80wto pIaytbe

Hantloniea

Diatonic or Chromatic

~---

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...

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o Z o .... e(

c w % ....

2

()

z o

== a:

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o .... e(

:e 0, IX :I: o W ::I:

I-

4

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BLOWING AND DRAWING EXERCISES

t

Exercise' 1: B1QW and draw in ro the-first three hcles (or around there) 'and go up one 'h.clle at ~ lime 10. the highest 'lti~t notes, It .do.esn'thave to be perfect, justclose,

HOW I.O HOLD THE HARMONICA

1. Hold in Lell hand petwean thumb arid Ii rlg,ers, Low notes,(holes 1, 2,3, etc.) on left.

.2. Cup ,right hand over, forming a: tighl 'cup.

This 'enables you to produce blue,sy, vibrato e(iects.

3, Chromatic people: hold like above', only use your ri~ht tnurnb \0 preS:! in the key, (When not pla:y"~g vibrato, usethe palmot your right hand to wo,~ the key.)

VIBRATO

1. Blow lnto tne two or three IQwe~t n<;il!:l" and quickly open and ctos!, the cup"pivoUng at '1h,B bollom'of your palrns,

Z, Try moving yOlJr whole' hand, opening an'd closing the cup. YoU! should get a ditfer~nt .. sound ..

3. ExpeJlment with vibrato and the sounqs you gst01owtniJ. and drawing,

,6

1 2 3 4, 5 6 7 B 9 10

(]LO[J 1'1

I 1 1

C~RAr.rj

..

10

1 1 r ~LO\rVJ

I I" b QRA;WJ

1 t

I

j

CONTII'{UE

HARP CODE 4 ~ Blow into hQk4, :GF Dcaw from hO'I~ 4

123 ~ 31","' into Itgle, I. 2 and J ~ Drawfmotholesl, 2,and 3

E~ercise]. Try this. 'exercise k~epin_g.·<tti even bear.

T'ap with y~,,~·t"')t'o,,"ourit inyour he'd,

Play -121 123 @j'@ 134 234 @ @

Tap - ", t t t ~ t .J t J r t t ~ Continue

.Couru - 1&,2 s: 3 &. 4 &; I & 2. &. 3, & 4

Exercise 3':

Play - 123 234 @ @ lJ4 345, @@

Tap - i tl t. t t· i t .j. t ,1Conlinue

Count - ,I & ;2 ,&& 4 &. I &. 2, &. :I s. "

I 1

TRY KEEPING AN EVEN BEAT!

7

PLAYfNG_SIN~lE BLOW NOTES

to order to play melod les; Of Blues and Rock lead and a ccompanirn en I, y QU 've 110 I 10 P W >' single 11 0 tes. If, probably ihe hardest and most important step in-mastering the harp.

There are two w;;iy.s to do 11- Tonguing and Puckering. PiCK one that', best for you.

TONGUING

This-is the best way to play ifyou'll be.playing a chromatic harp.

I, Glow into holes 4, 5 and 6. making a <chord.

"2 ..

3. Try to 'get a sidgk dear 1011e,

PROBLEMS')

Gdt'irig [he wrong note?

Try placing.the lip of your tongue in the hole (hole 5) next I~ the cne yo" wont lo.play .. Press the side :or yous longue.against the other .unplayed look,

PUCKERING

Whatever the 'lame, many who pick 'up On the harp pj~y thls way.

I, Tighten your lips as i1' to wlii.tl" and blow intohcleel.

'Belling two notes"

You're not covering both holes.

Try moving the harmonica 'very 'lightly to th,; 1M! or ~ight, making sure Ui'at you're still 'bjo\liing into hole 4.

'2. Try gelling a single, C)?1lf tone,

a

PROBLEMS'?

Can't get one- note?

I.Pro1:>l<:Om':' *

T,ghten your 'lips and. press.them more firmly "lpinst the harp .

. A common problem with this. melhod,is getting, tile pucker over the hole. Try rnovmg I'h~ ha.rp 'sLightly to the right 'Of left in order to better center your mouth over the-hole.

NOTES AND RESTS

Before you can practice.any rhythmsvyou've got to pick up 'on a bit of musical notation. I CS simple and really helpful.

