Chords for Harmonica Lessons - #8 Ta Ta Tern - Blues Harmonica Blueprint - Annie Raines

_ _ _ _ _ _ _ _
All right, this is based on a Sonny Boy Williamson riff based song and we're gonna call it ta-ta turn here
I'm going to play this on the Marine Band 365
And Sonny Boy was also famous for playing the 364 365
It's still keyed in C, but it's got an extra scale on it an extra four holes down on the bottom end
So you have this low [G] response?
[C] _
_ [G] _ _ And that gives it a really funky sound.
So here we go.
Ta-ta turn
_ _ _ [Em] _ [G] _
_ _ _ _ _ _ _ _
_ [C] _ _ _ _ _ _ [G] _
_ _ _ _ _ _ _ [C] _
_ [G] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [C] _ _ _ _ [G] _ _ _
_ _ _ [Cm] _ _ _ _ _
_ [G] _ _ _ _ _ Oh
Sonny Boy played this on a Marine Band
365 or 364 extra long style Marine Band and has some extra holes on it and you could get a lower octave
So it's the same chord pattern.
I'm gonna play it higher up on a regular harmonica
But if you chance to find one of those low
Extra long harps, it has a really cool sound the way the longer lower reeds vibrate
I'm going to start out there basically two components that get
fit together in the song and part of it is a riff that lands on the root of the chord and
The other part is just a cording part
we'll start with the riff starts with a slide and I call this the mush mouth slide because
You want to keep your lips relaxed as you slide across the cone with a harmonica and you're gonna slide down to the bottom and
Then sort of moosh up
to a note in the middle start on the four draw and slide down to the one and _ _
Then go back up to the two blow and the three blow
When _ _ _ I say mush mouth, I don't mean press your lips down on the harp your lips end up just sort of mooshing around _ _ _
From this three blow we're gonna draw again play of one two, three draw narrow down to a two
_ _ so the whole thing is _ _ _ _ _ _ _ then it goes into the cording part, which is just a _ _ _
_ Todd a da ta da or _ a da a da and tuck tuck
It does it again
_ Now _ _ _ _ _ we're going to play the same riff almost identical riff
But instead of ending up on the to draw we're going to end up on the four blow or on a blow chord
Because we're going into the four chord
[C] _ _ _ [G] So
You can slide down to one or you can just open up for a blow chord one two three [C] _
and
_ _ Then it goes into the cording pattern that goes with the four chord, which is just a blow chord _ _ _ _
ha da ha ha and then back [G] to the one _ _
_ _ _ _ Now instead of doing this literally and modally and playing every chord approach the same way which would be
_ [D] _ _ _ _ [N] The
Thing about blues is it's asymmetrical you don't usually play a
B a usually say a a B and then maybe C
So there's always a sense in the music of things moving forward because they were just a little bit lopsided in terms of the balance
so instead of [D] going
[G] _
_ _ Literally to the five chord and playing the same figure as we might do with an exercise instead
We're gonna start out with the same slide down to get to the five chord _ _
Play the one the play the three and four draw _ _
_ I'm gonna do a little hand effect here
Just I called the palsy shake very gentle very small _ _
Just a just a fan the air a little bit _
and _ _ _ then back to the one chord because we've already
Taken up too much time to do the four chord in that spot
_ and _ _ _
That's the whole form.
I'll bring the foot into it now
I'm going to start out tapping on all four down beats and you can hear where the syncopations are and I'll play it slowly
one two three four one two _
And _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [C] _ _ _ _ _ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] _ [G] _
_ _ _ _ _ _ _
on that last down beat you can that last tuck
Breath in you can land either on the upbeat or the downbeat _ _ _ _
_ That's fine either way if you play it with a little bit of an accent then people know
That it's the turnaround or the end of the verse up to this point.
I've been tapping my foot on all four downbeats
one two three four
But blues music is backbeat bass a lot of the time and we're going to accent the two and the four beat now
One two three four, so I'm not even going to tap the one
Here I'm just going to
Keep my foot up and bring it down on two
So now I'm gonna make part of this mental and part of it physical.
Here we go
one two, three four one two _ _
_ _ _ _ _ _ _ _
_ _ _ _ [C] _ _ _ _
When _ [G] _ _ _ _ _
_ _ _ _ _ _ _ [C] _
[G] _ _ _ _ _ _ [C] you start tapping on the two and the four even as you're counting one two, three four
Then you stop accenting that one and that sort of Yankee Doodle _
_ [F] _ _ _ [Bm] _ [F] _ [G] _ _
_ [Am] _ _ [Eb] You [D] get out of that straight European time and you get more into that African time
Which is syncopated and accents the weaker beats in this case the two and the four
So now we've got the one two, three four
We've got the upbeats and the downbeats and we've got the backbeats a good old two and four when you start counting that way
You have to think about that one beat where it is.
It connects your brain up to the beat in a