Bluesriffs PDF

101 Blues riffs vol 6 download 10/9/09 09:32 Page 1
101
BLUESRIFFS
VOLUME
II
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... 6
A PLAYALONG
COURSE
FOR
BLUES
HARP
PLAYERS
"A real nice approach.
For everyone from
beginners to intermediates"
LEE OSKAR
CD HARMONICA COURSE
THE BEN HEWLETT INSIDE L&H106
Arranged and transcribed by Paul Lennon L.T.C.L.

101 BLUES RIFFS

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..
A play-along course for blues harp players
Ben Hewlett
Arranged and composed by Paul Lennon L.T.C.L
© 2009 Ben Hewlett. All text and illustrations.

© 2009 Paul Lennon. Musical score.
Published by L & H Publishing.

e-mail: paul@paullennon.com
Web: www.harmonicaworld.net
A catalogue record for this book is available from the British Library.
ISBN 978-1-907058-09-7
All rights reserved. No part of this publication may be reproduced,

stored in a retrieval system, or transmitted, in any form or by any
means, without the prior written permission of the publisher, nor be
otherwise circulated in any form of binding other than that in which it is
published and without similar condition being imposed on the
subsequent purchaser.
Audio CD © & P 2009 Ben Hewlett & Paul Lennon.

All rights of the producer and the owner of the recorded work
reserved. Unauthorised copying, public performance, broadcasting,
hiring or rental of this recording prohibited.
3
CD TRACKLISTING
TRACK 1 Welcome back

2 (Riffs 1-5) CHUGGING RIFFS
3 (Riffs 6-10) DEFORD BAILEY
4 (11-15) SONNY TERRY
5 (16-20) LITTLE WALTER JACOBS
6 (21-25) SONNY BOY WILLIAMSON II
7 (26-30) ‘MANNISH BOY' STYLE RIFFS
8 (31-35) ENDINGS
9 (36-40) WILLIAM CLARKE
10 (41-45) JJ MILTEAU
11 (46-50) BRENDAN POWER
12 (51-55) SHAKES, RATTLES AND ROLLS
13 (56-60) TONGUE BLOCKED RIFFS
14 (61-65) BIG WALTER (Shakey) HORTON
15 (66-70) CHARLIE McCOY
16 (71-75) HOWARD LEVY
17 (76-80) ROD PIAZZA
18 (81-85) THIRD POSITION RIFFS
19 (86-90) FIRST POSITION RIFFS
20 (91-95) FAST AND FLASHY
21 (96-100) JAZZY RIFFS
22 (101) SONNY TERRY 'WHOOPING'
23 TWELVE BAR BLUES IN G
4
TABLE OF CONTENTS
Page 4 CD Tracklisting
Page 5 Book Contents
Page 6 Welcome Back
Page 7 Introduction (Track 1)
Pages 8 & 9 Simple Chugging riffs (Track 2)
Pages 10 & 11 Deford Bailey (Track 3)
Pages 12 & 13 Sonny Terry (Track 4)
Pages 14 & 15 Little Walter Jacobs (Track 5)
Pages 16 & 17 Sonny Boy Williamson II (Track 6)
Pages 18 & 19 'Mannish Boy'-style riffs (Track 7)
Pages 20 & 21 Endings (Track 8)
Pages 22 & 23 William Clarke (Track 9)
Pages 24 & 25 J.J.Milteau (Track 10)
Pages 26 & 27 Brendan Power (Track 11)
Pages 28 & 29 Shakes, rattles and rolls! (Track 12)
Pages 30 & 31 Tongue-blocked riffs (Track 13)
Pages 32 & 33 Big Walter (Shakey) Horton (Track 14)
Pages 34 & 35 Charlie McCoy (Track 15)
Pages 36 & 37 Howard Levy (Track 16)
Pages 38 & 39 Rod Piazza (Track 17)
Pages 40 & 41 Third Position riffs (Track 18)
Pages 42 & 43 First Position riffs (Track 19)
Pages 44 & 45 Fast and Flashy riffs (Track 20)
Pages 46 & 47 Jazzy riffs (Track 21)
Pages 48 & 49 Sonny Terry 'Whooping' (Track 22)
Page 50-51 12-bar blues in G
Page 53 Thanks
Page 54 Chromatic harmonica tablature
Page 56 Ben Hewlett biography
Page 57 Paul Lennon biography
Page 58 The Series & Forthcoming Titles
5
THE BEN HEWLETT

