101 Blues riffs vol 6 download - mrsazdahani.commrsazdahani.com/wp-content/uploads/2018/07/101-Blues-Riffs-for... · 101 Blues riffs vol 6 download 10/9/09 09:32 Page 5. THE BEN HEWLETT

101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II , SONNY TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE...

BLUESRIFFSA PLAYALONGCOURSEFOR

BLUESHARP

PLAYERS

101

THE BEN HEWLETT HARMONICA COURSE

Arranged and transcribed by Paul Lennon L.T.C.L.

CDINSIDE

"A real nice approach. For everyone from beginners to intermediates"

LEE OSKAR

A PLAYALONGCOURSEFOR

BLUESHARP

PLAYERS

BLUESRIFFS6

VO

LUM

E

I I

L&H106

101 Blues riffs vol 6 download 10/9/09 09:32 Page 1


101 BLUES RIFFS101 blues riffs for diatonic harmonica in C, in the style of

The Walters, Sonnyboy II, Sonny Terry, Levy, Clarke,Milteau,

Piazza, Musselwhite, McCoy, Power and more..

A play-along course for blues harp players

Ben Hewlett

Arranged and composed by Paul Lennon L.T.C.L

© 2009 Ben Hewlett. All text and illustrations. © 2009 Paul Lennon. Musical score.

Published by L & H Publishing. e-mail: [email protected] Web: www.harmonicaworld.net

A catalogue record for this book is available from the British Library.

ISBN 978-1-907058-09-7

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the publisher, nor be otherwise circulated in any form of binding other than that in which it is published and without similar condition being imposed on the subsequent purchaser.

Audio CD © & P 2009 Ben Hewlett & Paul Lennon. All rights of the producer and the owner of the recorded work reserved. Unauthorised copying, public performance, broadcasting, hiring or rental of this recording prohibited.

3


4

CD TRACKLISTING

TRACK 1 Welcome back2 (Riffs 1-5) CHUGGING RIFFS3 (Riffs 6-10) DEFORD BAILEY4 (11-15) SONNY TERRY5 (16-20) LITTLE WALTER JACOBS6 (21-25) SONNY BOY WILLIAMSON II7 (26-30) ‘MANNISH BOY' STYLE RIFFS8 (31-35) ENDINGS9 (36-40) WILLIAM CLARKE10 (41-45) JJ MILTEAU11 (46-50) BRENDAN POWER12 (51-55) SHAKES, RATTLES AND ROLLS13 (56-60) TONGUE BLOCKED RIFFS14 (61-65) BIG WALTER (Shakey) HORTON15 (66-70) CHARLIE McCOY16 (71-75) HOWARD LEVY17 (76-80) ROD PIAZZA18 (81-85) THIRD POSITION RIFFS19 (86-90) FIRST POSITION RIFFS20 (91-95) FAST AND FLASHY21 (96-100) JAZZY RIFFS22 (101) SONNY TERRY 'WHOOPING'23 TWELVE BAR BLUES IN G


5

TABLE OF CONTENTS

Page 4 CD TracklistingPage 5 Book ContentsPage 6 Welcome BackPage 7 Introduction (Track 1)Pages 8 & 9 Simple Chugging riffs (Track 2)Pages 10 & 11 Deford Bailey (Track 3)Pages 12 & 13 Sonny Terry (Track 4)Pages 14 & 15 Little Walter Jacobs (Track 5)Pages 16 & 17 Sonny Boy Williamson II (Track 6)Pages 18 & 19 'Mannish Boy'-style riffs (Track 7)Pages 20 & 21 Endings (Track 8) Pages 22 & 23 William Clarke (Track 9)Pages 24 & 25 J.J.Milteau (Track 10)Pages 26 & 27 Brendan Power (Track 11)Pages 28 & 29 Shakes, rattles and rolls! (Track 12)Pages 30 & 31 Tongue-blocked riffs (Track 13)Pages 32 & 33 Big Walter (Shakey) Horton (Track 14)Pages 34 & 35 Charlie McCoy (Track 15)Pages 36 & 37 Howard Levy (Track 16)Pages 38 & 39 Rod Piazza (Track 17)Pages 40 & 41 Third Position riffs (Track 18)Pages 42 & 43 First Position riffs (Track 19)Pages 44 & 45 Fast and Flashy riffs (Track 20)Pages 46 & 47 Jazzy riffs (Track 21)Pages 48 & 49 Sonny Terry 'Whooping' (Track 22)Page 50-51 12-bar blues in GPage 53 ThanksPage 54 Chromatic harmonica tablaturePage 56 Ben Hewlett biographyPage 57 Paul Lennon biographyPage 58 The Series & Forthcoming Titles


THE BEN HEWLETT HARMONICA COURSE VOLUME 6 101 BLUES RIFFS

Hello and welcome to the 6th in our series in which we offer you 101 blues riffs tolearn, use, modify, and take over their ownership.

Each riff will be played for you at a fast speed, then a slower speed and then inmost cases, at an intermediate speed.

