Is it important how accurately you play 'Juke?' Let me know what you think. Here's a link to a good backing track for you to practice along with, • BLUES backing track - ...
Great idea for a video 👍🏼- the mystery of the Juke lick! I think Walter deliberately played things obscurely sometimes, so people couldn’t steal his licks!
Ricky Cool. I think the answer as to what playing of this tune "Juke" or any tune mattering depends on one of two approaches, and maybe a 3rd, a mixture of both one and two, just for the complete eclectic approach to one's playing and creative approach. So, #1, is if we want to emulate "Juke" as Little Walter played it, including the neauaunces for example as Walter played it- depending on the alternate take(s) one is studying, it is important/matters to play the tune in its entirety as Walter played it. So, play it with 3-6, and 6-9. Have both versions in the tool box if Walter had alternate takes using the different octaves. However, #2 approach considering the penchant Little Walter seemingly had for playing a tune in alternate ways/versions using creative pioneering aporoaches to improvisation, and phrasing etc, seems to suggest it doesn't matter/ not important to play the exact same way each time, and a cookie cutter approach is to be avoided. So changes to the phrasings, or substitute notes octaves/splits is being creative. It's the creativity that matters. What is important is whatever approach is used by the player is that the song sounds good, and the player is feeling it. Alternatively, #3 is if we as players can take a lesson from Little Walter and the many, many alternate versions of his songs, and the thought that " Little Walter didn't play the same song twice the same way"(as some folks say), we as players could possibly conclude that it is both important and not important, it matters, but doesn't matter, that we adhere to the original version, depending on what we're trying to accomplish as players regarding "Juke" for example, or any other tune. Therefore, in my humble opinion, and using Little Walter's many alternate takes. It's better to take an eclectic approach to, (in this case) following Little Walter's song examples, and Walter's "Juke" regarding octaves, and play it in some parts as Walter played it, and in other parts be inspirational, innovative, improvisational with an added spoonful of one's own feelings. Thus, we adopt a new version of an old version similar to Little Walter's numerous takes on many of his songs. For me both octave versions sound great, and it's great practice for landing on that 6-9 and having both versions to play, One takes the low range road, one takes the high range road, and we'll both end up at the turnaround together, and with alternate routes of playing we'll not be boring. Two different octave of 3-6 and 6-9 is nice alternate musical scenery. Lastly Ricky, until your tutorial here I never realized the 6-9 was used in "Juke." Thanks for the schooling, and opening my ears wider.
Hi Al, Thank you soo much for your detailed and carefully thought out comment. I’m in 100% agreement with you. If you are going to perform Juke or any other classic, there is little point in just aiming to replicate the original (unless of course you are a Little Walter tribute act 😆😆). You really have to add something from your own soul if you are going to perform blues music. To my mind if it isn’t heart felt it just doesn’t communicate with the audience or listener. Making that jump to the 6 - 9 octave is a good technique to practice and have in your armoury, as you say. Best wishes Ricky
@@rickycool100 Yep, thankyou for your bang-on insightful reply Ricky. I often feel that trying to play a song and the nuances the way the greats played their song (or as close as possible), to how Little Walter played it for example, are great Yahooooo, I did it !! learning accomplishment moments on our learning curve. Even taking Walter's "Juke" 6-9 octave and replacing it with the 3-6 was an improvisation experiment by him or someone at some point in time. Possibly thinking I've now added something of how I'm feeling today, or today this octave sounds better. I suppose that's the beauty of improvisation, and adding one's own feelings of the day into the song/ mix-or the recording engineer's feeling. Forever reaching new horizons on our harmonica journey of discoveries. Those attributes expand the learning curve. However, to me the real "Big bang" expansion of musical exploration and learning is when we/I take that original song/receipe painstakingly learned, and start improvising it, remoulding it, adding ourselves/oneself in the form of new expressive notes, phrases, micro second timing changes, octaves, slaps/vamping, double stops, almost endless improvising techniques, etc, etc, that we learn along our great journey deeper into the harmonicas infinous cosmos. Thus, while holding on to important dna of the original song, we recreate to an extent the receipe into our own tasty creation with a vein of our soulful expressive selves. To this end, is one of the aspects I enjoy so much about Little Walter, Walter Horton, Alec Rice Miller, John Lee Williamson, and YOUR own "Mississippi Saxophone" 🎷 tutorials. These players to name a few, and YOUR teachings/tutorials, and great playing muscianship, and skills transposing saxophone music into the rhelm of harmonica exemplifies the exploration and importance of improvisation, while still being able to hold onto the essential essence of the base receipe, but yet, creating something anew from our own infinous playing souls and creativity. For me anyways, taking the motifs that you've transposed and taught me, learning them. Then taking a step sideways and thinking 🤔 now, how can I change this and add my inner self- reflection to Ricky's teaching tutorial. That in itself is playing enjoyment. To reach our inner musical self playing our ideas. Those are💡 moments. You are a great teacher Ricky Cool. Your subject matter certainly has expanded my harmonica and related thought processes.
@@alleycat-145 Thank you Al. We are definitely on the same page in our approach to playing harmonica. We have a passion for the styles and players we listen to and learn from and then we add our own soul/feel, adaptations etc to make music unique to us. That’s certainly what gives satisfaction to me and I’m sure it’s the same for you. Best wishes Ricky
Splendid! Thank you!
1:45 agree for the 6-9. Sounds cool!
1:01 😮😮😮 wow!
Being a guitar player for over 45 years I’ve gotten over “the right way” to play something. Just play what feels good and/or sounds right to you.
