Chords for nasty blues harp
Tempo:
100.325 bpm
Chords used:
Gm
Bb
C
G
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So you're sure you want to be a blues harmonica player?
All right, well then let me show you one of the most important things that a blues harmonica player needs to know.
And it's what I would call nasty harp.
If you want to be a blues harmonica player,
you need to know how to play sweet, and you need to know how to play nasty.
They're both equally important.
And in order to play sweet, well in order to do both of them, you need to know how to do strong single notes, strong
double stops.
And this particular technique is a strong double stop.
And what it is, it's the blue third.
It's the three-hole draw, if you're playing cross harp, with a little bit of the four-hole draw mixed in.
Okay?
So if I'm going to normally do the three, the blue third, that three draw with this little bit of the edge
scrubbed off it.
That, that spoonful.
[Gm]
Nasty harp.
Mean harp is about adding a little bit of the four in.
But you've got to hit it hard.
Now if I say,
okay, add the four in.
[Bb] Yeah,
[E] kind of.
But I'm [C] thinking more like this.
[F]
[Gm] [C] [Bb] [C] [Bb]
[G] [Bb]
[G] Now the key thing is it's mostly on the three,
but you got to add just a little bit of that four.
If you do the same amount of both,
[Bb] [C] not quite as good.
[Gm] [N] And ideally what you want is the two notes to blend together into one
sound.
And you'll know the sound, first of all, it may make your teeth chatter or vibrate.
It, you know, it can almost hurt when you do it right.
Now Paul Butterfield does this at the beginning, actually on this key of harmonica at the beginning of Too Many Drivers.
I'm in love with you, [C] babe.
Right?
Can I ride in your automobile?
[G] [N]
And there are lots of other players who use this.
I'm trying to think.
A jazz Gillum.
That's who I'm thinking of.
[Bb]
[G] Sonny Boy Williamson, John Lee's Sonny Boy Williamson [Gm] uses it.
[C] [Gm] Rather [Db]
be sloppy, drunk, than anything [Gm] I know.
[D] [N] So you know, have to know how to crunch it down.
You hear what I'm saying?
You'd have to know how to crunch it down.
It's one of the most aggressive moves that you can make on the harp.
Now go home and
practice it.
Figure out what I just showed you.
Ha!
All right, well then let me show you one of the most important things that a blues harmonica player needs to know.
And it's what I would call nasty harp.
If you want to be a blues harmonica player,
you need to know how to play sweet, and you need to know how to play nasty.
They're both equally important.
And in order to play sweet, well in order to do both of them, you need to know how to do strong single notes, strong
double stops.
And this particular technique is a strong double stop.
And what it is, it's the blue third.
It's the three-hole draw, if you're playing cross harp, with a little bit of the four-hole draw mixed in.
Okay?
So if I'm going to normally do the three, the blue third, that three draw with this little bit of the edge
scrubbed off it.
That, that spoonful.
[Gm]
Nasty harp.
Mean harp is about adding a little bit of the four in.
But you've got to hit it hard.
Now if I say,
okay, add the four in.
[Bb] Yeah,
[E] kind of.
But I'm [C] thinking more like this.
[F]
[Gm] [C] [Bb] [C] [Bb]
[G] [Bb]
[G] Now the key thing is it's mostly on the three,
but you got to add just a little bit of that four.
If you do the same amount of both,
[Bb] [C] not quite as good.
[Gm] [N] And ideally what you want is the two notes to blend together into one
sound.
And you'll know the sound, first of all, it may make your teeth chatter or vibrate.
It, you know, it can almost hurt when you do it right.
Now Paul Butterfield does this at the beginning, actually on this key of harmonica at the beginning of Too Many Drivers.
I'm in love with you, [C] babe.
Right?
Can I ride in your automobile?
[G] [N]
And there are lots of other players who use this.
I'm trying to think.
A jazz Gillum.
That's who I'm thinking of.
[Bb]
[G] Sonny Boy Williamson, John Lee's Sonny Boy Williamson [Gm] uses it.
[C] [Gm] Rather [Db]
be sloppy, drunk, than anything [Gm] I know.
[D] [N] So you know, have to know how to crunch it down.
You hear what I'm saying?
You'd have to know how to crunch it down.
It's one of the most aggressive moves that you can make on the harp.
Now go home and
practice it.
Figure out what I just showed you.
Ha!
Key:
Gm
Bb
C
G
E
Gm
Bb
C
So you're sure you want to be a blues harmonica player?
All right, well then let me show you one of the most important things that a blues harmonica player needs to know.
And it's what I would call nasty harp.
If you want to be a blues harmonica player,
you need to know how to play sweet, and you need to know how to play nasty.
They're both equally important.