Each track contains five riffs in the style of some of my favourite players, startingwith simpler riffs to get you started and gradually getting harder.

Whilst studying with Joe Filisko I've learnt that most of the earlier players tongue-blocked most of the time. However, to make it easier, I've decided to ignore thisgenerally, but you should try the tongue-block style as well. Use your tongue tocover a couple of holes to the left of the notes I've given you and it should work out!

The players on which we have based these riffs are chosen haphazardly from mypersonal music collection so should not be taken as exclusively the best players -although they are all exceptional in my opinion. We also ran out of space on the CDso couldn't use riffs in the style of Paul Lamb, Kim Wilson, Sugar Blue, John Popper,Paul Jones, Lee Sankey, Johnny Mars, Steve Baker and a bunch of other inspirationalplayers. Maybe on the next riffs album!

My playing - (although brilliant!) - is no match for the source players whose stylesI've attempted, so my best advice is to encourage you, after enjoying this CD, to goback to the original players and to study them directly. It is much harder of course -what we have we have tried to do here is to present the same information for youin a half digested form - almost regurgitated, and fed from beak to open screechingbeak. Imagine us like a Mummy or Daddy bird feeding you, our fat and starvinglittle chicks!

6


INTRODUCTION

Most riffs here are in second position or 'crossharp'.

For those who don't know, this refers to the 'flavour' or mood given to your musicthrough your deliberate choice of notes. Second position gives a great bluesy feeland is based around the low draw chord i.e.- a G chord when you are using a Charp. That’s holes 1 - 4 draw.

When you include hole 5 it becomes a G7 chord which is PERFECT for blues. Chordslike G7 - or any other '7th' chord - will instantly give you a bluesy flavour on anyinstrument.

You will also need to bend lots of notes to get the blues notes (blues scales) whichadd to the characteristic sound. In 3rd, 5th or 6th positions by contrast, most of theblues notes you need are available unbent and the chords are unavailable. Bentnotes have a different sound texture, so choosing different positions alters theflavour, and the technical approach. If you're not clear on bending notes we may beable to help you out - check out the chromatic tablature page. Note bending will bedealt with in future editions.

We've mostly stuck to 2nd position also because it is considered 'normal' or familiar,and most recorded blues that you hear will be in 2nd especially between 1930 and1990.

For the exact same reason I like to escape from 2nd and experiment with some ofthe other 11 positions available - I think it's our duty to explore the harmonica!

So plug in the CD and let's get to work!

Try to train your ears (those are the big flappy things attached to the side of yourhead) by at first NOT looking at this book. Just listen, stop the CD, and copy. Youneed to work at the ears - music belongs to the EARS. Written music is a handycode, has great historical significance, and is a great aide-memoir, but it's justpaper - music is generally an audible experience rather that a visual one.

7


8

SIMPLE CHUGGING RIFFSRIFFS 1 - 5

I THOUGHT WE JUST AGREED YOU WERE NOT GOING TO READ THIS YET !?TRAIN YOUR EARS!!

Chugging is a system I use for beginners and intermediates alike. It is ‘rhythm’harmonica, and uses the two basic chords in various rhythmic patterns. Chugging getsyou to whisper crazy words into the harmonica to create amazing sound textures. Itleads you to encounter breathing problems and helps you to overcome them. Rhythm isthe bottom line in music, as breathing is in harmonica playing. So chugging is thefoundation in my view.

As with all the chugging chords in Get Chugging, Mastermix, and Nasty Chugs, thistechnique only works effectively if you whisper these words loudly into the harmonica.

Riff 1 do da (in) do da (out) do (in)Riff 2 da (in) hoo (out) hah (in) hoo (out) da (in)Riff 3 tocketa (in) tocketa (out) tocketa (in) tocketa (out) tock (in)Riff 4 da (in) hoo (out) daaaaaaa (in) da (in) hoo (out) da (in)Riff 5 do da (in) da do da (in) do da (out) do (in)


9

SIMPLE CHUGGING RIFFS Track 2 Riffs 1 - 5Hewlett & Lennon g2001

Swing = 104/70 Twice each


10

DEFORD BAILEY 1899-1982 Riffs 6 - 10

He was the first African-American star at the Grand Old Opry he became known for hisability to mimic animal sounds on the harmonica. His style is beautiful, crisp, andaccurate in the articulation of rhythm and sweet melody. It sounds like ragtime orCharleston to me. In 1926 he got his weekly 15 minutes at the Opry, recording andbroadcasting. A publishing battle ended his career in 1941 and sadly he apparentlyreturned to polishing boots, but not before being heard on the radio by Sonny Terry.


11

DEFORD BAILEY Track 3 Riffs 6 - 10

Hewlett & Lennon g2001

Swing = 104/70/90 three times each


12

SONNY TERRY 1911-1986 Riffs 11 - 15

Sonny is perhaps one of the greatest players in the rural blues style. He had a hugeglobal impact and toured the world with his music.

From lowly beginnings and with his lack of sight he must have overcome hugeobstacles to achieve success. He started playing the harmonica (upside down) - I meanthe harmonica, not him; that would be silly - and working on street corners busking.