Great idea for a video 👍🏼- the mystery of the Juke lick! I think Walter deliberately played things obscurely sometimes, so people couldn’t steal his licks!
You’re probably right. It was pretty competitive back then..
Ricky Cool. I think the answer as to what playing of this tune "Juke" or any tune mattering depends on one of two approaches, and maybe a 3rd, a mixture of both one and two, just for the complete eclectic approach to one's playing and creative approach.
So, #1, is if we want to emulate "Juke" as Little Walter played it, including the neauaunces for example as Walter played it- depending on the alternate take(s) one is studying, it is important/matters to play the tune in its entirety as Walter played it. So, play it with 3-6, and 6-9. Have both versions in the tool box if Walter had alternate takes using the different octaves.
However, #2 approach considering the penchant Little Walter seemingly had for playing a tune in alternate ways/versions using creative pioneering aporoaches to improvisation, and phrasing etc, seems to suggest it doesn't matter/ not important to play the exact same way each time, and a cookie cutter approach is to be avoided. So changes to the phrasings, or substitute notes octaves/splits is being creative. It's the creativity that matters. What is important is whatever approach is used by the player is that the song sounds good, and the player is feeling it.
Alternatively, #3 is if we as players can take a lesson from Little Walter and the many, many alternate versions of his songs, and the thought that " Little Walter didn't play the same song twice the same way"(as some folks say), we as players could possibly conclude that it is both important and not important, it matters, but doesn't matter, that we adhere to the original version, depending on what we're trying to accomplish as players regarding "Juke" for example, or any other tune.
Therefore, in my humble opinion, and using Little Walter's many alternate takes. It's better to take an eclectic approach to, (in this case) following Little Walter's song examples, and Walter's "Juke" regarding octaves, and play it in some parts as Walter played it, and in other parts be inspirational, innovative, improvisational with an added spoonful of one's own feelings. Thus, we adopt a new version of an old version similar to Little Walter's numerous takes on many of his songs. For me both octave versions sound great, and it's great practice for landing on that 6-9 and having both versions to play, One takes the low range road, one takes the high range road, and we'll both end up at the turnaround together, and with alternate routes of playing we'll not be boring. Two different octave of 3-6 and 6-9 is nice alternate musical scenery.
Lastly Ricky, until your tutorial here I never realized the 6-9 was used in "Juke." Thanks for the schooling, and opening my ears wider.
Hi Al,
Thank you soo much for your detailed and carefully thought out comment. I’m in 100% agreement with you.
If you are going to perform Juke or any other classic, there is little point in just aiming to replicate the original (unless of course you are a Little Walter tribute act 😆😆).
You really have to add something from your own soul if you are going to perform blues music. To my mind if it isn’t heart felt it just doesn’t communicate with the audience or listener.
Making that jump to the 6 - 9 octave is a good technique to practice and have in your armoury, as you say.
Best wishes
Ricky
@@rickycool100 Yep, thankyou for your bang-on insightful reply Ricky.
I often feel that trying to play a song and the nuances the way the greats played their song (or as close as possible), to how Little Walter played it for example, are great Yahooooo, I did it !! learning accomplishment moments on our learning curve.
Even taking Walter's "Juke" 6-9 octave and replacing it with the 3-6 was an improvisation experiment by him or someone at some point in time. Possibly thinking I've now added something of how I'm feeling today, or today this octave sounds better. I suppose that's the beauty of improvisation, and adding one's own feelings of the day into the song/ mix-or the recording engineer's feeling.
Forever reaching new horizons on our harmonica journey of discoveries. Those attributes expand the learning curve.
However, to me the real "Big bang" expansion of musical exploration and learning is when we/I take that original song/receipe painstakingly learned, and start improvising it, remoulding it, adding ourselves/oneself in the form of new expressive notes, phrases, micro second timing changes, octaves, slaps/vamping, double stops, almost endless improvising techniques, etc, etc, that we learn along our great journey deeper into the harmonicas infinous cosmos. Thus, while holding on to important dna of the original song, we recreate to an extent the receipe into our own tasty creation with a vein of our soulful expressive selves.
To this end, is one of the aspects I enjoy so much about Little Walter, Walter Horton, Alec Rice Miller, John Lee Williamson, and YOUR own "Mississippi Saxophone" 🎷 tutorials. These players to name a few, and YOUR teachings/tutorials, and great playing muscianship, and skills transposing saxophone music into the rhelm of harmonica exemplifies the exploration and importance of improvisation, while still being able to hold onto the essential essence of the base receipe, but yet, creating something anew from our own infinous playing souls and creativity.
For me anyways, taking the motifs that you've transposed and taught me, learning them. Then taking a step sideways and thinking 🤔 now, how can I change this and add my inner self- reflection to Ricky's teaching tutorial. That in itself is playing enjoyment. To reach our inner musical self playing our ideas. Those are💡 moments.
You are a great teacher Ricky Cool. Your subject matter certainly has expanded my harmonica and related thought processes.
@@alleycat-145 Thank you Al. We are definitely on the same page in our approach to playing harmonica. We have a passion for the styles and players we listen to and learn from and then we add our own soul/feel, adaptations etc to make music unique to us. That’s certainly what gives satisfaction to me and I’m sure it’s the same for you.
Best wishes
Ricky
It matters to me if it’s a very special technique
Not enough views for such great contents.😢
I’ll keep my fingers crossed 🤞🤞for a bit more attention. Thanks for your comments.👍
It don’t matter