HARMONICA COURSE VOLUME 6
101 BLUES RIFFS
Hello and welcome to the 6th in our series in which we offer you 101 blues riffs to
learn, use, modify, and take over their ownership.
Each riff will be played for you at a fast speed, then a slower speed and then in
most cases, at an intermediate speed.
Each track contains five riffs in the style of some of my favourite players, starting
with simpler riffs to get you started and gradually getting harder.
Whilst studying with Joe Filisko I've learnt that most of the earlier players tongue-
blocked most of the time. However, to make it easier, I've decided to ignore this
generally, but you should try the tongue-block style as well. Use your tongue to
cover a couple of holes to the left of the notes I've given you and it should work out!
The players on which we have based these riffs are chosen haphazardly from my
personal music collection so should not be taken as exclusively the best players -
although they are all exceptional in my opinion. We also ran out of space on the CD
so couldn't use riffs in the style of Paul Lamb, Kim Wilson, Sugar Blue, John Popper,
Paul Jones, Lee Sankey, Johnny Mars, Steve Baker and a bunch of other inspirational
players. Maybe on the next riffs album!
My playing - (although brilliant!) - is no match for the source players whose styles
I've attempted, so my best advice is to encourage you, after enjoying this CD, to go
back to the original players and to study them directly. It is much harder of course -
what we have we have tried to do here is to present the same information for you
in a half digested form - almost regurgitated, and fed from beak to open screeching
beak. Imagine us like a Mummy or Daddy bird feeding you, our fat and starving
little chicks!
6
INTRODUCTION
Most riffs here are in second position or 'crossharp'.
For those who don't know, this refers to the 'flavour' or mood given to your music
through your deliberate choice of notes. Second position gives a great bluesy feel
and is based around the low draw chord i.e.- a G chord when you are using a C
harp. That’s holes 1 - 4 draw.
When you include hole 5 it becomes a G7 chord which is PERFECT for blues. Chords
like G7 - or any other '7th' chord - will instantly give you a bluesy flavour on any
instrument.
You will also need to bend lots of notes to get the blues notes (blues scales) which
add to the characteristic sound. In 3rd, 5th or 6th positions by contrast, most of the
blues notes you need are available unbent and the chords are unavailable. Bent
notes have a different sound texture, so choosing different positions alters the
flavour, and the technical approach. If you're not clear on bending notes we may be
able to help you out - check out the chromatic tablature page. Note bending will be
dealt with in future editions.
We've mostly stuck to 2nd position also because it is considered 'normal' or familiar,
and most recorded blues that you hear will be in 2nd especially between 1930 and
1990.
For the exact same reason I like to escape from 2nd and experiment with some of
the other 11 positions available - I think it's our duty to explore the harmonica!
So plug in the CD and let's get to work!
Try to train your ears (those are the big flappy things attached to the side of your
head) by at first NOT looking at this book. Just listen, stop the CD, and copy. You
need to work at the ears - music belongs to the EARS. Written music is a handy
code, has great historical significance, and is a great aide-memoir, but it's just
paper - music is generally an audible experience rather that a visual one.
7
SIMPLE CHUGGING RIFFS

RIFFS 1 - 5
I THOUGHT WE JUST AGREED YOU WERE NOT GOING TO READ THIS YET !?
TRAIN YOUR EARS!!
Chugging is a system I use for beginners and intermediates alike. It is ‘rhythm’

harmonica, and uses the two basic chords in various rhythmic patterns. Chugging gets
you to whisper crazy words into the harmonica to create amazing sound textures. It
leads you to encounter breathing problems and helps you to overcome them. Rhythm is
the bottom line in music, as breathing is in harmonica playing. So chugging is the
foundation in my view.
As with all the chugging chords in Get Chugging, Mastermix, and Nasty Chugs, this
technique only works effectively if you whisper these words loudly into the harmonica.
Riff 1 do da (in) do da (out) do (in)

Riff 2 da (in) hoo (out) hah (in) hoo (out) da (in)
Riff 3 tocketa (in) tocketa (out) tocketa (in) tocketa (out) tock (in)
Riff 4 da (in) hoo (out) daaaaaaa (in) da (in) hoo (out) da (in)
Riff 5 do da (in) da do da (in) do da (out) do (in)
8
SIMPLE CHUGGING RIFFS

Track 2 Riffs 1 - 5
Hewlett & Lennon g2001
Swing = 104/70 Twice each
9
DEFORD BAILEY 1899-1982

Riffs 6 - 10
He was the first African-American star at the Grand Old Opry he became known for his
ability to mimic animal sounds on the harmonica. His style is beautiful, crisp, and
accurate in the articulation of rhythm and sweet melody. It sounds like ragtime or
Charleston to me. In 1926 he got his weekly 15 minutes at the Opry, recording and
broadcasting. A publishing battle ended his career in 1941 and sadly he apparently
returned to polishing boots, but not before being heard on the radio by Sonny Terry.
10
DEFORD BAILEY
Track 3 Riffs 6 - 10
Swing = 104/70/90 three times each
11
SONNY TERRY 1911-1986

