I'm a lip purser almost exclusively and blues harmonica purists have told me that I should be a full time tongue blocker because "lip pursing is limiting" and that tongue blocking will "give me more expression" according to them. Even Michael Rubin told me that he can get a bright tone with it and that I'll miss so much if I didn't learn it. I don't play blues all the time, I play modern country and gospel most of the time. The a big chunk of big players of the modern country and gospel field are either mostly or exclusively lip pursers.
I finally see what you mean with the zero in one. I was playing with a mini 4 hole, the little lady yes and was getting better single notes than when trying to pinhole pucker.
That was really well presented. I'm currently relearning puckering, because I found it limiting to tb everything now I'm gonna mix em up.and the iddle iddle technique is an aha moment for me Thank you. Love your book as well. Thank you
I'm a lip purser exclusively. It's just how I started playing and by the time I heard of tongue blocking, it was too set in. Nevertheless, I do not find it limiting for the music I play and I find that what you call zero out/in is good for providing rhythmic punch in fiddle tunes which is what I mostly play. I also play whistle and recorder and your other techniques are whatvwe refer to as 'tonguing' The mandelino looks interesting.
Great video! I do that pull off technique with my tongue against the roof of the mouth. When I do it on super low harps I can get a secondary effect where I change the size of my mouth after and change air directions. It creates a really cool effect. I like names of terms, but not for proscribing, just for describing. I love your description of the speed different forms of music absorb sounds from other forms. That is precisely why we welcome Indian chromatic playing, and rap and everything else on MBH... if it's got harmonica on it, or should have harmonica on it, we want to hear it. :)
Nice one, Winslow. But the “mandolino” - my tongue doesn’t want to flutter side to side like that. Can that be learned, or is in genetic like the ability to curl the tongue into a U shape (which I also can’t do)?
It may be genetic as you say, Tom. For me it comes easily, but I remember Paul deLay telling me that he couldn't do it, and he thought it was genetic. But I hvaen't seen medical confirmation.
Discover the power of "L" embouchure. Put the harmonica UNDER your tongue. At first this is more difficult, but with practice becomes more controllable. Breathe trough your lower lip.
@@winslowyerxa8505 After 50 years of playing, I wanted to play chords. Not shallow dry chords but rich warm chords. Loud and clear chords are possible, once you find your new sound.
@@winslowyerxa8505 But in the end it is a lot of work for something is done better, much more effective and much easier by blocking. Even if it is the best someone is able to do with puckering.
@@BlackSmurfPunk The iddle-iddle technique is much, much easier by *not* tongue blocking, while the mandolino is practically impossible with your tongue on the harp. Did you even watch the video?
@@BlackSmurfPunkI started off puckering, came across David Barrett thankfully early enough that I was aware of tongue blocking and could do a bit but not much. Only deep into a few years of playing I went across to tongue block full time. Took a year to get it down, but now I have, I find puckering hard. However, I think a mix of the two embouchures is best. I can only overblow on hole 6 at the moment (currently learning), but I can only do that puckering, and I don't believe it's possible (or definitely not as easy) to do that Junior Wells thing that Winslow is demonstrating at 8mins in without puckering. Pucker and overblow combo, hybrid mix-and-match stylee, and I believe one can become a true harp king. Btw, glad you're a Van Morrison fan, my favorite artist of all time, does a great harp number on his recent instrumental album. The man is a genius in all areas.
great info, interesting outlook, 100% with you , your tunes are in its own category and sound great, - i listen - i learn and play the way that suits me, (with a little help from @jasonricci) 👍😎
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Right on Winslow, blues doesn’t have to be a museum!
Thank you so much, Winslow. Very helpful for rte tongue blocker
I'm a lip purser almost exclusively and blues harmonica purists have told me that I should be a full time tongue blocker because "lip pursing is limiting" and that tongue blocking will "give me more expression" according to them. Even Michael Rubin told me that he can get a bright tone with it and that I'll miss so much if I didn't learn it. I don't play blues all the time, I play modern country and gospel most of the time. The a big chunk of big players of the modern country and gospel field are either mostly or exclusively lip pursers.
Amazing stuff!
I hope you'll do more of this
Winslow, quite simply, you’re the man.
🙏
I finally see what you mean with the zero in one. I was playing with a mini 4 hole, the little lady yes and was getting better single notes than when trying to pinhole pucker.