NOTES
'0 a whole "01e ,
TAP t j. .I: t j. t
CPt_;K"T- & 2 &3 s: 4 & RESTS {means don't play)

.. ---- ~ a whole rest

4BEA'tS

d. ~ "dolled haltnote t ~j

& ,2& 3 .& ~ JBEATS

J =.i3. half ncte, .

l r

&2&

2 BEATS

t

& 1 REAT

j) = on- til!chth note . 1

'i

) = a xi xteerrrh.note. __ ,_ ~ ~ a sixteenth rg':st

Asixteenth note

1/4 BE,ATor n ~ )

Simple. 1 us, remember that 'a bea~ can beas long Or short ",,:, YDU want for each piece, c)'<>pen'du,!\'-upon hml' fll~!or slow .you want ih't,:t;mlpo of the- long to be_

MUS1C EXERCISES

I I I
r >- ;>.
«: :i «:
~ oJ
"" "-
'" ""
;j " u'
~ ,1£'
'~ ~ ~.
:;
" " ",'
"" "" -00l PLAYING. SINGLE DRAW NOTES

TONGUING

Oil the same thing. # you would to blow through hole 4. -Try drawmg air into ;your mouth, Tryto geta dear; 'i1'lgl~tone,

MQRE MUSIC EXERQlSE;S

:----,,@@ -----.@®

PROillJlM S"

DOII't worry, Mos't mortals rind drawing harder than blowing atflrst, Stick with it, 'you'll gel it.

I. A major problem is that your tongue tends to pull 'into your mouth when. you draw. TTy pushing it hard against the harmonica when drawing,

2. Tty "(lju~ling how 'm""b 'of the b,arp is between your. Ups. You might nl1dp,,;, posltion work' belle.' .th an Olh~TI,

3, Try ohimgiAg tile .a ngle.Qi' tfie harp In y,;ur lips.

4, DON'T DRAW TOO H.AfW1 Sometlmes.df you hy to play too-loud the reeds won't sound, Keep it cool.

5 ,See page 8, "J'ROBLEMS_"

PUCKERING

Do. the same thing as you would to.blow rhrough hole 4, T"Yedr-awilll> air into your mouth .. TTy to _gel a ciear. single tone.

PROBLEMS?

No-sound?

Sometimes when yo" 'haw; your cheeks and lips collapse, ,'0 no air get, through. Adjust-how tight yOU keep you, lips. - Sometlines keeping them Jcose works, sometimes not. Til" m(l't--imp(lft~IH fhing ii eKperiment il~ILI you gel that clean tome. Soon you'll be able 10 ilq it every lime.

12

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--.~~-+,"

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s 'q 0 0:
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----. EJ@) ~ ~ :

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SOME. SIMPLE TUNES

. Start playing these songs slowly at first, until you am pia)' them dearly .. (Not e , At firSt it's important you .get the' n otcs righr.. though you. should also -always lr-y L6 keepan ev e " beat.)

('.

C!I z

is z :::I o (fl

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17

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18

HOW TO READ MUSIC

Since songs have been written out a 'couple, of nullion years this way, and wiU probably continue to be for at least the. next len (after that, what's it to yOll'!)_it migh c be " good, idea for you to pick up on it, But don't worry, w,,'il always give yon tho holes for tile songs in .this book.

STAFFS,

---~~5th LI NE .• --.....""..."ce=----=-_____ 4th LINE •• _~ _ _::_:4_::lhc::S.:.P;-:A..:-G:::" E:=-'_:::._, _

__ ~_ 3rd,LlNE .• _~_.,.--;3..:_rd.:.::.S;-:PA-:::C=-=-E-;:.=-_' __ , ~hd LINE _. _~ __ 2"_d_S_P_A_C_E=__. __

~1st LINE _. ls_t--'S_P_A:_;C:_;E;_.:...... _

During tneevotutron 01 musical notation, the stili! had' from 2 to 20 II 1'1 es, and sym b'ol S' were i nve nted to locate certstn lines and the pitch ,of the note on that line. The'sa symbol"~ ware o:;alhid. , '

CLEFS

Music has three cists, ,the C, F and Cl ·clefs. Most music ior Ihe< plano, gUi,taf' and naemontca uses 'th e G and JF' <)1 e fs,

MEASURES

Music is divided intci equal parts cal led MEASURt:S. A ;BAR LINE dlvldes one, measure ffom another.

BAA LINE

do uble bar Ii fie means the end, .

2t

G

GCJEif

•

FCISI

•

F

G.-Clef Notes,

~JJj,J)Jrrf

-_

F I

G A' 'B CD E

F'ClelNotes

9: r r r r r r r' J J ,J

c e A G

E 0 C 8 A

BAR LINE

fONE MEASURE=j ONE MEASURE41

Tt>,~nd_ioate the number of beats in 'each measure, vis u:r£\~. , ..

TIME SIGNATURE

TlTe, T.i me S ignatu res:

2 3 4 6 ~. beats, in each measQre,

4, 4', AI S means

",. '_ - ~a!i d noie.1i:etti ng' 0 ne bsal

KEY SIGNATUF!E.