Riffs 11 - 15
Sonny is perhaps one of the greatest players in the rural blues style. He had a huge
global impact and toured the world with his music.
From lowly beginnings and with his lack of sight he must have overcome huge
obstacles to achieve success. He started playing the harmonica (upside down) - I mean
the harmonica, not him; that would be silly - and working on street corners busking.
In 1938 he bumped into Blind Boy Fuller and started playing and recording with him for
the two years leading up to Fuller's untimely death. He heard Fuller playing on the
opposite corner of the street and sent a boy to set up a meeting. At exactly the same
time Fuller, it seems, had done the same thing!
Sonny said that working in music he only ever met one bad person. A man stole a coin
from Sonny's busking hat. Sonny later said “I hope the fool's still spending it”
After Fuller's death, Sonny teamed up with guitarist/singer Brownie McGee and thus
started a strangely unfriendly partnership lasting about forty years. His career took off
like a bird full of air.
So check out his albums, especially the solo ones, but here's five Sonnyish riffs to get
you started. Paul Lamb - my first teacher - says he studied Sonny exclusively for 12
years. There's commitment for you. He said you can learn everything you need to know
by studying Sonny, and maybe he's right.
Let me give you some more words to whisper loudly into your harmonica for the
chordal part of these riffs. I’m quite sure Sonny would laugh at my approach but it
seems to work so we’ll stick with it for now.
12
SONNY TERRY
13
LITTLE WALTER JACOBS

1930-1968
Riffs 16 - 20
Another of the old classics. In his short life Little Walter sent harmonica messages
around the world. He 'studied' with Sonny Boy Williamson in the 40s and then worked
in the Muddy Waters Band in 1948.
He is reputed to have started the 'Chicago' electric style in 1951 - on July 11th - by
plugging a microphone into an amplifier. His reputation was that of a great innovator,
experimenting with sound, recording techniques, swapping mics and amps to get 'his'
sound - a sound nobody has really recreated yet.
He was also known for staying out late drinking heavily - it's thirsty work you know -
and doing a little of everything. Then he would arrive at the studio at 5am to start
recording!
His recordings are all wonderful especially 'Juke' which was a hit staying top of the
charts for 13 weeks in 1952, and 'My Babe', 'Last night', 'Off the wall' and so on, the
list is huge - buy them all!
He toured extensively throughout the 50s and 60s sometimes using the UK blues
revival bands such as the Rolling Stones as backup men. His style mixes a playful and
easy lyrical flow with hard edged blues and often giving that rock'n'roll feel to many
pieces. It seems he played softly and let the gain take the strain. We can all learn from
that I feel.
The booze got to him in the end and he died, it is said, as a result of injuries sustained
in a street fight in 1968.
14
LITTLE WALTER
15
SONNY BOY WILLIAMSON II

Alex 'Rice' Miller 1897-1965
Riffs 21 - 25
Sonny Boy Williamson II - not to be confused with Joe Filisko's favourite, the also
excellent John Lee 'Sonny Boy' Williamson 1914-1948 - was another busker who was
mixing with all the people who are now known as famous bluesmen. He even taught
harmonica to his brother-in-law, one Howling Wolf!
In 1941 he landed a job with the King Biscuit Flour Company playing on a midday
Radio program on KFFA, presumably adding 'Rice' to his name 'Miller'. Cashing in on
John Lee Williamson's record sales, the station manager apparently billed Miller as
'Sonny Boy Williamson' with great success, and the name stuck glutinously.
Chess signed Sonny Boy in 1955 after he had been recording and playing with
increasing popularity and his fame spread to Europe working with the Yardbirds and the
Animals in the 60s. There is lovely black and white TV footage of him wearing a bowler
hat and a smart suit playing hands-free with the harp bobbing around in his mouth!
Buy all his albums, do yourself a favour.
16
SONNY BOY WILLIAMSON

17
'MANNISH BOY' STYLE RIFFS

made famous by Chicago bluesman
MUDDY WATERS 1915-1983

Riffs 21 - 25
Although Muddy played harmonica as a kid he had changed to guitar by his twenties.
He provided a professional platform for so many great harmonica players and developed
the 'Mannish Boy', 'Mojo Working' feel that he just couldn't be left out here and his
style is still widely used by harp players everywhere.
This is my 1963 Watkins Scout valve amp with 1960s Hohner Echo Super Vampers and
a 1950s ex US miltary PA mike - fab gear! Inside the amp, written in chalk, it says
'Manfreds 1964' Was this Paul Jones' amp when with Manfred Mann?
18
MANNISH BOY
19
ENDINGS
Riffs 31 - 35
Never know how to finish neatly? Now you will.

Here are some riffs to end a blues in a clear and obvious way.
Some people who have inspired me...
20
ENDINGS
21
WILLIAM CLARKE 1951-1996

Riffs 36 - 40
William Clarke was another fabulous harp player who died too young. I was lucky
enough to see him play in the UK and was very impressed. Also on the same bill was
Rod Piazza, who, like William Clarke, did a lot of work with George 'Harmonica' Smith.
Bill's style is 'west coast swing' and has that jazzy big-band feel that I love. The other
thing you get from Bill is POWER by the truckload. His rhythms are spot on and his
phrasing is beautiful: we can learn a lot by listening to Bill Clarke's work.
There are loads of his albums out there-go buy them.
Photos of Bill Clarke by Linda Maria of

