Expand Your Riff Vocabulary

Posted on March 6, 2019 by FHertzberg

For most blues harmonica players a riff vocabulary is an important part of their improvisation arsenal. You could argue that improvisation should be 100% spontaneous and not built on things you have learned before. A nice thought maybe but I would argue that making something new out of “old” material is as valuable as making up new riffs nobody has played before. Famous riffs are famous because they sound great and not using them can really hamper how you sound. In this article I outline methods you can use to expand your riff vocabulary.

Online search

The first method that spring to mind is to do google searches. There is a whole bunch of sites out there with loads of riffs. You can also be a bit more old school and buy books, almost all harmonica books out there contain at least some riffs. I have published a number of articles before with beginner riffs, build up riffs and V-IV-I riffs. For subscribers I also provide extra riffs (see below).

Extract from songs

When learning a new song either from tabulature or if you transcribe it yourself you have a gold mine a new riffs. This is probably one of the most unused sources for learning new riffs. Many players feel that they are stealing if they extract riffs from songs. What you should do is pick out riffs you are especially fond of and try them under new circumstances. Different, tempo, different key or a different groove can transform a riff and I can guarantee you that very few people will complain. There are of course riffs that are very connected to certain songs such as “Mannish Boy” and maybe these hooks are best left for covers of that song.

Moving between positions and ranges

When you search for riffs online you will most likely find second position riffs. If you are a beginner this is likely where you want to start but if you want to try third position for example you may feel a bit limited. You can of course search for third position riffs but you can also use your second position riffs to expand your riff vocabulary for third position. I have written about how to do this in a previous article. Not all riffs are suitable to tranfer to another position but it can give you good ideas for riff variations.

Another thing that is underused is transposing a riff from one octave to another. If you have a riff you like in the holes 4-6 range you can try playing it in the 7-10 range instead. This is a great way of learning to use the upper octave more.

Summary

As you can see you have quite a few ways to expand your riff vocabulary, how much time you spend on this is up to you.

Don’t forget to sign up below to get the Welcome package and exclusive articles! This includes the “Positions and Blues Scale” , useful riffs as part of the exclusive articles and the “How to Change Position Cheat Sheet” PDF to make moving between first, second, third and fourth position quick and easy.

Click here to get to the sign-up page!

Third Position Beginner Riffs

Posted on October 31, 2018 by FHertzberg

Playing in more positions than just second position is a great way of becoming more versatile. One of the first positions to work on then is third position. I think getting to know the scales and chord tones of the new position you are working on is very important but learning a few riffs can get you started quicker. Here I have collected some third position beginner riffs to get you going.

Descending riff

First off we have a nice decending riff that uses the blues scale and resolves on the root note.

Descending riff resolving on root.

You can listen to it here in 70 bpm.

Ascending riff

Here is an ascending riff for you that moves from the root note to the root note one octave higher.

Ascending riff from root to root.

Listen to it here in 70 bpm.

V-IV-I-tunraround riff

Handling the V-IV-I-tunraround can feel a bit akward in a new position so it is a good thing to have one in your arsenal to begin with. This one has quite a standard feel to it and is quite easy to play.

third position beginner riffs - V-IV-I-turnaround

IV-IV-I-turnaround riff.

You can listen to it here in 70 bpm.

Summary

These third position beginner riffs won’t make you an expert third position player but they will definately give you a place to start. In later articles I will focus on how to build your riff bank further and how to reuse what you already know in second position. To get inspiration for playing third position, Little Walter is a good idea to listen to.

If you are looking for second position riffs you can also find them in previous articles, beginner riffs, V-IV-Is, turnarounds and buildup riffs.

Don’t forget to sign up below to get the Welcome package and exclusive articles! This includes the “Positions and Blues Scale” PDF and useful riffs as part of the exclusive articles.

Click here to get to the sign-up page!

Blues Harmonica Fills

Posted on July 11, 2018 by FHertzberg

Before we get into this topic I have to be completely honest. I suck at blues harmonica fills. It is an art that so far has eluded me as player. I know however that continued study will give me result in the end. In this article I outline my view of fills and what to think of when using them in context.

The use of blues harmonica fills

The diatonic harmonica is great for fills.

