vol.18 sonny terry blues riffs book

60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS

BLUES RIFFSA PLAYALONGCOURSEFOR

INTERMEDIATEHARP

PLAYERS

SONNY TERRY

THE BEN HEWLETT HARMONICA COURSE

Arranged and transcribed by Paul Lennon L.T.C.L.

CDINSIDE

A PLAYALONGCOURSEFOR

INTERMEDIATEHARP

PLAYERS

BLUES RIFFS18

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vol18 Sonny download 10/9/09 12:21

60 SONNY TERRYBLUES RIFFSHow to play traditional blues riffs

A play-along course for intermediate players

Ben HewlettArranged and transcribed by Paul Lennon L.T.C.L

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© 2009 Ben Hewlett. All text and illustrations.© 2009 Paul Lennon. Musical score.

Published by L & H Publishing.e-mail: [email protected]: www.harmonicaworld.net

A catalogue record for this book is available from the British Library.

ISBN 978-1-907058-33-2

All rights reserved. No part of this publication may be reproduced,stored in a retrieval system, or transmitted, in any form or by anymeans, without the prior written permission of the publisher, nor beotherwise circulated in any form of binding other than that in which it ispublished and without similar condition being imposed on thesubsequent purchaser.

Audio CD © & P 2008 Ben Hewlett & Paul Lennon.All rights of the producer and the owner of the recorded workreserved. Unauthorised copying, public performance, broadcasting,hiring or rental of this recording prohibited.


CD TRACKLISTING

Track 1 IntroTrack 2 Riff 1Track 3 Riff 2Track 4 Riff 3Track 5 Riff 4Track 6 Riff 5Track 7 Riff 6Track 8 Riff 7Track 9 Riff 8Track 10 Riff 9Track 11 Riff 10Track 12 Riff 11Track 13 Riff 12Track 14 Riff 13Track 15 Riff 14Track 16 Riff 15Track 17 Riff 16Track 18 Riff 17Track 19 Riff 18Track 20 Riff 19Track 21 Riff 20Track 22 Riff 21Track 23 Riff 22Track 24 Riff 23Track 25 Riff 24Track 26 Riff 25Track 27 Riff 26Track 28 Riff 27Track 29 Riff 28Track 30 Riff 29Track 31 Riff 30Track 32 Riff 31Track 33 Riff 32Track 34 Riff 33Track 35 Riff 34Track 36 Riff 35

Track 37 Riff 36Track 38 Riff 37Track 39 Riff 38Track 40 Riff 39Track 41 Riff 40Track 42 Riff 41Track 43 Riff 42Track 44 Riff 43Track 45 Riff 44Track 46 Riff 45Track 47 Riff 46Track 48 Riff 47Track 49 Riff 48Track 50 Riff 49Track 51 Riff 50Track 52 Riff 51Track 53 Riff 52Track 54 Riff 53Track 55 Riff 54Track 56 Riff 55Track 57 Riff 56Track 58 Riff 57Track 59 Riff 58Track 60 Riff 59Track 61 Riff 60Track 62 OutroTrack 63 Playalong track inE (Faith in Groove)Track 64 Playalong track inD (Curly Cale)Track 65 Playalong track inF (Joey’s Blues)Track 66 Playalong track inG (Come on Johnny)

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TABLE OF CONTENTS

Page 4 Book Contents

CD contents

Page 6 Introduction

Page 7 Articulations, Whooping

Page 8 About Sonny Terry

Page 12 Riffs 1-3

Page 13 Riffs 4-7

Page 14 Riffs 8-10

Page 15 Riffs 11-13

Page 16 Riffs 14-18

Page 17 Riffs 19-22

Page 18 Riffs 23-26

Page 19 Riffs 27-30

Page 20 Riffs 31-34

Page 21 Riffs 35-37

Page 22 Riffs 38-39

Page 23 Riffs 40-43

Page 24 Riffs 44-46

Page 25 Riffs 47-49

Page 26 Riffs 50-51

Page 27 Riffs 52-53

Page 28 Riffs 54-57

Page 29 Riffs 58-60

Page 30 Tab page

Page 31 Outro

Page 32 Ben Hewlett biography

Page 33 Paul Lennon Biography

Page 34 The Series and Forthcoming Titles

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vol18 Sonny download 10/9/09 12:21 Page 5

INTRODUCTION

I was first introduced to the captivating sounds of Sonny Terry by my first teacher,

Paul Lamb, who told me ‘you can learn all you need to know from Sonny’, and Paul

should know - he studied nothing but Sonny’s style for twelve years and became well

known performing in folk clubs in the UK. Eventually he was able to meet Sonny and

play with him on stage – I wish I’d been there!