Linda Marie Entertainment and Mortone
22
WILLIAM CLARKE
23
JJ MILTEAU
Riffs 41 - 45
Jean-Jacques is a stunning French player whose blues can be fast and furious, funky, or
lyrical. He uses diatonic and chromatic with equal skill and has plenty of albums out for
you to listen to.
Picture from website http://jjmilteau.free.fr/
24
J.J. MILTEAU
25
BRENDAN POWER
Riffs 46 - 50
Brendan comes from New Zealand but now we've happily got him in the UK! Arriving as
a well-known NZ player he instantly became an un-known UK player. But not for long.
He set up evening harmonica courses in London in 92/3 and then through a lot of hard
work and award winning performances toured with the Irish music and dance show
'Riverdance' for several years.
I was having lessons with him at that time and eventually inherited his evening
classes. That turned into a full time career for me (including creating this book) but
that's another story!
Brendan's Irish ancestry and interest in folk and Celtic styles have led him to study
and excel in these types of music. He must be regarded as the best all-rounder in the
UK and one of the finest players on our little planet. He has also (amongst others)
revolutionized custom tunings and now has a wide variety of retuned and unique
harmonica concepts.
Check out his many outstanding recordings and visit www.brendan-power.com
26
BRENDAN POWER
27
SHAKES, RATTLES AND ROLLS

Riffs 51 - 55
Tricks and effects. You should be able to do them just by listening carefully and
working them out. To be used judiciously - they can get a tad boring!
I started all these children playing harp on the same day,

so now there are 350 more harp players
in this world - a good thing I feel!
28
SHAKES, RATTLES & ROLLS

= 104/70
29
TONGUE BLOCKED RIFFS

Riffs 56 - 60
Tongue blocking is one of the two best ways to get a singe note. The other way is
puckering. I don't even want to talk about the masking tape method. The advantage of
tongue blocking is a fuller sound (generally, although you can get great tone and full
sound from puckering, listen to Brendan or Howard) and by lifting the tongue for a
moment, you expose the chord, which gives you a rhythmic feel or a nice attack to
your notes.
My personal view is that you need to pucker sometimes and tongue block sometimes
but always learn puckering first because it's hard to give up the tongue block when
you start with it but it's much easier the other way round.
The disadvantage of tongue blocking is that it is harder (but possible) to bend notes,
pop the overbends, and slows you down on fast passages. So learn both styles but try
tongue blocking now - you'll love the sound.
Phil Jon Ben

Three great tongue-blockers!
30
TONGUE BLOCKED RIFFS

Swing = 104/70/90
31
BIG WALTER
(Shakey) HORTON 1917-1981
Riffs 61 - 65
Walter was a stunning player with the fat tone all harp players want. He was a behind
the scenes man really and never got the recognition he deserved. He started learning
with Will Shade and the Memphis Jug Band at an early age, and in 1952, replaced
Junior Wells in the Muddy Waters band.
Lots of recording followed in the next 3 decades, usually as a sideman, working with
Waters, Carey Bell, Willie Dixon, and others. He even recorded a beautiful sketch with
John Lee Hooker in the street scene of the Blues Brothers film just before he died. Just
in time really. There are lots of his albums around for you to listen to - go get them!
Big Walter Horton - the man with the tone.
32
BIG WALTER
(Shakey) HORTON 1917-1981
Swing = 104/70/90
33
CHARLIE McCOY
Riffs 66 - 70
The great country player. Charlie's style is so fast and sweet you just have to be
impressed. Studios have been impressed, and since 1960 he has done over 10,000
sessions! He seems to have worked with everyone in country music and continues to
record and tour and occasionally plays a little blues.
His influence is worldwide - it even stretched to New Zealand where Brendan Power
was living. He tells me Charlies's playing blew him away!
So visit Charlie's site www.charliemccoy.com and buy his albums - you will love that
country harp style to add to your blues playing!
34
CHARLIE McCOY
Swing = 104/70/90
35
HOWARD LEVY 1951

Riffs 71 - 75
Yet another outstanding player - many would say the best all-round diatonic player the
world has yet seen! He is probably the first to play fast be-bop and modern jazz
chromatically on a standard diatonic. Howard studied music most of his life,
specializing in piano and organ for 8 years, and has revolutionized the way the diatonic
is approached. He didn't start playing until he was 18 but since then has done over
1000 studio sessions, and lots of musical guest appearances. He was certain the
'missing' notes were available somehow and set about finding them.
He called the technique 'overblowing' and 'overdrawing' and although they existed
before Howard - Richard Hunter tells me he first came across it from Mike Tratner in
the spring of 1971 - but certainly Howard was the first to explain and demonstrate the
skill on video. 'Overbending' is the collective term 'overblowing' and 'overdrawing' and
it is becoming increasingly used and therefore acceptable.
There are many players who don't like or use it who say that since Little Walter didn't
use it why should I, and fair play to them! Personally, I like to use overbending to
achieve the notes I want in the right register. I also love the strange sound texture and
the physical feeling or vibration you get! It's like popping a wheelie on your bike - once
you figure it out you want to show everybody, and also you can't resist doing it for your
own amazement - it's fun, and a bit rebellious! It is also probably the hardest
technique to learn and is even harder to do if you are a 'tongue-blocker'. Anyway all
Howard's recordings are mind blowing so put some on your shopping list. His main
bands have been Bela Fleck and the Flecktones and more recently Trio Globo. Visit
www.levyland.com and buy EVERYTHING!
36
HOWARD LEVY
Swing = 90/60/80
37
ROD PIAZZA 1947