Just to give a brief definition of blues harmonica fills I would consider any riff that is used to fill the void between vocal lines a fill riff. The riff itseld is then not a part of the main melody and can often change from performance to performance. It is a way for the harmonica player to add to the excitement of the song being performed.

To add fills in a meaningful way you have to listen to what the other musicians are doing. Is the guitarist already adding his own fills? If so then you better stay away. Is there enough space in the background for you? Little Walter was a master of combining backup playing and fills and is well worth studying.

Characteristics

Typically blues harmonica fills are short in order not to interfer with the vocal lines. If your vocalist allows it there might me some room to start a fill before the last syllable comes out and to let the fills overlap a bit with the next line. When you are not sure it is better to stay off the vocalist’s turf all together.

If you want to use fills to put a specific charachter on the song your fills likely need to have some common ground. Perhaps same or very similar riff played with different techniques. If you are looking to add energy and excitement your riffs should be more aggresive and stand out.

Practicing blues harmonica fills

As you most likelty have noticed I have not given you any example tabs of blues harmonica fills like I did with turnaround riffs, V-IV-I-riffs and buildup riffs. I think it is better you find your own style for fills. Start by playing along songs you like an experiement with different shorter and longer riffs to find a good balance and build up a bank of riffs to use for fills. If you are worried about stepping on the vocal lines then practicing singing yourself at the same time as you do fills will help you develop appropriate riffs to use.

Let me know how you get along and don’t forget to sign up below to get the Welcome package and get exclusive material!

Click here to get to the sign-up page!

Blues Harmonica Buildup Riffs

Posted on June 20, 2018 by FHertzberg

Blues harmonica buildup riffs is a special kind of riffs that are used instead of a classic turnaround riff and sometimes they intergate into the V-IV-I-riff. The idea around a build up riff is that is building energy and anticipation for the the next chorus. In this article I show different types of blues harmonica buildup riffs and explain where they might be used.

Types of buildup riffs

When we talk about blues harmonica buildup riffs there is no precise definition of what they are. For a riff to be a buildup riff for me it either builds anticipation and tension, hints at the coming chorus or picks up the next chorus early. You might even debate what riff is doing what but I wil try to keep the types fairly clear.

Pickup type riff

This type of riff typically leads you from the tonic of the I-chord to the note you want to start the next chorus on. It is a good way of moving from 2 draw to a higher note so that you don’t have to make a big jump after a classic turnaround that may land you on 1 draw for example. This riff is 1 bar long (with a pickup) and leads you from landing on 2 draw in your V-IV-I riff to starting on 5 draw in the next chorus. Note that the last bar is part of the next chorus and not the buildup riff.

Blues Harmonica Buildup Riffs Pickup style

Pickup style buildup riff leading to 5 draw as start in the next chorus.

Repetetive cresecendo type riff

A good way of building energy is using repetition and increasing the volume at the same time. This builds both tension and the feeling that something is going to happen. This riff is very simple in itself, based on triplets in a simple pattern between 3 draw and 4 draw. It actually starts as part of the V-IV-I-riff in that is replaces both the I-chord part as well as the turnaround.

Buildup riff as repetitive triplet with pickup.

Repetitive hint type riff

By hinting at what is coming in the next beginning of the next chorus you can also build energy in a nice way. In this example the next chorus starts with a triad as a pickup on beat 4 in bar 12. The rest of bar 12 hints repetitively at the coming triplet. Note that the 1, 2+, 3+, 3, 2 part is actually part of the first riff in the next chorus.

Buildup by hinting at the coming riff.

Integrating blues harmonica buildup riffs

The way to integrate blues harmonica buildup riffs is to build up a bank of them, now you have three, and start using them together with your V-IV-I-riffs to exand that riff bank even further.

Let me know how these riffs work out for you and don’t forget to sign up below to get the Welcome package and get exclusive material!

Click here to get to the sign-up page!

Blues Harmonica Turnaround Riffs

Posted on May 30, 2018 by FHertzberg

The turnaround in the 12 bar blues is the part that signals that the form will repeat again. This, of course, happens at the end of the form. More sprecifically, bar 11 and 12 is where we play blues harmonica turnaround riffs. Properly executed these riffs give a sense of completion at the same time as the signal strongly that it is time to start the 12 bar blues again. If you listen carefully to recordings you will quite easily spot the turnaround in most songs, just remember that not all 12 bar blues variations include the turnaround. In this article I will give you a few riffs to add to your riff bank.