In 1938 he bumped into Blind Boy Fuller and started playing and recording with him forthe two years leading up to Fuller's untimely death. He heard Fuller playing on theopposite corner of the street and sent a boy to set up a meeting. At exactly the sametime Fuller, it seems, had done the same thing!

Sonny said that working in music he only ever met one bad person. A man stole a coinfrom Sonny's busking hat. Sonny later said “I hope the fool's still spending it”

After Fuller's death, Sonny teamed up with guitarist/singer Brownie McGee and thusstarted a strangely unfriendly partnership lasting about forty years. His career took offlike a bird full of air.

So check out his albums, especially the solo ones, but here's five Sonnyish riffs to getyou started. Paul Lamb - my first teacher - says he studied Sonny exclusively for 12years. There's commitment for you. He said you can learn everything you need to knowby studying Sonny, and maybe he's right.

Let me give you some more words to whisper loudly into your harmonica for thechordal part of these riffs. I’m quite sure Sonny would laugh at my approach but itseems to work so we’ll stick with it for now.


13

SONNY TERRYTrack 4 Riffs 11 - 15




14

LITTLE WALTER JACOBS 1930-1968 Riffs 16 - 20

Another of the old classics. In his short life Little Walter sent harmonica messagesaround the world. He 'studied' with Sonny Boy Williamson in the 40s and then workedin the Muddy Waters Band in 1948.

He is reputed to have started the 'Chicago' electric style in 1951 - on July 11th - byplugging a microphone into an amplifier. His reputation was that of a great innovator,experimenting with sound, recording techniques, swapping mics and amps to get 'his'sound - a sound nobody has really recreated yet.

He was also known for staying out late drinking heavily - it's thirsty work you know -and doing a little of everything. Then he would arrive at the studio at 5am to startrecording!

His recordings are all wonderful especially 'Juke' which was a hit staying top of thecharts for 13 weeks in 1952, and 'My Babe', 'Last night', 'Off the wall' and so on, thelist is huge - buy them all!

He toured extensively throughout the 50s and 60s sometimes using the UK bluesrevival bands such as the Rolling Stones as backup men. His style mixes a playful andeasy lyrical flow with hard edged blues and often giving that rock'n'roll feel to manypieces. It seems he played softly and let the gain take the strain. We can all learn fromthat I feel.

The booze got to him in the end and he died, it is said, as a result of injuries sustainedin a street fight in 1968.


15

LITTLE WALTERTrack 5 Riffs 16 - 20




16

SONNY BOY WILLIAMSON IIAlex 'Rice' Miller 1897-1965 Riffs 21 - 25

Sonny Boy Williamson II - not to be confused with Joe Filisko's favourite, the alsoexcellent John Lee 'Sonny Boy' Williamson 1914-1948 - was another busker who wasmixing with all the people who are now known as famous bluesmen. He even taughtharmonica to his brother-in-law, one Howling Wolf!

In 1941 he landed a job with the King Biscuit Flour Company playing on a middayRadio program on KFFA, presumably adding 'Rice' to his name 'Miller'. Cashing in onJohn Lee Williamson's record sales, the station manager apparently billed Miller as'Sonny Boy Williamson' with great success, and the name stuck glutinously.

Chess signed Sonny Boy in 1955 after he had been recording and playing withincreasing popularity and his fame spread to Europe working with the Yardbirds and theAnimals in the 60s. There is lovely black and white TV footage of him wearing a bowlerhat and a smart suit playing hands-free with the harp bobbing around in his mouth!

Buy all his albums, do yourself a favour.


17

SONNY BOY WILLIAMSONTrack 6 Riffs 21 - 25




18

'MANNISH BOY' STYLE RIFFS made famous by Chicago bluesman

MUDDY WATERS 1915-1983

Riffs 21 - 25

Although Muddy played harmonica as a kid he had changed to guitar by his twenties.He provided a professional platform for so many great harmonica players and developedthe 'Mannish Boy', 'Mojo Working' feel that he just couldn't be left out here and hisstyle is still widely used by harp players everywhere.

This is my 1963 Watkins Scout valve amp with 1960s Hohner Echo Super Vampers anda 1950s ex US miltary PA mike - fab gear! Inside the amp, written in chalk, it says'Manfreds 1964' Was this Paul Jones' amp when with Manfred Mann?


19

MANNISH BOYTrack 7 Riffs 26 - 30




20

ENDINGS Riffs 31 - 35

Never know how to finish neatly? Now you will. Here are some riffs to end a blues in a clear and obvious way.

Some people who have inspired me...


21

ENDINGSTrack 8 Riffs 31 - 35




22

WILLIAM CLARKE 1951-1996 Riffs 36 - 40

William Clarke was another fabulous harp player who died too young. I was luckyenough to see him play in the UK and was very impressed. Also on the same bill wasRod Piazza, who, like William Clarke, did a lot of work with George 'Harmonica' Smith.

Bill's style is 'west coast swing' and has that jazzy big-band feel that I love. The otherthing you get from Bill is POWER by the truckload. His rhythms are spot on and hisphrasing is beautiful: we can learn a lot by listening to Bill Clarke's work.