Riffs 76 - 80
Rod in full flight
Rod is one of the first 'West Coast Swing' players I ever heard and I was knocked out
by his skills. His band The Mighty Fliers has stood the test of time, they were formed in
1980 and if you don't own some of their albums you are missing a treat!
His first great collaboration was with George 'Harmonica' Smith in Bacon Fat from
1968 to 1982 when George died. After that it has been the Mighty Fliers gigs and a lot
of studio work to keep him busy.
Thanks to Honey for permission to use the pic.
38
ROD PIAZZA
Swing = 94/60/80
39
THIRD POSITION RIFFS

Riffs 81 - 85
Third position for a C harmonica puts you in the key of D minor (D 'dorian' to be
accurate) so use these riffs on a blues in D or D minor and they will sound sweet.
In the blues at the end of this CD (which is in G) these riffs work best on bars 9 and
12 as they are based on a D chord, but try them anywhere you like them!
Pat Missin taught me the trick bending on riff 84!
Essentials from Lee Oskar and Hohner.
40
THIRD POSITION RIFFS

Swing = 104/70/90
41
FIRST POSITION RIFFS

Riffs 86 - 90
Using a C harmonica, first position is when you play in the key of C. Bars 5,6 and 10
of a twelve bar blues in G (like the piece at the end of the CD) are based on a C chord
(the IV chord if you prefer) so use these riffs then.
You can also play them using a C harmonica in a twelve bar blues in C throughout.
Have a listen to Sonny Boy Williamson's 'Trust My Baby' or Kim Wilson's cover of it for
classic first position feel.
Also anything by Jimmy Reed will usually feature first position playing.
A nice bit of Bass.
42
1st POSITION RIFFS

Swing = 104/70/90
43
FAST AND FLASHY

Riffs 91 - 95
The first two are (something like the) riffs that I remember Charlie Musselwhite playing
at a gig in London a few years ago and the others are hybrids from here and there.
Some sound a bit JJ Milteau - ish
Charlie told me how he was interested to hear how other people perceive his playing
and I should call him up and play down the phone!
Visit his website www.charliemusselwhite.com and listen to his music.
If you want some crazy fast phrasing check out some of John Popper's work with his
band 'Blues Traveller'. Blues it ain't, but they certainly travel.
picture: Charlie Musselwhite
44
FAST AND FLASHY

Swing = 94/60/95
45
JAZZY RIFFS
Riffs 96 - 100
These are fun. There's no reason why you can't use the diatonic in jazz, except that
compared to blues it's harder, but you can work on it if you have the drive.
Paul Lennon is a jazzer by default and he came up with these riffs. I think they are very
refreshing when you play a lot of blues, and I loved learning them - have a go at them.
How about a book of jazz riffs for diatonic? Tell us if you want one.
Queen Mama-Willie Mae Thornton.

Blues singer and sometime harmonica player.
46
JAZZY RIFFS
Swing = 104/70/90
47
SONNY TERRY 'WHOOPING'

Riff 101
Sonny and others have 'whooped and hollered' for years and it's another string to your
bow if you can do it, so now it's your turn.
The C harp is too high for me to whoop with really, but it's a bit of fun and adds
texture, dynamics and interest to your playing.
Listen to Sonny Terry or Joe Filisko playing 'Lost John' unaccompanied - the detail and
variation involved.
My main man
48
SONNY TERRY
Track 22 Riff 101
= 64/30
49
12 BAR BLUES IN G
Here Paul Lennon plays a 12 bar for you to practice your new riffs.
I also play some of the riffs with him but if you want to fade me out - and I recommend
that you do - turn your balance control to the left and leave just you and Paul.
Next, find any blues recording in G and jam along. Then do the same with a live muso,
go to jam sessions, join a band, tour the globe - the world is your lobster!
Sonny Boy Williamson II
50
12 BAR BLUES STRUCTURE -

SIMPLIFIED VERSION
51
Ben with Joe Filisko on the left and Steve Baker on the right.
52
THANKS
To Peter Krampert's 'Encyclopedia of the Harmonica' for biographical details an
also to Sheldon Harris's 'Who's Who in Blues'. We also need to thank all the
fantastic players listed here or not who inspire us all to play and to improve.
If you've enjoyed this course you also owe a debt to Brendan Power for
encouraging me to start teaching the harmonica in the 1990s.
Without Paul Lennon's faith in this project and his myriad skills both musical
and technological none of this would have happened.
I wish to acknowledge a debt to some of my teachers Howard Levy, Joe Filisko,

