Browse Other Levels

These are the songs that you should look at after you have learned most of the Level 3 core songs.  These are all longer, have more challenging solos, and begin to explore the fringe areas of blues harp.  Some of these are old enough that they do not have an accompaniment chorus behind a guitar solo, and some of them don't have clear indications on how to best skillfully breathe.

Level III Advanced Study Songs

Sort By:
3pm Rumba Download3pm Rumba DownloadThis is a study of the blues rumba played in a minor key similar to Howlin’ Wolf’s song, “Who’s Been Talking” and executed in third position, Bm on an “A” harp. . . .
4-H Blues Download4-H Blues DownloadThis song is a melodic blues with four variations and one solo tht is a detailed study in playing all the available notes on hole 4 of your "C" and "F" harps. While many people would agree that hole 4 is the easiest to bend, my experiences is that not enough players can bend it consistently with skill and confidence. When you can play this on "C," try it on the notorious "F" harp. Please note that the individual pages are only played on the "C" harp. Instruction set includes 30 tracks and 7 instruction sheets.
Big Jim's Blues DownloadBig Jim's Blues DownloadIntermediate Instruction - This lesson is a five chorus instrumental designed for an intermediate player to help develop techniques and abilities that can put the player on a path to better understand the traditional blues harmonica sound. This piece is a slow, low-down, Delta type of blues that exclusively uses the 6 note blues scale and heavily focuses on full bends on holes number 2 and number 4.
Cubano Cha Cha DownloadCubano Cha Cha DownloadThis is a study of the Cha-cha-cha groove originated in Cuba and used by Muddy Waters in the head of later versions of his song, “Walking Thru The Park.” Slim Harpo’s “Buzzin” and Junior Wells’s “Cha Cha Cha in Blue” are other recorded songs using this type of riff driven groove. . . 
Down Low Blues DownloadDown Low Blues DownloadThis song is a study in how you can make your playing more bluesy sounding.  It is the result of a talk I give about how you can increase your Blues Horse Power (BHP).
Jail W Blues DownloadJail W Blues DownloadLevel III -  This is a study of the style and techniques of John Lee Williamson (JLW) a.k.a. Sonny Boy Williamson #1. His largely acoustic playing style may be the most imitated acoustic blues style in the 1930's, 40's and 50's. Play all clean single notes using tongue blocking and switch for hole #1. John Lee was the master at playing dirty with great precision. He even applied it to the splits not shown in this study. You should first learn this piece clean and then slowly try to incorporate in the "dirt."
Jerry's Cajun Blues DownloadJerry's Cajun Blues Downloadhis is a study of the Cajun approach to playing the harmonica which seems to have first been recorded by Arteleus Mistric on November 7, 1929 and later by players like Isom Fontenot and my dear brother Mr. Jerry Devillier, for whom this song is named.  Key to the Cajun approach is playing lots of splits that outline the chord changes and keep the rhythm pumping accurately with the breath pulse.  This is exactly what the single row Cajun accordion is doing.  It is basically tuned just like the harmonica.  Check out the Filisko Tongue Block Trainer if you need help developing accuracy with your splits.
Little Boogie DownloadLittle Boogie DownloadThis song is a study of one of the blues harmonica essentials, playing a boogie riff. In the late 1940’s and early 50’s, this style of piece was recorded by Walter Horton, who appears to have called himself “Little Walter,” Forrest City Joe and Jimmy Rogers with more to follow. If you are able to play the first few bars with confidence and good rhythm, you will be able to start the song without a count-off and signal the band in at the IV chord. This song is also a warm-up for the study song “Shakey’s Boogie,” which is a warm up for the classic instrumental“Walter’s Boogie.”
Lock Jaw Blues DownloadLock Jaw Blues DownloadThis song will help you to develop stronger tongue switching and percussive vamping skills at the low end of the harp. The song's name comes from the ability to focus the needed movement on the tongue NOT THE JAW! It will be necessary to spend time monitoring yourself playing this while looking into a mirror. The temptation will indeed be great to add in the "ghost chords" in between the vamping on the downbeats. You need to resist this in order to develop the vamping as explosively as possible. Make it sound comparable on both holes 1 & 2.
Mannish Blues DownloadMannish Blues DownloadThis is a study of the riff played in the Muddy Waters song, "Mannish Boy,' first recorded May 24, 1955 as a "I" chord tune. Certainly one of the most recognizable blues harmonica riffs of all time.
N-P Blues DownloadN-P Blues DownloadLEVEL III - This song is a study of the technique that I call the Nose Push (NP). The simple explanation is
releasing air through your nose simultaneously to playing an exhale note, split or chord. Failing to use the (NP) will make this tune nearly impossible to play. Playing an exhale note in place of the notated inhale ones will make the song less bluesy sounding. . .
Nine Bar Blues DownloadNine Bar Blues DownloadThis 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" and "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.
Q Boogie DownloadQ Boogie DownloadThis song is a study in playing FAST and using musical quotes. Playing the quotes will also sharpen your bending skills . . .
Rice Cool Blues DownladRice Cool Blues DownladThis song is a study of the style and techniques of Rice Miller, a.k.a. Sonny Boy Williamson #2 . . .
Shakey's Boogie DownloadShakey's Boogie DownloadThis song is a study of Walter Horton and how he would play a boogie type of blues. . .
Shuffle Chording Blues DownloadShuffle Chording Blues DownloadThis is a study of a rhythmic chording approach heard by Walter Horton, Junior Parker, Rice Miller and Sylvester Hayes. The specific inspiration comes from the faded solo at the end of Junior Parker's song "Sweet Home Chicago." An extended version of this song can be heard on the Ace CD 710, "Harp Blues." This chordal approach is what I call the "hard shuffle." . . .
Copyright © Filisko.com Joliet, IL