There are loads of his albums out there-go buy them.

Photos of Bill Clarke by Linda Maria of Linda Marie Entertainment and Mortone


23

WILLIAM CLARKETrack 9 Riffs 36 - 40




24

JJ MILTEAU Riffs 41 - 45

Jean-Jacques is a stunning French player whose blues can be fast and furious, funky, orlyrical. He uses diatonic and chromatic with equal skill and has plenty of albums out foryou to listen to.

Picture from website http://jjmilteau.free.fr/


25

J.J. MILTEAUTrack 10 Riffs 41 - 45




26

BRENDAN POWER Riffs 46 - 50

Brendan comes from New Zealand but now we've happily got him in the UK! Arriving asa well-known NZ player he instantly became an un-known UK player. But not for long.

He set up evening harmonica courses in London in 92/3 and then through a lot of hardwork and award winning performances toured with the Irish music and dance show'Riverdance' for several years.

I was having lessons with him at that time and eventually inherited his eveningclasses. That turned into a full time career for me (including creating this book) butthat's another story!

Brendan's Irish ancestry and interest in folk and Celtic styles have led him to studyand excel in these types of music. He must be regarded as the best all-rounder in theUK and one of the finest players on our little planet. He has also (amongst others)revolutionized custom tunings and now has a wide variety of retuned and uniqueharmonica concepts.

Check out his many outstanding recordings and visit www.brendan-power.com


27

BRENDAN POWERTrack 11 Riffs 46 - 50




28

SHAKES, RATTLES AND ROLLS Riffs 51 - 55

Tricks and effects. You should be able to do them just by listening carefully andworking them out. To be used judiciously - they can get a tad boring!

I started all these children playing harp on the same day, so now there are 350 more harp players

in this world - a good thing I feel!


29

SHAKES, RATTLES & ROLLSTrack 12 Riffs 51 - 55


= 104/70


30

TONGUE BLOCKED RIFFS Riffs 56 - 60

Tongue blocking is one of the two best ways to get a singe note. The other way ispuckering. I don't even want to talk about the masking tape method. The advantage oftongue blocking is a fuller sound (generally, although you can get great tone and fullsound from puckering, listen to Brendan or Howard) and by lifting the tongue for amoment, you expose the chord, which gives you a rhythmic feel or a nice attack toyour notes.

My personal view is that you need to pucker sometimes and tongue block sometimesbut always learn puckering first because it's hard to give up the tongue block whenyou start with it but it's much easier the other way round.

The disadvantage of tongue blocking is that it is harder (but possible) to bend notes,pop the overbends, and slows you down on fast passages. So learn both styles but trytongue blocking now - you'll love the sound.

Phil Jon Ben

Three great tongue-blockers!


31

TONGUE BLOCKED RIFFSTrack 13 Riffs 56 - 60


Swing = 104/70/90


32

BIG WALTER (Shakey) HORTON 1917-1981 Riffs 61 - 65

Walter was a stunning player with the fat tone all harp players want. He was a behindthe scenes man really and never got the recognition he deserved. He started learningwith Will Shade and the Memphis Jug Band at an early age, and in 1952, replacedJunior Wells in the Muddy Waters band.

Lots of recording followed in the next 3 decades, usually as a sideman, working withWaters, Carey Bell, Willie Dixon, and others. He even recorded a beautiful sketch withJohn Lee Hooker in the street scene of the Blues Brothers film just before he died. Justin time really. There are lots of his albums around for you to listen to - go get them!

Big Walter Horton - the man with the tone.


33

BIG WALTER (Shakey) HORTON 1917-1981Track 14 Riffs 61 - 65Hewlett & Lennon g2001

Swing = 104/70/90


34

CHARLIE McCOY Riffs 66 - 70

The great country player. Charlie's style is so fast and sweet you just have to beimpressed. Studios have been impressed, and since 1960 he has done over 10,000sessions! He seems to have worked with everyone in country music and continues torecord and tour and occasionally plays a little blues.

His influence is worldwide - it even stretched to New Zealand where Brendan Powerwas living. He tells me Charlies's playing blew him away!

So visit Charlie's site www.charliemccoy.com and buy his albums - you will love thatcountry harp style to add to your blues playing!


35

CHARLIE McCOYTrack 15 Riffs 66 - 70


Swing = 104/70/90


36

HOWARD LEVY 1951 Riffs 71 - 75

Yet another outstanding player - many would say the best all-round diatonic player theworld has yet seen! He is probably the first to play fast be-bop and modern jazzchromatically on a standard diatonic. Howard studied music most of his life,specializing in piano and organ for 8 years, and has revolutionized the way the diatonicis approached. He didn't start playing until he was 18 but since then has done over1000 studio sessions, and lots of musical guest appearances. He was certain the'missing' notes were available somehow and set about finding them.