Paul Lamb, Brendan Power, Pat Missin, Carlos del Junco, Douglas Tate, Steve
Jennings, Paul Lennon…
Thanks hugely to Ian Kay at Hills Archer Studios, designer of all our books.
Thanks to Hohner UK for use of some photos - oh, and building some damn fine
harmonicas for the last hundred and odd years!
Also to Leslie and Lee Oskar for help, encouragement, the 'exploding' harp and
groovy case pictured herein, and loads of other stuff.
And finally huge THANKS go to YOU for buying this CD/Book which makes all
the hard work worthwhile.
Don't forget, if you've enjoyed this and want more half regurgitated riffs let us
know and we will do another 'Riffs' album.
53
CHROMATIC TABLATURE
(TAB) CHART
54
THANKS
We hope you have enjoyed playing these riffs and have found them useful,
challenging and fun. As always it's worth saying that our advice is for you to go
and seek out original riffs from other players and get them into your repertoire.
But don't stick at harp players - why not learn riffs from sax players, guitarists -
anybody whose style you like. There are two other riff books in this series which
you might try if you've found these good - Vol.17 50 Awesome Blues Riffs and
Vol.18 Sonny Terry Blues Riffs. You can pick them up from Harmonicaworld.net
or Amazon.
See you next time.
Ben and Paul 2009
55
BIOGS
BEN HEWLETT CTABRSM b.1959
He has also run a Blues Band workshop to provide a
setting for new harp players to gain band
experience. He ran Saturday 'learn to play in a day'
courses all over the west of England and continues
to teach many private students.
Ben runs 'Blues Jam Factory' now a successful
Ben Hewlett became a musician at the age of ten corporate team-building and training operation with
learning the trumpet. He went through the school a growing client base including DHL, Exel, Lloyds
system of exams and performances, finally escaping TSB, Brittish Gas, Sanofi Aventis, University of
the mandatory classical repertoire with the discovery Singapore, Novartis, TBL, The Hemsley Fraser Group,
of Louis Armstrong and Dizzy Gillespie. He was a Instant Teamwork, Axa, Spice UK and BNI. To see
minor third addict at fourteen and still has a passion this in action visit www.BluesJamFactory.com
for jazz and blues. Ben received a harmonica at the Ben has played with Jools Holland in a blues jam
age of 7 and started playing it properly at the age of Ben organised in London; he is a Guinness World
27 having seen the Blues Brothers film a number of record holder for 'Largest Harmonica Ensemble'; he
times. Ben Has studied harmonica with top organised a group of 100 Children dressed as the
harmonica players including Paul Lamb, Brendan Blues Brothers playing the Peter Gunn Theme on
Power, Charlie McCoy, Howard Levy, Joe Filisko, harmonicas to an audience of 2,500. Ben and Paul
Richard Sleigh, Steve Baker and Carlos del Junco. Lennon introduced 850 children to the harmonica
During two years of running evening classes at Ocklynge Junior school in Eastbourne where all
(inherited from Brendan Power) he qualified as a the children studied their 10-week harmonica
Music Workshop Leader and worked full time course. Ben's students have received countless UK
teaching music in different settings. Since leaving Harmonica Championship title and he was the first
London Ben has gone into full-time harmonica ever harmonica teacher at Dulwich College, London.
teaching. In 2002 he successfully completed the With Paul Lennon he is now an internationally
teaching qualification 'Certificate of Teaching, published author with 'Get Chugging'. He once
Associated Board of the Royal Schools of Music' taught Didgeridoo on Radio 4 with Rolf Harris and
(CTABRSM). has played on the same bill as, and talked shop
Ben and his team of ten teachers now visit 40 with, the legendary Larry Adler.
schools a week to teach five hundred harmonica He also had an unexpected two hour lunch with
students - he is therefore the only full-time Billy Connolly while setting up a harmonica festival
professional harmonica teacher in the UK. in Bristol.
This is known as harpscool.co.uk
Ben can be contacted at ben@harmonicaworld.net
56
BIOGS
He has produced books on Music Training Basics,
Practising and Ear-Training as well as collections of
pieces for piano, violin, guitar and flute. From 1993
Paul taught at the City Literary Institute in London
and wrote a three-year jazz harmony and ear-training
PAUL LENNON L.T.C.L. (b.1957) course.
From July 2001 to June 2002 Paul played
Paul is a composer/arranger, bass and shared lead vocals in a band based in
multi-instrumentalist and teacher. He is a former Claridges Hotel in London during which time he built
pupil of Bishop Wordsworth School, Salisbury and a large pad of vocal material. From then he played in
former member and leader of the Wiltshire Youth and various duos on violin with Charles Alexander, Jamey
Salisbury Junior Orchestras on violin. He also played Moore and Dominic Grant (guitars) and on piano and
in rock and folk bands in the Salisbury areas from guitar with saxophonist Howard Turner. Since the
the age of 15 onwards and later graduated from summer of 2002 he has studied violin and piano on
Trinity College of Music, London in violin, piano and the Jamey Aebersold Jazz Summer Schools in
composition (1976-80). Paul has been involved in London for three years running. As a music editor
many classical/light music ventures including and copyist he has worked for many years with Dave
orchestras, a flute quartet, a duo with cello and even Hewson on his projects for KPM/EMI with at least
a 1930’s cabaret act. He went on to play bass, eight albums to Paul’s credit. 2002 also saw the
guitar, violin and keyboards in various bands and recording of a harmonica sample album with Ben
from 1988-91 he was the bass player and Hewlett for ZERO-G, a major sample company.
composer/arranger with EPJ, a 13-piece modern jazz Currently Paul is very involved in
big band. He played guitar, keyboards and vocals in composition and recording particularly with Ben
a 4-piece pop band, then violin in a duo with guitar Hewlett on the ongoing Harmonica Course and also
until mid 1996, followed by piano in his own original his own playalong projects for guitar and piano.
jazz quartet with guitar, bass and drums. Various projects are in preparation including a four
In 1998 in collaboration with The Booming album set of songs with lyrics by John Goldman, a
Cherries, a contemporary dance troupe, he produced blues/rock CD/book of riffs in the styles of great
Gravy Bones, a jazz-oriented dance work. The guitarists including Santana, Jimmy Page, Rory
following year he wrote and recorded the score for an Gallagher etc. and the CD/book 101 Blues Riffs for
adaptation of King Arthur, a current production by the Harmonica played on guitar. He has also teamed up
Spiral Arts dance-theatre company. Other works with voiceover artist Neill McKenzie to form a
include string quartets, pieces for flute and production company that produces music and
piano/guitar and solo piano. All these works reflect voiceovers for ads, documentaries, film etc.
an eclectic experience and a leaning towards music He also continues to teach piano, guitar, violin, bass
for dramatic and visual media. He writes from his and singing privately along with theory, harmony and
Kent-based home recording studio and has composition.
composed and produced many albums there
including the playalongs for harmonica with Ben Paul’s current showreels can be heard on
Hewlett and spoken-word material with Shaun de www.paullennon.com and he can be contacted at:
Warren and Marietta Pinto-Hayes. paul@paullennon.com
57
OTHER VOLUMES AVAILABLE