Properties of blues harmonica turnaround riffs

Although there are no hard and fast rules for these riffs there are a few properties they most often have. It is natural for the turnaround riff to be 2 bars but in order to fit with the V-IV-I riff of your choice it may need to be shorter.

In order to outline the turnaround in itself they often follow the chord tones very closely in bars 11 and 12. That is the I-chord through bar 11 and half of bar 12 and then the V-chord in for the last two beats of bar 12.

Basic turnaround riff

First off we have a very basic turnaround riff that uses the tonic of the chord. The tonic of the V-chord comes on beat 2 of bar 12 anticipating the V-chord on beat later. This riff always work but can be a bit boring if used too often.

Very basic blues harmonica turnaround riff.

Vamping style riff

This riff is a bit busier and uses the tounge slapping/vamping style so tounge blocking is the key here. In bar 11 it also uses 2 blow which is a chord tone for the I chord in 2nd position. Be careful though if you should be playing 2nd position in a minor blues, this riff would not work well. It has nice energy and is simple as there is no bending.

vamping blues harmonica turnaround riffs

Vamping style blues harmonica riff without bending.

Triplet based turnaround riff

This riff is quite energetic as it is based on triplets. It aslo has a whole step bend on hole two which is the minor seventh of the I-chord, a very nice touch. A bit trickier as it has bending.

Triplet based tournaround riff.

Slightly more advanced turnaround riff

We finish off with a riff that is slightly more advanced, it incorporates the half step bend in hole three as well which is the minor third of the I-chord. A nice bluesy note.

bending blues harmonica turnaround riffs

Turnaround riff with a little bit more bending.

Applying blues harmonica turnaround riffs

Now that you have a few more blues harmonica turnaround riffs to practice it is time to put them to use. Start by selecting one or two and start experimenting with connecting them to your V-IV-I riffs. Be sure to get enough repetitions in to really make them stick.

Click here to get to the sign-up page!

V-IV-I Blues Harmonica Riffs

Posted on May 16, 2018 by FHertzberg

Building a solid riff bank give you lots of options as a harmonica player and improviser. The third line in the standard 12 bar blues is known as the V-IV-I, this part is busier than the other parts when it comes to the chords. It also contains the V-chord which can trip people up. Knowing a few V-IV-I blues harmonica riffs can go a long way. In this article I present a few options you may consider that go beyond the beginner riffs I have presented before.

Why learn specific V-IV-I blues harmonica riffs?

As the third line changes chords more often than the first two lines and contains the V-chord it is a bit trickier to navigate. I have previously written about the V-chord as a place where you can show off your skills. Learning a few V-IV-I blues harmonica riffs is a great way of adding to your improvisation skills. If you combine them with a bit of blues harmonica theory knowledge you are in great shape. Let’s look at a few riffs to add your aresenal.

Tounge switching riff

First off we have a tounge switch based riff that mostly uses the tonic of the V and the IV, simple but effective. The tounge switch also adds an element of suprise that the listener will appriciate.

Tounge switch based riff.

Triplet based riff

This riff I really like since it has a triplet feel, octaves and approches the higher ocatve of the instrument. All this sets it apart from many other V-IV-I blues harmonica riffs. I try to use this quite a bit myself. Notice that is starts one beat before the V-chord.

Triplet and octave based riff.

Chord tone riff

This riff is heavy on chord tones and takes advantage of the notes not normally played when playing the blues scale. It will freshen up the listeners ear.

Chord tone based riff.

Descending riff

The final riff is a descending riff that also hints at the chord tones of the V-chord. I like the sound of a riff that start quite high up and works its way to the tonic of the I-chord.

Descending riff

Applying the riffs

In order to work these riffs into your riff bank you should pick them up one by one. Make a decision to use one of them for all your improv for a while until it has really stuck in your head. That way you will make it permeanent. Then you go on to the next one. Having 3-5 V-IV-I blues harmonica riffs that are not the most common ones will make a big difference for how original you sound. Let me know how these riffs turn out for you!

Click here to get to the sign-up page!