He called the technique 'overblowing' and 'overdrawing' and although they existedbefore Howard - Richard Hunter tells me he first came across it from Mike Tratner inthe spring of 1971 - but certainly Howard was the first to explain and demonstrate theskill on video. 'Overbending' is the collective term 'overblowing' and 'overdrawing' andit is becoming increasingly used and therefore acceptable.

There are many players who don't like or use it who say that since Little Walter didn'tuse it why should I, and fair play to them! Personally, I like to use overbending toachieve the notes I want in the right register. I also love the strange sound texture andthe physical feeling or vibration you get! It's like popping a wheelie on your bike - onceyou figure it out you want to show everybody, and also you can't resist doing it for yourown amazement - it's fun, and a bit rebellious! It is also probably the hardesttechnique to learn and is even harder to do if you are a 'tongue-blocker'. Anyway allHoward's recordings are mind blowing so put some on your shopping list. His mainbands have been Bela Fleck and the Flecktones and more recently Trio Globo. Visitwww.levyland.com and buy EVERYTHING!


37

HOWARD LEVYTrack 16 Riffs 71 - 76


Swing = 90/60/80


38

ROD PIAZZA 1947 Riffs 76 - 80

Rod is one of the first 'West Coast Swing' players I ever heard and I was knocked outby his skills. His band The Mighty Fliers has stood the test of time, they were formed in1980 and if you don't own some of their albums you are missing a treat!

His first great collaboration was with George 'Harmonica' Smith in Bacon Fat from1968 to 1982 when George died. After that it has been the Mighty Fliers gigs and a lotof studio work to keep him busy.

Thanks to Honey for permission to use the pic.

Rod in full flight


39

ROD PIAZZATrack 17 Riffs 76 - 80


Swing = 94/60/80


40

THIRD POSITION RIFFS Riffs 81 - 85

Third position for a C harmonica puts you in the key of D minor (D 'dorian' to beaccurate) so use these riffs on a blues in D or D minor and they will sound sweet.

In the blues at the end of this CD (which is in G) these riffs work best on bars 9 and12 as they are based on a D chord, but try them anywhere you like them!

Pat Missin taught me the trick bending on riff 84!

Essentials from Lee Oskar and Hohner.


41

THIRD POSITION RIFFSTrack 18 Riffs 81 - 85


Swing = 104/70/90


42

FIRST POSITION RIFFS Riffs 86 - 90

Using a C harmonica, first position is when you play in the key of C. Bars 5,6 and 10of a twelve bar blues in G (like the piece at the end of the CD) are based on a C chord(the IV chord if you prefer) so use these riffs then.

You can also play them using a C harmonica in a twelve bar blues in C throughout.Have a listen to Sonny Boy Williamson's 'Trust My Baby' or Kim Wilson's cover of it forclassic first position feel.

Also anything by Jimmy Reed will usually feature first position playing.

A nice bit of Bass.


43

1st POSITION RIFFSTrack 19 Riffs 86 - 90


Swing = 104/70/90


44

FAST AND FLASHY Riffs 91 - 95

The first two are (something like the) riffs that I remember Charlie Musselwhite playingat a gig in London a few years ago and the others are hybrids from here and there.

Some sound a bit JJ Milteau - ish

Charlie told me how he was interested to hear how other people perceive his playingand I should call him up and play down the phone!

Visit his website www.charliemusselwhite.com and listen to his music.

If you want some crazy fast phrasing check out some of John Popper's work with hisband 'Blues Traveller'. Blues it ain't, but they certainly travel.

picture: Charlie Musselwhite


45

FAST AND FLASHYTrack 20 Riffs 91 - 95


Swing = 94/60/95


46

JAZZY RIFFS Riffs 96 - 100

These are fun. There's no reason why you can't use the diatonic in jazz, except thatcompared to blues it's harder, but you can work on it if you have the drive.

Paul Lennon is a jazzer by default and he came up with these riffs. I think they are veryrefreshing when you play a lot of blues, and I loved learning them - have a go at them.

How about a book of jazz riffs for diatonic? Tell us if you want one.

Queen Mama-Willie Mae Thornton.Blues singer and sometime harmonica player.


47

JAZZY RIFFSTrack 21 Riffs 96 - 100


Swing = 104/70/90


48

SONNY TERRY 'WHOOPING' Riff 101

Sonny and others have 'whooped and hollered' for years and it's another string to yourbow if you can do it, so now it's your turn.

The C harp is too high for me to whoop with really, but it's a bit of fun and addstexture, dynamics and interest to your playing.

Listen to Sonny Terry or Joe Filisko playing 'Lost John' unaccompanied - the detail andvariation involved.

My main man


49

SONNY TERRYTrack 22 Riff 101


= 64/30


50

12 BAR BLUES IN G

Here Paul Lennon plays a 12 bar for you to practice your new riffs.

I also play some of the riffs with him but if you want to fade me out - and I recommendthat you do - turn your balance control to the left and leave just you and Paul.

Next, find any blues recording in G and jam along. Then do the same with a live muso,go to jam sessions, join a band, tour the globe - the world is your lobster!

Sonny Boy Williamson II


51

12 BAR BLUES STRUCTURE - SIMPLIFIED VERSION


52

Ben with Joe Filisko on the left and Steve Baker on the right.