I got hooked in the 1990s and have loved Sonny’s style ever since. I bought Tom

Ball’s excellent book ‘Sonny Terry Licks’ and learnt more about the way Sonny plays

and also got most of his recordings to try to decipher them.

So this CD/book is an attempt to explore small sections of Sonny Terry’s playing.

We have simplified it where possible to make it easier for you to pick up and have

played it at three different speeds with a drum track to quantify the rhythms and

notate them with some accuracy.

Some would argue against this method but I think it works and helps to understand

what he’s doing. We’ve tried to get the ‘feel’ of Sonny’s playing across rather than

the exact details.

However I would recommend you also go back to the original recordings, and,

having studied this book, you should be able to work out some of his playing on

your own – by then your ear will be in tune and you should be able to hear what he’s

doing much more clearly.

If you pan right on the recording the drums disappear and you can hear the

harmonica more clearly. We think Sonny is all about the groove so keep that in

mind and try both ways – with and without the drum track.

You will find four playalong tracks at the end of this album, each in the key of the

riffs as they appear in the book. In E for the A harmonica, in D for the G harmonica,

in F for the Bb harmonica and in G for the C harmonica. These are for you to try

out any of the riffs with a rhythm section.

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ARTICULATIONS

The words that you see above the notes (starting at riff 4) are an attempt to

indicate what my mouth is doing at that time. I’m sure Sonny wouldn’t have thought

of it in these terms but it seems to work well for learning about this style. You can

practise it by whispering these words loudly into your harmonica. If your ears hear

other words from those we’ve written do feel free to alter them to suit your learning.

WHOOPING

The words that describe my awful ‘singing’, or as Sonny described it – ‘Whooping’

start at riff 14. They are fairly interchangeable and inconsistent; just make it up as

you wish!

Much care and effort has gone into producing this CD/book and the reward we are

after is that you enjoy working with it, and that it helps you become an even better

player.

My buddy Joe Filisko has gone into Sonny Terry’s style (plus lots of others) much

deeper than we have here. He notates throat and hand tremolo, vertical tongue

flutters, tongue shakes, tongue slaps, hand pops, hands open/closed, head shakes,

rolling R’s, clean/dirty notes, his whooping, the articulations and more…so get in

touch with Joe if you want to get deeply immersed in the styles of the early harp

players. Go to www.filisko.com

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ABOUT SONNY TERRY

So much has been written about the man that I will be brief here. An internet search

will have you reading for a month and a half. I would recommend Kent Cooper and

Fred Palmer’s book ‘The Harp Styles of Sonny Terry’ (Oak publications) – the thing I

particularly like is the autobiographical part; if you want to research Sonny, how

better than to listen to the man himself, in his own words.

Sonny was born at a very young age to musical parents in 1911. His father, Rueben,

played harmonica – jigs and reels – and his mother, Mossiline, was a singer.

He would have sung at Baptist revival tent meetings and taught himself to play harp

as a child. Two farming accidents robbed him of his sight during his teen years and

he became more dependent on music to make a living. “In them days I just as soon

died - except for my harmonica. It was like a friend who didn’t give a damn if I

could see or not,” he said.

Sonny played on the street, busking for money, playing local buck dances where he

was ‘the band’. This must be where his relentless rhythms and gapless phrases

originate – leaving a legacy of hard study for us!

He played tobacco warehouses, fish fries, house parties, medicine shows around

Greensboro, North Carolina sometimes solo, and sometimes with partners such as

Blind Boy Fuller and later Brownie McGhee.

