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These are the songs that are NOT 12-bars long in their forms. These include some - bar, a 9-bar, 16-bar and some 1-bar (one chord) studies.

1-Chord Shuffle Download

A one-chord blues shuffle is uncommon, but there are recorded examples such as “Evans Shuffle,” “Teenage Beat,” and “Roller Coaster” by Little Walter; “Sunbird” by George Harmonica Smith; as well as “The Honeydripper” and “Walter's Swing” by Big Walter Horton. While some of these pieces are played at faster tempos . . .

24 Bar Blues Download

This is a study of the up-tempo, twenty-four bar blues, or two-beat songs like “Sloppy Drunk,” “Got My Mojo Working,” “It Ain’t Right,” and “Don’t Need No Horse,” by Little Walter, from which the head riff of this song comes. The tonality of this song is the blues scale.

Chasin' Lost Sonny Download

Please note that there are two things different about this song, “Chasin' Lost Sonny.”
First, it is twice the price. That is because it was at least twice as hard to prepare as anything else here in the Filisko Store.
The second is that there is not a single defined final arrangement for the song but instead, numerous building blocks that you will need to arrange into your own version of Sonny's stylistic. If you goal is to capture his special style, you will need to do a lot of listening to the numerous versions of this type of piece that he recorded. Some of those are listed in the song notes. You will hear these building blocks and countless variations of them. Please also go back and review the song notes often and continually listen to the sample tracks on the CD.

Chasin' Sonny T

This song serves as a follow-up to a more comprehensive version released in 2009 titled “Chasin' Lost Sonny” (CLS). CLS examines Sonny Terry's one-chord old-time style piece, which has been known by various names such as “Whooping The Blues,” “Hooting The Blues,” “Sonny's Squall,” and “Lost John.” The objective is to replicate Sonny Terry's playing by using only his phrases and techniques . . .

Deford's Dream

This study song is much like the first known cross harp, 2nd position recordings, that were then referred to as “choking.” This will be another tool, along with “Skip To My Lou” and “Henry’s Lament,” to give insight into the amazing layers of technique hidden behind DeFord Bailey, Kyle Wooten, Palmer McAbee and others. . .

Henry's Lament Download

This is a study of the first known cross harp approach to playing the harmonica that was originally often referred to as “choking.” Henry Whitter recorded a few versions of this in 1923 called “Rain Crow Bill Blues” and “The Old Time Fox Chase” followed by “Weepin’ Blues” and “Rabbit Race” in 1924 and “Lost John” in 1925. . . .

Keys to the Highway Download

This is a study of the very common blues melody known as “Key To The Highway.” It’s an easier arrangement of the older FiliskoStore study song, “Key To The High Weigh.” The song is associated with Big Bill Broonzy and Jazz Gillum and was first recorded in 1941 . . .

Mississippi Groovin' Download

This Mississippi groove study song is likely the very first of its kind. The structure is similar to the Filisko study song “DeFord’s Dream” and how it’s put together. You should start with DeFord’s Dream if you have not already. It’s much easier. . . .

Nine Bar Blues Download

This is a study of the extremely common blues melody most often known as "Sitting On Top of The World," "Come On In My Kitchen," "You Got go Move" or "Worst Enemy." The song is sometimes played as an 8-bar blues by leaving off bar 8 after the hook and going straight to the turnaround.

Please Don't Go

This Filisko arrangement examines the classic blues melody “Baby, Please Don't Go,” first recorded by Big Joe Williams in 1935. This can be played as an 8-bar blues using only the root (I) chord. This arrangement features the melody in the shuffle groove and comes in three progressive versions—easy, intermediate, and advanced . . .

Skip to My Lou Download

This is a great song to help comprehend many aspects of the intricate playing styles of DeFord Bailey, Kyle Woote,n and other solo players. All the notes are easily available in two octaves and the chords fit and support the melody perfectly in the low octave. This will touch on some of the most obvious ways to ornament what happens underneath and around the melody. . .