Beginner Blues Harmonica Riffs

Posted on January 31, 2018 by FHertzberg

When starting out with blues harmonica most people start with second position. This is a very forgiving position. It means that we can start playing without knowing many riffs. However having a few beginner blues harmonica riffs can go a long way in building a foundation. Repetition is so much easier if the riffs are first internalized. The best riffs to use sound bluesy and are easy to play. As bending skills take time to develop it is also good if the riffs are free of bends. Bending and advanced techniques can always be incorporated later. In this article I give you 6 different riffs to get you started. I have tried to use as many draw notes as possible as they are the foundation of solid second position blues.

Types of beginner blues harmonica riffs

It is a good idea to learn a few different types of riffs, 1-bar riffs, 2-bar riffs, maybe 4-bar riffs and at least one V-IV-I-turnaround riff (which will be a 4-bar riff). The reason it is a good idea to have riffs of different lengths is that it will make it easier for you to compose a 12-bar blues chorus on the spot. An important skill when playing solos. I find 2-bar riffs to be especially useful. To learn more about the tab format you can read this article.

All of the recordings below are in a shuffle groove. Also note that I have not notated any techniques. Some of the recordings do have tremolos for example but that si up to you to add.

1-bar riff

First we have a simple 1-bar riff with mostly quarter notes. It is in the mid range of the harmonica starting on 4 exhale goes up to 6 exhale and ends up on the 5 draw. 5 draw is the minor seventh of the I chord which is a blue note that creates a bit of tension.

1-bar riff

You can listen to how it sounds by blicking below.

Repetition focused 2-bar riff

This 2-bar riff is focused on repetition in the first bar before resolving on the 2 draw. The repetition in the first bar builds anticipation and tension that is then resolved by the long 2 draw.

Beginner Blues Harmonica Riffs rpeptition focus

Repetition focused 2-bar riff

Listen to it here:

Boogie inspired 2-bar riff

This 2-bar riff is inspired by the boogie rhythm bass line you might here in a boogie song. It moves between 2 draw and 6 exhale which both are the tonic of the I-chord.

Beginner Blues Harmonica Riffs Boogie Inspired

Boogie inspired 2-bar riff

Listen to it here:

2-bar riff with pick-up note

Starting on the downbeat of beat one all the time will be boring. It is quite common to start on the upbeat of beat four in the preceding bar. This riff is an example of that.

2-bar riff with a pick up note

Listen to it here:

2-bar riff with triplet

A triplet is three eight notes played over the duration of a quarter note. It is a good pfrase to have in your vocabulary, that is why I included this riff.

2-bar riff with a triplet

Listen to it here:

A note on 2-bar riffs

You might have noticed that the 2-bar beginner blues harmonica riffs above all have a more actice first bar and a more stationary second bar. I would say that this is quite common but not a strict rule. There can be much more movement also in the second bar. Another thing you might notice is that the second bar is not filled, there is space at the end. This is very common and allows for a bit of space between riffs. If both bars were filled up it would be a problem playing a riff with a pick-up note right after a riff with no space at the end.

4-bar V-IV-I-turnaround riff

The V-chord in the 12 bar blues (bar 9) can cause less experienced players some problems. The reason is that the most of the chord tones of the V-chord are not in the blues scale and not as easily accesible on in the lower and middle octave. The notes played over the I and IV-chord may sound less cool over the V-chord. A good way of solving this for beginners is learning a solid V-IV-I-turnaround riff to play over bars 9-12. As you gain more experience you can improvise more here.

4-bar V-IV-I-tunraround riff

Listen to it here:

V-IV-I-turnaround riffs are in a class of their own. They generally to be kept for bars 9-12 but can also be reused often from songs to songs. At least when toy are starting out. When you become more skilled, bars 9-12 and especially bars 9-10 give you an opportunity to shine.

Applying beginner blues harmonica riffs

When you have a few beginner blues harmonica riffs in your arsenal you have a good foundation for playing. The next step is to try these riffs over different parts of the 12-bar blues to see where you think they work best. Also try to combine them together to create longer riffs. If you have some bending skills you can try incorporating a few draw 3 half step bends instead of hole 3 draw unbent and hole 2 draw whole step bend instead of hole 2 exhale. This can increase the blues horse power of your playing. Also try some ornamental bends and techniques like vibrato, shakes and tounge slaps to spice things up.

I hope you find these riffs helpful and I am very interested to hear your thoughts. Comment below and don’t forget to like and share if you enjoyed the read!

Click here to get to the sign-up page!