Volume 1 Get Chugging - Rhythm harmonica for beginners and intermediates. It
teaches rhythm, breathing, and articulation. Now published globally by Mel Bay
Publications Inc. and available from all good music shops.
Volume 2 Search for the Single Note - the next step on from Get Chugging. It
introduces you to getting single notes and teaches you simple tunes/exercises with
a series of beautiful backing tracks – for newish harp players.
Volume 3 Blues jam Factory - an introduction to the blues for complete
beginners. Different styles of 12-bar blues are covered in this volume using single
notes 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 the appropriate
scale for improvising.
NO NOTEBENDING NEEDED – for intermediate and advanced players.
Volume 6 101 Blues Riffs - learn classic blues riffs and sound like the players
you love to listen to! Sonny Terry, William Clarke, the Walters, Sonny Boy
Williamson, 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 at
three different speeds) with the funkiest backings in existence – for beginners.
Volume 9 Funky Christmas - ten festive tunes (each sung once and played at
three different speeds) with the funkiest backings in Christendom and beyond – for
beginners.
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 rhythmic
pattern, 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 to
requests 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 info@HarmonicaWorld.net
58
GROW WITH THE RANGE...

SEARCH FOR THE HARPSCOOL BONES OF 101
SINGLE NOTE MASTERMIX1 BLUESRIFFS

L&H103
ACTORY
BLUES JAM FFACTORY THE BLUES
VOLUME
VOLUME
VOLUME
VOLUME
VOLUME
3 5
II
HOW TO GET AND USE SINGLE NOTES ON THE DIATONIC HARMONICA 2 AN INTRODUCTION TO PLAYING BLUES ON A DIATONIC HARMONICA IN THE KEY OF C HOW TO PLAY CLASSIC TUNES, CHUGS & RIFFS ON A ‘C’ HARMONICA WITHOUT BENDING NOTES 4 HOW TO PLAY BLUES TUNES & IMPROVISE IN 5 KEYS ON ONE ‘C’ HARMONICA WITHOUT BENDING NOTES 101 BLUES RIFFS FOR DIATONIC HARMONICA IN C IN THE STYLE OF THE WALTERS, SONNYBOY II ,
6
A PLAYALONG A PLAYALONG A PLAYALONG

SONNY TERRY, LEVY, CLARKE, MILTEAU, PIAZZA, MUSSELWHITE, MCCOY, POWER AND MORE...
A PLAYALONG A PLAYALONG
COURSE COURSE COURSE COURSE COURSE
FOR FOR FOR FOR FOR
NEW NEW NEW NEW BLUES
HARP BLUES HARP HARP HARP
For everyone from
LEE OSKAR
CD HARMONICA COURSE
PLAYERS PLAYERS
For everyone from
LEE OSKAR
THE BEN HEWLETT 2CD s

