he thought puckering was, he was way off. It was no wonder his puckering sounded weak and puny compared to his TB. My pucker hole is 3/4 inch long (nose to chin) and half an inch wide (cheek to cheek). Remember, to the left of hole 2 is the post between 1 and 2. To the right of hole 2 is the post between 2 and 3. Your width should be just to the right of hole one and just to the left of hole 3. When I play holes one and two it can get bigger as I place the left side of my lips on my left hand, not on the harp. Then you claim the pucker embouchure uses muscles that get tired out. This also makes me think you are puckering incorrectly. I never get tired from puckering. To me, the bigger tone of tongue blocking is due to split double stops, slaps and lifts. I can achieve the same single note tone by using either embouchure. Even if the two tones were different, tone is subjective and one cannot be said to be better than the other. That said, keep up the good work!
Good points. I agree with you on the slaps, I shouldn’t have done that, and I regretted it before the video was even published. I’ll be honest, my puckering technique is pretty bad. I can do it somewhat OK, and I’m better with the deep relaxed embouchure. I just don’t really care to learn both styles, I know it would be helpful as a teacher but frankly, I just don’t have the time or desire. And I know I’m not the only one who is puckering technique is tiring, multiple of my students have said the same thing when they stop playing for a couple days. Maybe they all have bad technique, but that’s a trade off you don’t even have to slightly make with the other embouchures. It’s been a while, so I don’t remember what I said in the video, but puckering players can definitely have a good tone. Some of my favorite players are puckering players. Tongue blocking is by no means a requirement or vastly superior. It’s just more versatile with techniques and I find that beginners sound better once they learn it, and I did too in my past. I appreciate the comment, though, I don’t mean to deceive people, but I’m not perfect. A lot of times when I make these videos I catch imperfections or things that I didn’t say exactly the right way. In most cases, I don’t have the desire to re-shoot things, and I just put it out there. It’s hard to make content, you gotta cut corners where you can.
Totally. Great response. As far as I’m concerned, we’re on the same team.
@@michaelrubinharmonic Great! Nice to meet you, by the way. Pretty sure I discovered 4th position from one of your videos years back. Thanks! ✌
Nice to meet you, thanks! @@HarmonicaRevolution
That tone comparison was bullarky. You faked the lip pursing tone to make it sound shallow.
Great lesson. Thanks a lot. 🙃🙂