In 1938 Sonny was invited to play at Carnegie Hall for the first ‘From Spirituals to

Swing’ concert, and later that year he recorded for the Library of Congress. In 1940

Terry recorded his first commercial sides. Some of his most famous works include

“Old Jabo” a song about a man bitten by a snake and “Lost John” in this he

demonstrates his amazing breath control combined with whooping and fast rhythms.

When Jane Dudley set “Harmonica Breakdown” to Sonny’s harmonica, accompanied

on the washboard, in 1938, it was seen originally as a solo of despair in the Dust

Bowl era. She later described the repeated shuffle she performed in this solo as

“the effort that just living might seem to mean to black people.” Revived in recent

years to the acclaim of modern-dance troupes in the United States and Europe, the

solo now appears vivid but more universal.


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In 1941 Blind Boy Fuller died and Sonny and Brownie McGhee moved to New York a

year later at the invitation of the folk group the Almanac Singers. In New York the

duo was embraced by the folk music scene that included Leadbelly, Woody Guthrie,

Pete Seeger, John and Alan Lomax and others. Together they began performing and

recording regularly. Sonny also had a part in the 1946 Broadway production of

Finian’s Rainbow, which ran for over 1000 performances. Sonny was apparently

paid $600 a week for his part – that’s worth over $6,000 in 2009. How times

change; you wouldn’t get that much now!

Sonny Terry’s song “Fox Chase” was used by the experimental filmmaker Len Lye as

the soundtrack for his short film Color Cry (1952). “Old Lost John” was used by

Werner Herzog at the conclusion of his 1977 feature film Stroszek, and he also

appeared in The Color Purple. More recently Sonny’s track “Whoopin’ The Blues”

was used for an EON Wind Farm commercial, although it is incorrectly rumoured to

have been played by Ben Hewlett!

Sonny worked with many people but toured the world with Brownie McGhee, his

long-term musical partner, going as far as New Zealand where the soon-to-become-

my-second-teacher Brendan Power saw them. Sonny’s style drew him to the

harmonica and it’s provided a busy life for him ever since.

The recordings and performing came to an end in the 1980s and Sonny came to his

end in 1986, the same year he was inducted into the Blues Hall of Fame, just

around the time I myself started playing the harmonica with a passion!


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Joe Filisko

Sonny Terry was without question, one of the most well known of all blues

harmonica players. Sonny's stinging and popping sound, acrobatic use of

hands, rhythmic groove and pyrotechnic display of whooping, made him in my

opinion, the most unforgettable of ALL harmonica players! Knowing the effect it

had on a live audience leaves little doubt as to why he was in demand his whole

life and why almost everyone will remember his name before Brownie's.

If understanding and experiencing some of this magic is of interest to you, then

there is great news! Ben has taken numerous essential Sonny Terry licks and

broken them down at three different speeds for you to access and learn as

simply and painlessly as possible.

If you follow him, Ben will put you on the fast track to the summit of the musical

mountain of Sonny Terry. This is indeed a journey that all harmonica players

should experience.

Joe Filisko September 2009

www.filisko.com


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Pat MissinA selection of riffs from the repertoire of one of the

most influential harp players ever, brought to you in

standard notation, tablature and audio examples by

Britain's top harmonica teacher. A must have for anyone

studying the playing styles of Sonny Terry, as well as a

very welcome addition to any harp player's library.

[email protected]

Paul LambYes great stuff! Ben has dug deep into Terry's sound.

I myself, am a huge Sonny Terry fan and played with

the guy. Sonny had a style that was truly his own,

Ben has done something here that Sonny would be

proud of.

Paul Lamb.

www.paullamb.com

Tom Ball"A fine addition to the great Sonny Terry's oeuvre."

-Tom Ball

www.tomballkennysultan.com


SONNY TERRY RIFFSRiffs 1 - 3

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26



27

SONNY TERRY RIFFSRiffs 52 & 53


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30

CHROMATIC TABLATURE(TAB) CHART


5231

OUTRO

I hope you’ve enjoyed the challenge of getting to grips with Sonny’s style, and I’ve

got to tell you it’s been great fun doing the research and trying to learn his licks for

me as well!