53

To Peter Krampert's 'Encyclopedia of the Harmonica' for biographical details analso to Sheldon Harris's 'Who's Who in Blues'. We also need to thank all thefantastic players listed here or not who inspire us all to play and to improve.

If you've enjoyed this course you also owe a debt to Brendan Power forencouraging me to start teaching the harmonica in the 1990s.

Without Paul Lennon's faith in this project and his myriad skills both musicaland technological none of this would have happened.

I wish to acknowledge a debt to some of my teachers Howard Levy, Joe Filisko,Paul Lamb, Brendan Power, Pat Missin, Carlos del Junco, Douglas Tate, SteveJennings, Paul Lennon…Thanks hugely to Ian Kay at Hills Archer Studios, designer of all our books.

Thanks to Hohner UK for use of some photos - oh, and building some damn fineharmonicas for the last hundred and odd years!

Also to Leslie and Lee Oskar for help, encouragement, the 'exploding' harp andgroovy case pictured herein, and loads of other stuff.

And finally huge THANKS go to YOU for buying this CD/Book which makes allthe hard work worthwhile.

Don't forget, if you've enjoyed this and want more half regurgitated riffs let usknow and we will do another 'Riffs' album.

THANKS


54

CHROMATIC TABLATURE(TAB) CHART


55

We hope you have enjoyed playing these riffs and have found them useful,

challenging and fun. As always it's worth saying that our advice is for you to go

and seek out original riffs from other players and get them into your repertoire.

But don't stick at harp players - why not learn riffs from sax players, guitarists -

anybody whose style you like. There are two other riff books in this series which

you might try if you've found these good - Vol.17 50 Awesome Blues Riffs and

Vol.18 Sonny Terry Blues Riffs. You can pick them up from Harmonicaworld.net

or Amazon.

See you next time.

Ben and Paul 2009

THANKS


56

BIOGSBEN HEWLETT CTABRSM b.1959

Ben Hewlett became a musician at the age of tenlearning the trumpet. He went through the school

system of exams and performances, finally escapingthe mandatory classical repertoire with the discovery

of Louis Armstrong and Dizzy Gillespie. He was aminor third addict at fourteen and still has a passionfor jazz and blues. Ben received a harmonica at the

age of 7 and started playing it properly at the age of27 having seen the Blues Brothers film a number of

times. Ben Has studied harmonica with topharmonica players including Paul Lamb, BrendanPower, Charlie McCoy, Howard Levy, Joe Filisko,

Richard Sleigh, Steve Baker and Carlos del Junco.During two years of running evening classes

(inherited from Brendan Power) he qualified as aMusic Workshop Leader and worked full time

teaching music in different settings. Since leavingLondon Ben has gone into full-time harmonica

teaching. In 2002 he successfully completed theteaching qualification 'Certificate of Teaching,

Associated Board of the Royal Schools of Music'(CTABRSM).

Ben and his team of ten teachers now visit 40schools a week to teach five hundred harmonica

students - he is therefore the only full-timeprofessional harmonica teacher in the UK.

This is known as harpscool.co.uk

He has also run a Blues Band workshop to provide asetting for new harp players to gain bandexperience. He ran Saturday 'learn to play in a day'courses all over the west of England and continuesto teach many private students.Ben runs 'Blues Jam Factory' now a successfulcorporate team-building and training operation witha growing client base including DHL, Exel, LloydsTSB, Brittish Gas, Sanofi Aventis, University ofSingapore, Novartis, TBL, The Hemsley Fraser Group,Instant Teamwork, Axa, Spice UK and BNI. To seethis in action visit www.BluesJamFactory.comBen has played with Jools Holland in a blues jamBen organised in London; he is a Guinness Worldrecord holder for 'Largest Harmonica Ensemble'; heorganised a group of 100 Children dressed as theBlues Brothers playing the Peter Gunn Theme onharmonicas to an audience of 2,500. Ben and PaulLennon introduced 850 children to the harmonicaat Ocklynge Junior school in Eastbourne where allthe children studied their 10-week harmonicacourse. Ben's students have received countless UKHarmonica Championship title and he was the firstever harmonica teacher at Dulwich College, London.With Paul Lennon he is now an internationallypublished author with 'Get Chugging'. He oncetaught Didgeridoo on Radio 4 with Rolf Harris andhas played on the same bill as, and talked shopwith, the legendary Larry Adler. He also had an unexpected two hour lunch withBilly Connolly while setting up a harmonica festival in Bristol.

Ben can be contacted at [email protected]


57

BIOGSPAUL LENNON L.T.C.L. (b.1957)

Paul is a composer/arranger,multi-instrumentalist and teacher. He is a formerpupil of Bishop Wordsworth School, Salisbury and

former member and leader of the Wiltshire Youth andSalisbury Junior Orchestras on violin. He also played

in rock and folk bands in the Salisbury areas fromthe age of 15 onwards and later graduated from

Trinity College of Music, London in violin, piano andcomposition (1976-80). Paul has been involved in

many classical/light music ventures includingorchestras, a flute quartet, a duo with cello and even

a 1930’s cabaret act. He went on to play bass,guitar, violin and keyboards in various bands and

from 1988-91 he was the bass player andcomposer/arranger with EPJ, a 13-piece modern jazzbig band. He played guitar, keyboards and vocals ina 4-piece pop band, then violin in a duo with guitar

until mid 1996, followed by piano in his own originaljazz quartet with guitar, bass and drums.

