[Harp-L] Seminar

[SONNYTONE@xxxxxxx]

Please sign up ahead of time; Due to the level at which I will be teaching  
Sonny's style, I am going to make it 2 hours on Saturday, 1 - 3, then on 
Sunday  at 1 for an hour, advanced Sonny Terry and then an hour of 
amplification for  layman, how to manipulate any amplifier, then working with each amp, 
blending  Sonny's style with Chicago style.  $100 for all 4 hours, lots of 
one on  one, and here is just a basic outline so far. Get to play the amps 
with the hot  mics I bring, I guarantee their hot tone and volume. 
 
 
Sonnyâs basic story. 
RULE # ONE !!!!  Play from your heart, your soul, letting the air flow from 
the sides of  your mouth, your nose, become one with the instrument. âSonny 
Jr. 2010  â. 
Holding the Harp â Allow a large part of your mouth to  cover the harp 
while playing. This will pull the air in deeply for a âhauntingâ  tone. 
According to many people Sonnyâs tone was shrill; and from 30âs to early  40âs 
they would be correct. His style evolved as he progressed over the years.  
Singling out notes; Sonnyâs vibrato â THE KEY to Sonnyâs  sound, his 
vibrato and where he pulled the air to form notes was strictly from  him 
diaphragm. NO throat vibrato on single notes. ALL PUCKER STYLE. NO TONGUE  BLOCKING, 
just chording.  
Bending notes: Each note needed to be hit to perfection.  When using his 
sliding notes technique you will see why it is so important.  
Dominant/sub-dominant chords: The higher note is the  dominant of the two, 
so pressure is put 75% on the higher note, 25% on the lower  note. Another 
part of Sonnyâs arsenal that made him unique.  
Tongue Trill: Unique in that he curled his tongue up and  moved it quickly 
from side to side, instead of a head shake or hand movement  warble. So much 
can be played off the trill, another key to his  uniqueness. 
Sonnyâs basic story. 
RULE # ONE !!!!  Play from your heart, your soul, letting  the air flow 
from the sides of your mouth, your nose, become one with the  instrument. â
Sonny Jr. 2010 â. 
Holding the Harp â Allow a large  part of your mouth to cover the harp 
while playing. This will pull the air in  deeply for a âhauntingâ tone. 
According to many people Sonnyâs tone was shrill;  and from 30âs to early 40âs 
they would be correct. His style evolved as he  progressed over the years.  
Singling out notes; Sonnyâs  vibrato â THE KEY to Sonnyâs sound, his 
vibrato and where he pulled the air to  form notes was strictly from him 
diaphragm. NO throat vibrato on single notes.  ALL PUCKER STYLE. NO TONGUE BLOCKING, 
just chording.  
Bending notes: Each note needed  to be hit to perfection. When using his 
sliding notes technique you will see why  it is so important.  
Dominant/sub-dominant chords: The  higher note is the dominant of the two, 
so pressure is put 75% on the higher  note, 25% on the lower note. Another 
part of Sonnyâs arsenal that made him  unique.  
Tongue Trill: Unique in that he  curled his tongue up and moved it quickly 
from side to side, instead of a head  shake or hand movement warble. So much 
can be played off the trill, another key  to his uniqueness. 
Hand slaps: Basic slap and also  the pucky pucky slap. 
Ga  ga  ga  ga  ga with hand waving. Must be seen.  
Chugging: Background and  forefront of the song.  
Whooping.  
The hand wah wah 
That Wild Thang: ( I took my  solo, then Sonny kicked my butt with this 
)...  
What I plan on giving in 3 hours  should take a very long time to master. I 
have broken down every  nuance of his playing, all he did with me was say, 
" Do this" , and  proceed to twist my brain. It took 35 years to get at this 
stage, the goal  being able to play without running out of air, or too much 
air drawing  in. So far sign ups are beginning. I do not know when I will 
be back on the  west coast for a seminar.  
I promise it will be material you  have never been taught about Sonny 
before.