So that’s it for now – I’m off to start another Sonny Terry riffs book. Actually we did

ten riffs too many for this project so we thought we should use those riffs and our

momentum for this style to just crack on and do another book. Meeting Joe Filisko

again has also spurred us on; when you see somebody like him performing the

styles of all the old guys and bringing them to life it seems even more important

that we keep on spreading the word!

Ben and Paul August 2009.


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BIOGSBEN HEWLETT CTABRSM b.1959

Ben Hewlett became a musician at the age of tenlearning the trumpet. He went through the school

system of exams and performances, finally escapingthe mandatory classical repertoire with the discovery

of Louis Armstrong and Dizzy Gillespie. He was aminor third addict at fourteen and still has a passionfor jazz and blues. Ben received a harmonica at the

age of 7 and started playing it properly at the age of27 having seen the Blues Brothers film a number of

times. Ben Has studied harmonica with topharmonica players including Paul Lamb, BrendanPower, Charlie McCoy, Howard Levy, Joe Filisko,

Richard Sleigh, Steve Baker and Carlos del Junco.During two years of running evening classes

(inherited from Brendan Power) he qualified as aMusic Workshop Leader and worked full time

teaching music in different settings. Since leavingLondon Ben has gone into full-time harmonica

teaching. In 2002 he successfully completed theteaching qualification 'Certificate of Teaching,

Associated Board of the Royal Schools of Music'(CTABRSM).

Ben and his team of ten teachers now visit 40schools a week to teach five hundred harmonica

students - he is therefore the only full-timeprofessional harmonica teacher in the UK.

This is known as harpscool.co.uk

He has also run a Blues Band workshop to provide asetting for new harp players to gain bandexperience. He ran Saturday 'learn to play in a day'courses all over the west of England and continuesto teach many private students.Ben runs 'Blues Jam Factory' now a successfulcorporate team-building and training operation witha growing client base including DHL, Exel, LloydsTSB, Brittish Gas, Sanofi Aventis, University ofSingapore, Novartis, TBL, The Hemsley Fraser Group,Instant Teamwork, Axa, Spice UK and BNI. To seethis in action visit www.BluesJamFactory.comBen has played with Jools Holland in a blues jamBen organised in London; he is a Guinness Worldrecord holder for 'Largest Harmonica Ensemble'; heorganised a group of 100 Children dressed as theBlues Brothers playing the Peter Gunn Theme onharmonicas to an audience of 2,500. Ben and PaulLennon introduced 850 children to the harmonicaat Ocklynge Junior school in Eastbourne where allthe children studied their 10-week harmonicacourse. Ben's students have received countless UKHarmonica Championship title and he was the firstever harmonica teacher at Dulwich College, London.With Paul Lennon he is now an internationallypublished author with 'Get Chugging'. He oncetaught Didgeridoo on Radio 4 with Rolf Harris andhas played on the same bill as, and talked shopwith, the legendary Larry Adler. He also had an unexpected two hour lunch withBilly Connolly while setting up a harmonica festival in Bristol.

Ben can be contacted at [email protected]


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BIOGSPAUL LENNON L.T.C.L. (b.1957)

Paul is a composer/arranger,multi-instrumentalist and teacher. He is a formerpupil of Bishop Wordsworth School, Salisbury and

former member and leader of the Wiltshire Youth andSalisbury Junior Orchestras on violin. He also played

in rock and folk bands in the Salisbury areas fromthe age of 15 onwards and later graduated from

Trinity College of Music, London in violin, piano andcomposition (1976-80). Paul has been involved in

many classical/light music ventures includingorchestras, a flute quartet, a duo with cello and even

a 1930’s cabaret act. He went on to play bass,guitar, violin and keyboards in various bands and

from 1988-91 he was the bass player andcomposer/arranger with EPJ, a 13-piece modern jazzbig band. He played guitar, keyboards and vocals ina 4-piece pop band, then violin in a duo with guitar

until mid 1996, followed by piano in his own originaljazz quartet with guitar, bass and drums.

In 1998 in collaboration with The BoomingCherries, a contemporary dance troupe, he produced

Gravy Bones, a jazz-oriented dance work. Thefollowing year he wrote and recorded the score for anadaptation of King Arthur, a current production by the

Spiral Arts dance-theatre company. Other worksinclude string quartets, pieces for flute and

piano/guitar and solo piano. All these works reflectan eclectic experience and a leaning towards music

for dramatic and visual media. He writes from hisKent-based home recording studio and has

composed and produced many albums thereincluding the playalongs for harmonica with Ben

Hewlett and spoken-word material with Shaun deWarren and Marietta Pinto-Hayes.