That was really well presented. I'm currently relearning puckering, because I found it limiting to tb everything now I'm gonna mix em up.and the iddle iddle technique is an aha moment for me Thank you. Love your book as well. Thank you
Ya, excellent video Winslow. Agree 100!!
Hi Winslow! Your lessons are always amazing👍 Thank you so much! All the best! L
I'm a lip purser exclusively. It's just how I started playing and by the time I heard of tongue blocking, it was too set in. Nevertheless, I do not find it limiting for the music I play and I find that what you call zero out/in is good for providing rhythmic punch in fiddle tunes which is what I mostly play. I also play whistle and recorder and your other techniques are whatvwe refer to as 'tonguing' The mandelino looks interesting.
Great advice and well presented.
This is all great! Good philosophical take on music too!
GREAT STUFF YOU ARE THE MAN 😎
I have both your books nothing to beat these instruction books
Excellent lesson, Winslow, on basic but very important techniques. I wonder to myself, why give lessons when Winslow has such good stuff?
I call the Rake the Helicopter, because if I do it without a harmonica it makes a helicopter sound in my head. 😅
Great video!
I do that pull off technique with my tongue against the roof of the mouth. When I do it on super low harps I can get a secondary effect where I change the size of my mouth after and change air directions. It creates a really cool effect.
I like names of terms, but not for proscribing, just for describing. I love your description of the speed different forms of music absorb sounds from other forms. That is precisely why we welcome Indian chromatic playing, and rap and everything else on MBH... if it's got harmonica on it, or should have harmonica on it, we want to hear it. :)
Too bad the group is now run by a bunch of rude blues snobs.
Nice one, Winslow. But the “mandolino” - my tongue doesn’t want to flutter side to side like that. Can that be learned, or is in genetic like the ability to curl the tongue into a U shape (which I also can’t do)?
It may be genetic as you say, Tom. For me it comes easily, but I remember Paul deLay telling me that he couldn't do it, and he thought it was genetic. But I hvaen't seen medical confirmation.
I can't do it either lmao. Good thing I don't play blues
@@kishascape Actually, the mandolino is very rarely heard. I can't think of any instance of it being used in blues harmonica
I got a valveless chromatic because it's easier to single not but play it like a diatonic lol
There are some valveless chromatics that have the same note layout as a diatonic.
@@winslowyerxa8505nicely probably the smaller 10 hole ones I saw. I just sight read off tabs though so the layout isn't a problem.
Discover the power of "L" embouchure. Put the harmonica UNDER your tongue. At first this is more difficult, but with practice becomes more controllable. Breathe trough your lower lip.
Can you describe what benefit this confers?
@@winslowyerxa8505 After 50 years of playing, I wanted to play chords. Not shallow dry chords but rich warm chords. Loud and clear chords are possible, once you find your new sound.
@@winslowyerxa8505 The L sound is your new acoustic chamber. Like when you shout help. Without vocalizing.
Winslow do u give lessons. I'm looking for a teacher.
Yes, I do
jobs@winslowyerxa.com
"If you don't block it you don't rock it" ☝😎
Nah. Tongue blocking is great, as I say in the video, but these are things you *can't* do with tongue blocking.
@@winslowyerxa8505 But in the end it is a lot of work for something is done better, much more effective and much easier by blocking. Even if it is the best someone is able to do with puckering.
@@BlackSmurfPunk The iddle-iddle technique is much, much easier by *not* tongue blocking, while the mandolino is practically impossible with your tongue on the harp. Did you even watch the video?
@@BlackSmurfPunkI started off puckering, came across David Barrett thankfully early enough that I was aware of tongue blocking and could do a bit but not much. Only deep into a few years of playing I went across to tongue block full time. Took a year to get it down, but now I have, I find puckering hard. However, I think a mix of the two embouchures is best. I can only overblow on hole 6 at the moment (currently learning), but I can only do that puckering, and I don't believe it's possible (or definitely not as easy) to do that Junior Wells thing that Winslow is demonstrating at 8mins in without puckering. Pucker and overblow combo, hybrid mix-and-match stylee, and I believe one can become a true harp king.
Btw, glad you're a Van Morrison fan, my favorite artist of all time, does a great harp number on his recent instrumental album. The man is a genius in all areas.
@@BlackSmurfPunkno pucker is fine. Stop being elitist weird old man.
great info, interesting outlook, 100% with you , your tunes are in its own category and sound great, - i listen - i learn and play the way that suits me, (with a little help from @jasonricci) 👍😎