In 1998 in collaboration with The BoomingCherries, a contemporary dance troupe, he produced

Gravy Bones, a jazz-oriented dance work. Thefollowing year he wrote and recorded the score for anadaptation of King Arthur, a current production by the

Spiral Arts dance-theatre company. Other worksinclude string quartets, pieces for flute and

piano/guitar and solo piano. All these works reflectan eclectic experience and a leaning towards music

for dramatic and visual media. He writes from hisKent-based home recording studio and has

composed and produced many albums thereincluding the playalongs for harmonica with Ben

Hewlett and spoken-word material with Shaun deWarren and Marietta Pinto-Hayes.

He has produced books on Music Training Basics,Practising and Ear-Training as well as collections ofpieces for piano, violin, guitar and flute. From 1993Paul taught at the City Literary Institute in Londonand wrote a three-year jazz harmony and ear-trainingcourse.

From July 2001 to June 2002 Paul playedbass and shared lead vocals in a band based inClaridges Hotel in London during which time he builta large pad of vocal material. From then he played invarious duos on violin with Charles Alexander, JameyMoore and Dominic Grant (guitars) and on piano andguitar with saxophonist Howard Turner. Since thesummer of 2002 he has studied violin and piano onthe Jamey Aebersold Jazz Summer Schools inLondon for three years running. As a music editorand copyist he has worked for many years with DaveHewson on his projects for KPM/EMI with at leasteight albums to Paul’s credit. 2002 also saw therecording of a harmonica sample album with BenHewlett for ZERO-G, a major sample company.

Currently Paul is very involved incomposition and recording particularly with BenHewlett on the ongoing Harmonica Course and alsohis own playalong projects for guitar and piano.Various projects are in preparation including a fouralbum set of songs with lyrics by John Goldman, ablues/rock CD/book of riffs in the styles of greatguitarists including Santana, Jimmy Page, RoryGallagher etc. and the CD/book 101 Blues Riffs forHarmonica played on guitar. He has also teamed upwith voiceover artist Neill McKenzie to form aproduction company that produces music andvoiceovers for ads, documentaries, film etc.He also continues to teach piano, guitar, violin, bassand singing privately along with theory, harmony andcomposition.

Paul’s current showreels can be heard onwww.paullennon.com and he can be contacted at:[email protected]


OTHER VOLUMES AVAILABLE

Volume 1 Get Chugging - Rhythm harmonica for beginners and intermediates. Itteaches rhythm, breathing, and articulation. Now published globally by Mel BayPublications Inc. and available from all good music shops.

Volume 2 Search for the Single Note - the next step on from Get Chugging. Itintroduces you to getting single notes and teaches you simple tunes/exercises witha series of beautiful backing tracks – for newish harp players.

Volume 3 Blues jam Factory - an introduction to the blues for completebeginners. Different styles of 12-bar blues are covered in this volume using singlenotes and chugging techniques. All this with original backing tracks in each style.Become an instant blues star with your own backing band!

Volume 4 HarpsCool Mastermix - a mixture of train chugs, riffs, standard tunes,and easy original tunes for newish harp players.

Volume 5 Bones of the Blues – the blues in five different keys on a C harp.Eight original blues tunes all taught in short phrases and come with the appropriatescale for improvising. NO NOTEBENDING NEEDED – for intermediate and advanced players.

Volume 6 101 Blues Riffs - learn classic blues riffs and sound like the playersyou love to listen to! Sonny Terry, William Clarke, the Walters, Sonny BoyWilliamson, etc. plus riffs for specific situations – endings, fast & flashy, jazzy etc.For intermediate to advanced players. Lots of note-bending needed here!

Volume 7 Funky Folk – folk tunes reworked with funky backings. …. coming soon.

Volume 8 Funky Nursery - ten nursery tunes (each sung once and played atthree different speeds) with the funkiest backings in existence – for beginners.

Volume 9 Funky Christmas - ten festive tunes (each sung once and played atthree different speeds) with the funkiest backings in Christendom and beyond – forbeginners.

Volume 10 Nasty Chugs - another chugging book but with disgusting words!Designed for children and in the style of Roald Dahl. Each chug has a rhythmicpattern, a groovy backing track and a simple tune. For younger beginners – theseare horrible!

Volume 17 50 Awesome Blues Riffs - for intermediate players. A response torequests for more challenging material. These riffs will challenge the best of you!

Volumes 11 to 16 are all in preparation including books on notebending etc.