He has produced books on Music Training Basics,Practising and Ear-Training as well as collections ofpieces for piano, violin, guitar and flute. From 1993Paul taught at the City Literary Institute in Londonand wrote a three-year jazz harmony and ear-trainingcourse.

From July 2001 to June 2002 Paul playedbass and shared lead vocals in a band based inClaridges Hotel in London during which time he builta large pad of vocal material. From then he played invarious duos on violin with Charles Alexander, JameyMoore and Dominic Grant (guitars) and on piano andguitar with saxophonist Howard Turner. Since thesummer of 2002 he has studied violin and piano onthe Jamey Aebersold Jazz Summer Schools inLondon for three years running. As a music editorand copyist he has worked for many years with DaveHewson on his projects for KPM/EMI with at leasteight albums to Paul’s credit. 2002 also saw therecording of a harmonica sample album with BenHewlett for ZERO-G, a major sample company.

Currently Paul is very involved incomposition and recording particularly with BenHewlett on the ongoing Harmonica Course and alsohis own playalong projects for guitar and piano.Various projects are in preparation including a fouralbum set of songs with lyrics by John Goldman, ablues/rock CD/book of riffs in the styles of greatguitarists including Santana, Jimmy Page, RoryGallagher etc. and the CD/book 101 Blues Riffs forHarmonica played on guitar. He has also teamed upwith voiceover artist Neill McKenzie to form aproduction company that produces music andvoiceovers for ads, documentaries, film etc.He also continues to teach piano, guitar, violin, bassand singing privately along with theory, harmony andcomposition.

Paul’s current showreels can be heard onwww.paullennon.com and he can be contacted at:[email protected]


OTHER VOLUMES AVAILABLE

Volume 1 Get Chugging - Rhythm harmonica for beginners and intermediates.It teaches rhythm, breathing, and articulation. Now published globally by Mel BayPublications Inc. and available from all good music shops.

Volume 2 Search for the Single Note - the next step on from Get Chugging. Itintroduces you to getting single notes and teaches you simple tunes/exerciseswith a series of beautiful backing tracks – for newish harp players.

Volume 3 Blues jam Factory - an introduction to the blues for completebeginners. Different styles of 12-bar blues are covered in this volume using singlenotes and chugging techniques. All this with original backing tracks in each style.Become an instant blues star with your own backing band!

Volume 4 HarpsCool Mastermix - a mixture of train chugs, riffs, standard tunes,and easy original tunes for newish harp players.

Volume 5 Bones of the Blues – the blues in five different keys on a C harp.Eight original blues tunes all taught in short phrases and come with theappropriate scale for improvising. NO NOTEBENDING NEEDED – for intermediate and advanced players.

Volume 6 101 Blues Riffs - learn classic blues riffs and sound like the playersyou love to listen to! Sonny Terry, William Clarke, the Walters, Sonny BoyWilliamson, etc. plus riffs for specific situations – endings, fast & flashy, jazzy etc.For intermediate to advanced players. Lots of note-bending needed here!

Volume 7 Funky Folk – folk tunes reworked with funky backings. …. coming soon.

Volume 8 Funky Nursery - ten nursery tunes (each sung once and played atthree different speeds) with the funkiest backings in existence – for beginners.

Volume 9 Funky Christmas - ten festive tunes (each sung once and played atthree different speeds) with the funkiest backings in Christendom and beyond – forbeginners.

Volume 10 Nasty Chugs - another chugging book but with disgusting words!Designed for children and in the style of Roald Dahl. Each chug has a rhythmicpattern, a groovy backing track and a simple tune. For younger beginners –these are horrible!

Volume 17 50 Awesome Blues Riffs - for intermediate players. A response torequests for more challenging material. These riffs will challenge the best of you!

Volumes 11 to 16 are all in preparation including books on notebending etc.

