Mel Bay's Harmonica Sessions | Openings, Breaks & Endings Part 2: Breaks - David Barrett

Last month we focused on the different ways songs can start. This month we'll dig into the most common Breaks (also known as known as Stop-Time or Break-Time) used in the body of a blues song. A break is where the band rests while the soloist or vocalist continues. This interrupts the drone of the music and spotlights the main soloist or vocalist. Though the band stops for the break, the form continues. If the band breaks on the downbeat of the first measure (I) and plans to come back in at the IV chord, they wait sixteen beats.

Playing in the break as the soloist will bring you the challenge of staying in time all by yourself. It's common for the drummer to hit their hi-hat on beats 2 and 4 (the backbeat) to help keep the tempo. If you're working on a song and have the luxury of working out what you're going to play in a break section, practice with a metronome to ensure that you're keeping good time as you play. The result of poor rhythm skills in this area is a sloppy reentry of the band-they have to guess when you're done because they can't feel your beat.

"Hoochie Coochie Man" Break
This is our most common break. The band plays a lick that starts on the "and" of beat 3 and stops on the downbeat of the following measure. When this break is used, it's most commonly played with a doubling of the opening I chord to make it a total of eight measures. The doubling should be specified before the start of the song or your phrasing and hand signals/body language should indicate the extended nature of the break. This is demonstrated in example 1.1.

"Hoochie Coochie Man" was originally played by Little Walter on harmonica in first position, but you can of course play in any position for this type of break. Our example is in second position. I have notated what the break lick sounds like when played on the harmonica-you play this if you're playing accompaniment. If you're soloing, don't play this lick--this is what the band is playing and you should be playing in the spaces.

This type of break is signaled by raising your hand or looking at the band about one measure before the break begins and playing the signature break lick (or some other cliché break lick). If you raise your hand to signal the break, then drop your hand on the downbeat of the upcoming chorus. If you look at the band to signal the break, after playing the lick make a reassuring nod to the band at the downbeat of the upcoming chorus.

Ex. 1.1

Here's the same idea, but with the standard four measures of the opening I chord. This version has half the empty space for the soloist to play in and will feel rushed compared to our previous example.

Ex. 1.2

Break on the I, Band Meets you on the IV
In both our examples the break section was over the opening I chord, with the band coming back in at the IV chord. A simple, and very effective break is to break on the I chord and have the band stay out (with the option of the drummer hitting the hi-hat on beats 2 and 4) until the IV chord. This is demonstrated in example 1.3. This break is signaled in the same way as our first example (Ex. 1.1), though you should favor the raising and lowering of the hand with a band you haven't worked with before.

Ex. 1.3

Another way to play this type of break is to have the band play a hit (accented note, commonly the root) on the downbeat of each of the first four measures. This is demonstrated below (Ex. 1.4). You'll signal this the same way as in example 1.3, though keep your hand off the mic so that you can make a hitting motion (like whipping a towel) on each of these downbeat hits. If you're playing accompaniment, play the hits with the band. If you're soloing, play the spaces (and the hits if your line allows).

Ex. 1.4

Break on Measure Twelve
Breaking on the downbeat of measure twelve creates a nice space in the music to play the pickup into the next chorus. The band returns at the downbeat of the next chorus. There are some grooves, such as the Rhumba, where this break is almost expected. This is demonstrated below (Ex. 1.5). If you're playing accompaniment, play the hit on measure twelve with the band. If you're soloing, you'll play the pickup into the next solo chorus.

Ex. 1.5

Break on Measure Ten
Another cool break, commonly paired with our previous example (Ex. 1.5), is a one-measure break on measure ten (IV chord). This is demonstrated below combined with the measure twelve break. If you're playing accompaniment, play the hit on measure ten with the band. If you're soloing, you'll play in the spaces.

Ex. 1.6

Break with Hits every Four Measures
This is most commonly heard when a drummer solos. By playing hits every four measures, the band can outline the major chord changes within the 12 Bar Blues progression. This sounds great, and it also helps everyone to keep track of where they are in the form.

Ex. 1.7

Another option for drum breaks is the trading of "fours" between the drummer and the band. The drummer would play the opening I chord (four measures), the band would play the next four measures (IV chord and I chord); the drummer would play the next four measures (V, IV, I and V)... and continue on until the drummer is done with the solo. This is demonstrated below (Example 1.8). For the sake of placement I have written the harmonica playing a bass line-you can of course play anything you want here.

Ex. 1.8

Next month we'll dig into endings...

Best Regards,

David Barrett

About the Author

David Barrett
President, Harmonica Masterclass Co.
"Leader in Blues Harmonica Education" www.harmonicamasterclass.com
Founder/Director, School of the Blues www.schooloftheblues.com
Author, Mel Bay Publications & Blues Revue Magazine
www.harmonicamasterclass.com/books.htm & www.bluesrevue.com
http://www.harmonicamasterclass.com/david.htm

Openings, Breaks & Endings

Three Part Series - Part 2: Breaks