Current details are on the website www.HarmonicaWorld.net or email us at [email protected]

58



SEARCH FOR THE

HOW TO GET AND USE SINGLE NOTES ON THE DIATONIC HARMONICA

SINGLE NOTEA PLAYALONGCOURSEFOR

NEWHARP

PLAYERSTHE BEN HEWLETT HARMONICA COURSE

Composed and transcribed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


NEWHARP

PLAYERS

SINGLE NOTE2

VO

LUM

E

L&H102

AN INTRODUCTION TO PLAYING BLUES ON A DIATONIC HARMONICA IN THE KEY OF C

BLUES JAM FACTORYA PLAYALONGCOURSEFOR

NEWBLUES


Arranged and sung by Paul Lennon L.T.C.L.

2CDsINSIDE


LEE OSKAR


NEWBLUES

PLAYERS

3

VO

LUM

EBLUES JAM FACTORY

"Thi

s co

urse

is ju

st

what w

e ne

ed"

M H

OHNER

L&H103

HOW TO PLAY CLASSIC TUNES, CHUGS & RIFFS ON A ‘C’ HARMONICA WITHOUT BENDING NOTES

MASTERMIX1A PLAYALONGCOURSEFOR

NEWHARP

PLAYERS

HARPSCOOL


Arranged and composed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


NEWHARP

PLAYERS

MASTERMIX14

VO

LUM

E

L&H104

HOW TO PLAY BLUES TUNES & IMPROVISE IN 5 KEYS ON ONE ‘C’ HARMONICA WITHOUT BENDING NOTES

THE BLUESA PLAYALONGCOURSEFOR

NEWHARP

PLAYERS

BONES OF


Composed and transcribed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


NEWHARP

PLAYERS

5

VO

LUM

ETHE BLUES

L&H102

101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II , SONNY TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE...

BLUESRIFFSA PLAYALONGCOURSEFOR

BLUESHARP

PLAYERS

101



CDINSIDE


LEE OSKAR


BLUESHARP

PLAYERS

BLUESRIFFS6

VO

LUM

E

I I

L&H106

HOW TO PLAY TRADITIONAL NURSERY RHYMES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS

NURSERYA PLAYALONGCOURSEFOR

YOUNGERPLAYERS

FUNKY

VO

LU

ME



CDINSIDE

8


YOUNGERPLAYERS

NURSERY

L&H108

HOW TO PLAY CLASSIC XMAS TUNES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS

CHRISTMASA PLAYALONGCOURSEFOR

NEWHARP

PLAYERS

FUNKY



CDINSIDE


NEWHARP

PLAYERS

CHRISTMAS9

VO

LUM

E

L&H109

RHYTHM HARMONICA FOR KIDSNASTYCHUGSA PLAYALONGCOURSEFOR

NEWHARP


Composed and performed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


NEWHARP

PLAYERS

NASTYCHUGS10

VO

LUM

E

L&H110

FOR DIATONIC HARMONICA IN 6 KEYS A, Bb, C, D, F PLUS G MINOR

BLUES RIFFSA PLAYALONGCOURSE FOR

DEVELOPING HARPPLAYERS

50 AWESOME


Arranged and recorded by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR

A PLAYALONGCOURSE FOR

DEVELOPING HARPPLAYERS

17

VO

LUM

EBLUES RIFFS

"Thi

s co

urse

is ju

st

what w

e ne

ed"

M H

OHNER

60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS

BLUES RIFFSA PLAYALONGCOURSEFOR

INTERMEDIATEHARP

PLAYERS

SONNY TERRY



CDINSIDE


INTERMEDIATEHARP

PLAYERS

BLUES RIFFS18

VO

LUM

E

L&H118

Ben Hewlett became a musician at the age of ten in 1969 learning thetrumpet. He went through the school system of exams and performances,finally escaping the mandatory classical repertoire with the discovery ofLouis Armstrong and Dizzy Gillespie. He was a minor third addict at fourteen and still has a passion for jazz and blues. Godfather DennisCorble gave Ben a harmonica at the age of 7 thus unknowingly sowing the seeds of a lifelong love of this instrument!

Paul is a composer/arranger, multi-instrumentalist and teacher. He is aformer pupil of Bishop Wordsworth School, Salisbury and former memberand leader of the Wiltshire Youth and Salisbury Junior Orchestras on violin.He also played in rock and folk bands in the Salisbury areas from the ageof 15 onwards and later graduated from Trinity College of Music, London inviolin, piano and composition (1976-80).

101 Blues RiffsHewlett & LennonISBN: 978-1-907058-09-7

978-1-907058-00-4 978-1-907058-02-8 978-1-907058-08-0978-1-907058-04-2 978-1-907058-06-6

978-1-907058-12-7 978-1-907058-14-1 978-1-907058-32-5978-1-907058-16-5 978-1-907058-30-1

£9.99 (UK)Recommended price

GROW WITH THE RANGE...

9 781907 058097


Documents

101 Blues riffs vol 6 download - mrsazdahani.commrsazdahani.com/wp-content/uploads/2018/07/101-Blues-Riffs-for... · 101 Blues riffs vol 6 download 10/9/09 09:32 Page 5. THE BEN HEWLETT