Current details are on the website www.HarmonicaWorld.net or email us at [email protected]

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SEARCH FOR THE

HOW TO GET AND USE SINGLE NOTES ON THE DIATONIC HARMONICA

SINGLE NOTEA PLAYALONGCOURSEFOR

NEWHARP

PLAYERSTHE BEN HEWLETT HARMONICA COURSE

Composed and transcribed by Paul Lennon L.T.C.L.

CDINSIDE

"A real nice approach. For everyone from beginners to intermediates"

LEE OSKAR


NEWHARP

PLAYERS

SINGLE NOTE2

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L&H102

AN INTRODUCTION TO PLAYING BLUES ON A DIATONIC HARMONICA IN THE KEY OF C

BLUES JAM FACTORYA PLAYALONGCOURSEFOR

NEWBLUES


Arranged and sung by Paul Lennon L.T.C.L.

2CDsINSIDE


LEE OSKAR


NEWBLUES

PLAYERS

3

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M H

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L&H103

HOW TO PLAY CLASSIC TUNES, CHUGS & RIFFS ON A ‘C’ HARMONICA WITHOUT BENDING NOTES

MASTERMIX1A PLAYALONGCOURSEFOR

NEWHARP

PLAYERS

HARPSCOOL


Arranged and composed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


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MASTERMIX14

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HOW TO PLAY BLUES TUNES & IMPROVISE IN 5 KEYS ON ONE ‘C’ HARMONICA WITHOUT BENDING NOTES

THE BLUESA PLAYALONGCOURSEFOR

NEWHARP

PLAYERS

BONES OF


Composed and transcribed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


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L&H102

101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II , SONNY TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE...

BLUESRIFFSA PLAYALONGCOURSEFOR

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101



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BLUESRIFFS6

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HOW TO PLAY TRADITIONAL NURSERY RHYMES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS

NURSERYA PLAYALONGCOURSEFOR

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FUNKY

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YOUNGERPLAYERS

NURSERY

L&H108

HOW TO PLAY CLASSIC XMAS TUNES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS

CHRISTMASA PLAYALONGCOURSEFOR

NEWHARP

PLAYERS

FUNKY



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NEWHARP

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CHRISTMAS9

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RHYTHM HARMONICA FOR KIDSNASTYCHUGSA PLAYALONGCOURSEFOR

NEWHARP


Composed and performed by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR


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NASTYCHUGS10

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FOR DIATONIC HARMONICA IN 6 KEYS A, Bb, C, D, F PLUS G MINOR

BLUES RIFFSA PLAYALONGCOURSE FOR

DEVELOPING HARPPLAYERS

50 AWESOME


Arranged and recorded by Paul Lennon L.T.C.L.

CDINSIDE


LEE OSKAR

A PLAYALONGCOURSE FOR

DEVELOPING HARPPLAYERS

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60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS

BLUES RIFFSA PLAYALONGCOURSEFOR

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SONNY TERRY



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Ben Hewlett became a musician at the age of ten in 1969 learning thetrumpet. He went through the school system of exams and performances,finally escaping the mandatory classical repertoire with the discovery ofLouis Armstrong and Dizzy Gillespie. He was a minor third addict at fourteen and still has a passion for jazz and blues. Godfather DennisCorble gave Ben a harmonica at the age of 7 thus unknowingly sowing the seeds of a lifelong love of this instrument!

Paul is a composer/arranger, multi-instrumentalist and teacher. He is aformer pupil of Bishop Wordsworth School, Salisbury and former memberand leader of the Wiltshire Youth and Salisbury Junior Orchestras on violin.He also played in rock and folk bands in the Salisbury areas from the ageof 15 onwards and later graduated from Trinity College of Music, London inviolin, piano and composition (1976-80).

Sonny Terry Blues RiffsHewlett & LennonISBN: 978-1-907058-33-2

978-1-907058-00-4 978-1-907058-02-8 978-1-907058-08-0978-1-907058-04-2 978-1-907058-06-6

978-1-907058-12-7 978-1-907058-14-1 978-1-907058-32-5978-1-907058-16-5 978-1-907058-30-1

£9.99 (UK)Recommended price

GROW WITH THE RANGE...

9 781907 058332


vol.18 sonny terry blues riffs book

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