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For everyone from
LEE OSKAR
CD HARMONICA COURSE
PLAYERS "A real nice approach.
For everyone from
LEE OSKAR
CD HARMONICA COURSE
THE BEN HEWLETT INSIDE
PLAYERS PLAYERS
For everyone from
LEE OSKAR
CD HARMONICA COURSE
THE BEN HEWLETT INSIDE INSIDE HARMONICA COURSE THE BEN HEWLETT INSIDE L&H102 THE BEN HEWLETT INSIDE
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L&H102 L&H106
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L&H104
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Composed and transcribed by Paul Lennon L.T.C.L. Arranged and sung by Paul Lennon L.T.C.L. Arranged and composed by Paul Lennon L.T.C.L. Composed and transcribed by Paul Lennon L.T.C.L. Arranged and transcribed by Paul Lennon L.T.C.L.
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978-1-907058-00-4 978-1-907058-02-8 978-1-907058-04-2 978-1-907058-06-6 978-1-907058-08-0
FUNKY FUNKY 50 AWESOME SONNY TERRY
NURSERY CHRISTMAS NASTYCHUGS BLUES RIFFS BLUES RIFFS

VOLUME
VOLUME
VOLUME
VOLUME
VOLUME
HOW TO PLAY TRADITIONAL NURSERY RHYMES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS 8 HOW TO PLAY CLASSIC XMAS TUNES ON A ‘C’ HARMONICA WITH FUNKY BACKINGS 9 RHYTHM HARMONICA FOR KIDS 10 FOR DIATONIC HARMONICA IN 6 KEYS A, Bb, C, D, F PLUS G MINOR 17 60 SONNY TERRY BLUES RIFFS FOR INTERMEDIATE HARP PLAYERS 18
A PLAYALONG A PLAYALONG A PLAYALONG A PLAYALONG A PLAYALONG

COURSE COURSE COURSE COURSE FOR COURSE
FOR FOR FOR FOR
NEW NEW INTERMEDIATE
YOUNGER HARP HARP DEVELOPING HARP HARP
PLAYERS PLAYERS "A real nice approach.
For everyone from
LEE OSKAR PLAYERS PLAYERS
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Arranged and sung by Paul Lennon L.T.C.L. Arranged and sung by Paul Lennon L.T.C.L. Composed and performed by Paul Lennon L.T.C.L. Arranged and recorded by Paul Lennon L.T.C.L. Arranged and transcribed by Paul Lennon L.T.C.L.
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978-1-907058-12-7 978-1-907058-14-1 978-1-907058-16-5 978-1-907058-30-1 978-1-907058-32-5
Ben Hewlett became a musician at the age of ten in 1969 learning the
trumpet. He went through the school system of exams and performances,
finally escaping the mandatory classical repertoire with the discovery of
Louis Armstrong and Dizzy Gillespie. He was a minor third addict at
fourteen and still has a passion for jazz and blues. Godfather Dennis
Corble 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 a

former pupil of Bishop Wordsworth School, Salisbury and former member
and 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 age
of 15 onwards and later graduated from Trinity College of Music, London in
violin, piano and composition (1976-80).
£9.99 (UK) 101 Blues Riffs

Hewlett & Lennon
Recommended price 9 781907 058097 ISBN: 978-1-907058-09-7

Bluesriffs PDF

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101 Blues riffs vol 6 download 10/9/09 09:32 Page 1

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

101 BLUES RIFFS

A play-along course for blues harp players

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

© 2009 Ben Hewlett. All text and illustrations.

Published by L & H Publishing.

All rights reserved. No part of this publication may be reproduced,

Audio CD © & P 2009 Ben Hewlett & Paul Lennon.

TRACK 1 Welcome back

THE BEN HEWLETT

Most riffs here are in second position or 'crossharp'.

So plug in the CD and let's get to work!

SIMPLE CHUGGING RIFFS

Chugging is a system I use for beginners and intermediates alike. It is ‘rhythm’

Riff 1 do da (in) do da (out) do (in)

SIMPLE CHUGGING RIFFS

Swing = 104/70 Twice each

DEFORD BAILEY 1899-1982

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

SONNY TERRY 1911-1986

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

LITTLE WALTER JACOBS

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

SONNY BOY WILLIAMSON II

Buy all his albums, do yourself a favour.

SONNY BOY WILLIAMSON

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

'MANNISH BOY' STYLE RIFFS

MUDDY WATERS 1915-1983

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

Never know how to finish neatly? Now you will.

Some people who have inspired me...

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

WILLIAM CLARKE 1951-1996

There are loads of his albums out there-go buy them.

Photos of Bill Clarke by Linda Maria of

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

Check out his many outstanding recordings and visit www.brendan-power.com

Hewlett & Lennon g2001

Swing = 104/70/90 three times each

SHAKES, RATTLES AND ROLLS

I started all these children playing harp on the same day,

SHAKES, RATTLES & ROLLS

Hewlett & Lennon g2001

TONGUE BLOCKED RIFFS

Phil Jon Ben

TONGUE BLOCKED RIFFS

Hewlett & Lennon g2001

Big Walter Horton - the man with the tone.

Hewlett & Lennon g2001

HOWARD LEVY 1951

Hewlett & Lennon g2001

ROD PIAZZA 1947