And in order to play sweet, well in order to do both of them, you need to know how to do strong single notes, strong
double stops.
And this particular technique is a strong double stop.
And what it is, it's the blue third.
It's the three-hole draw, if you're playing cross harp, with a little bit of the four-hole draw mixed in.
Okay? _
So if I'm going to normally do the three, the blue third, that three draw with this little bit of the edge
_ scrubbed off it.
_ _ That, that spoonful.
_ _ [Gm] _ _
Nasty harp.
Mean harp is about adding a little bit of the four in.
But you've got to hit it hard.
Now if I say,
okay, add the four in.
_ [Bb] Yeah, _
_ _ [E] kind of.
But I'm [C] thinking more like this.
[F] _
[Gm] _ _ [C] _ [Bb] _ _ _ [C] _ [Bb] _
_ [G] _ _ _ [Bb] _ _ _ _
[G] Now the key thing is it's mostly on the three,
but you got to add just a little bit of that four.
If you do the same amount of both,
[Bb] _ _ [C] not quite as good.
[Gm] _ _ _ [N] _ And ideally what you want is the two notes to blend together into one
_ sound.
And you'll know the sound, first of all, it may make your teeth chatter or vibrate.
It, you know, it can almost hurt when you do it right.
_ _ _ Now Paul Butterfield does this at the beginning, actually on this key of harmonica at the beginning of Too Many Drivers. _ _
_ _ _ _ _ _ _ _
_ _ I'm in love with you, [C] babe.
Right?
Can I ride in your automobile?
[G] _ _ [N] _ _ _
And there are lots of other players who use this.
I'm trying to think.
A jazz Gillum.
That's who I'm thinking of.
[Bb] _ _ _ _ _
_ [G] Sonny Boy Williamson, John Lee's Sonny Boy Williamson [Gm] uses it.
_ _ [C] _ [Gm] Rather [Db] _ _ _
be sloppy, drunk, than anything [Gm] I know.
_ [D] _ _ [N] _ So you know, have to know how to crunch it down.
You hear what I'm saying?
You'd have to know how to crunch it down.
It's one of the most aggressive moves that you can make on the harp.
Now go home and
practice it.
Figure out what I just showed you.
Ha! _ _ _ _ _ _
All right, well then let me show you one of the most important things that a blues harmonica player needs to know.
And it's what I would call nasty harp.
If you want to be a blues harmonica player,
you need to know how to play sweet, and you need to know how to play nasty.
They're both equally important.
And in order to play sweet, well in order to do both of them, you need to know how to do strong single notes, strong
double stops.
And this particular technique is a strong double stop.
And what it is, it's the blue third.
It's the three-hole draw, if you're playing cross harp, with a little bit of the four-hole draw mixed in.
Okay? _
So if I'm going to normally do the three, the blue third, that three draw with this little bit of the edge
_ scrubbed off it.
_ _ That, that spoonful.
_ _ [Gm] _ _
Nasty harp.
Mean harp is about adding a little bit of the four in.
But you've got to hit it hard.
Now if I say,
okay, add the four in.
_ [Bb] Yeah, _
_ _ [E] kind of.
But I'm [C] thinking more like this.
[F] _
[Gm] _ _ [C] _ [Bb] _ _ _ [C] _ [Bb] _
_ [G] _ _ _ [Bb] _ _ _ _
[G] Now the key thing is it's mostly on the three,
but you got to add just a little bit of that four.
If you do the same amount of both,
[Bb] _ _ [C] not quite as good.
[Gm] _ _ _ [N] _ And ideally what you want is the two notes to blend together into one
_ sound.
And you'll know the sound, first of all, it may make your teeth chatter or vibrate.
It, you know, it can almost hurt when you do it right.
_ _ _ Now Paul Butterfield does this at the beginning, actually on this key of harmonica at the beginning of Too Many Drivers. _ _
_ _ _ _ _ _ _ _
_ _ I'm in love with you, [C] babe.
Right?
Can I ride in your automobile?
[G] _ _ [N] _ _ _
And there are lots of other players who use this.
I'm trying to think.
A jazz Gillum.
That's who I'm thinking of.
[Bb] _ _ _ _ _
_ [G] Sonny Boy Williamson, John Lee's Sonny Boy Williamson [Gm] uses it.
_ _ [C] _ [Gm] Rather [Db] _ _ _
be sloppy, drunk, than anything [Gm] I know.
_ [D] _ _ [N] _ So you know, have to know how to crunch it down.
You hear what I'm saying?
You'd have to know how to crunch it down.
It's one of the most aggressive moves that you can make on the harp.
Now go home and
practice it.
Figure out what I just showed you.
Ha! _ _ _ _ _ _