The key signature, placed ilexl to each cia.!, i nd i cates W hat notes, ,j! ,any, s nou Id be played sharp or Ila\ in the 'preee. snarps or flats next 10 individual notes o,nly apply within the measure.

Play F, G ,and G sharp.

Naturals-oancel a previous" or ~ within a measure,

PRACTICE TUNES
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-e 22

PRACTICE

24

25

TUNES

® @l
e
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e ~ e
8 e e -c .. I e
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S ej
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Q
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0 « 8 0 foil .1
w 19 0 .. Q @ '" oJ
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a (!l 0 ~
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::I
o PRACTICE

TUNES

2·7

26

<II
U ..
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® "'" @
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e \§' €Jl
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e 26

PRACTICE

TUNES

29

PRACTICE

TUNES

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u. @)
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is @J (J
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31"

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i PRACTICE

TUNES

33

32

PRACTICE

TUNES

®! Ell ~l @ e~
-6 , :
"" : .6 ®j
Q e- €l ,~ e- @
Q Q
@ S "
'" e! @
E ®j @l "" @j
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s
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A
,@ "'I
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t- e· 13 ®l 8 ®I
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II:
ii:
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UJ "G) '" 0
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«
-s
,~ Part 2

Ttle following sectlon, pages 37 to 47, Is for p"lay.in'g blues" harp. Generally, 'only a dlatontc harmontca is used,as ii is' .capable of' j'he "bend·i~g". and chord i ng associated with Ihe blu as sound. Thus, tnts sectlcn is.geared toward the diatoniC harmonlea, However, many blues tunas .can ~e plaY.edon a: ~hrQmal.k' harmonica and the ones following :are, ,no e)lcepfion. Jusirna(1 the music and ignor"ihe holes ir)dlc<lted.

THE 12 BAR BLUES PROGRESSION

4 MEASURES OF TONIC

+

2 MEASURE,SQF:;>t.J<!,poMIINANT

+

2 MEASURES OF'TONIC

+

1 MEA.$Ij,RE OF DOMINANT

+

1 MEASURE OF SUBDOMtNANT

+

p. MEASURES 9F TONIC

lHE' 12 BAR BlUES

BL.U,ES PROGRESSION GUIDE

I(the' the

T:ONtC chord' SUBDOMtNANT

(1 st no~ e. 01 $c:;Iil,e} (..ttt'! not~ 01 s:t:,a.1'f)

15. , . chotc is

and the DOMtNANT (5~ h ri1?l.a 91 ~~.eJe) ohordls. ,

3.6

C F G
G# F# G~
D G A
Eb Ab i3~
E A B
F 8), c
F# :B c~
G C 0
A~ D~ Eh
A DC E
B'l> E~ F
B E F#
'37 THE BLUES PROGRESSION FOR

"STRAIGHT HARP" (First Positioh)

!3

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@@i @,@ @@

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@{a ®61 @@

@Ei ®e ®e ®e

39

THE B~LUES PROGRESSION

(Second

FOR "CROSSED HARP"

P.osition)

40

(

"N

€I@ S@

..

41

THE BLUES P'ROGRESSION

'0
e-, ;J
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Ol '0 ..sr
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'E E ~. E 3: ii E
::'01: 0 g E
g .. ~ ,g z l! ~
<{ ~ CI Z 3::
:;:; 'Ol 3: Z t-' «: e
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o ""3 CI ,0 Z ~ CI
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"E 0 0, z z, 0 Z
c, Z to ~ I;)
F co' :;) 0 III ~
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t- o <Il
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s .. w W· w ur til W
'" " II: II: II: II: II: a:
co c :;) :;) :J, :;) :;) ::>
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~
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OL
:I:S FOR "THIRD POSITION"

SUMMARY OF BLUES PRQGRESSIONS-

STRAIGHT IiARP

• TOllie· Blo_w Into holes 4 and 5

• Domlnsnt- Draw from holes 7 and 8 or

Biow'into hole6

CROSSED HARP

• Tonic· Draw from holes z and 3 or

Draw. from hQlss3a.nd4

• $ubd'ominant· Blow into holes 4 arl.d5

• Dominant" Draw from hole 4'

THIRD POSITION

• Tome- Draw from hole'4

• Subdominant· BIQw into hole 6-

• Dominant· Draw1rom Mrs 6.

II

DIATONIC

NOTE REFERENCE CHART

Harp Key

Noles

SAM Pli NG OF BLUES RHYTHMS

TM Standard Train Rhythm

JJTI JJTI I JJTI JTIl II

c

C.D,E,F,G,A,B·

o

0: E, F~,G; A, Sf C#

E, 1=#, G#, A, B, C#, D# F, G,A. Bh,c,_D, E G,A,B,C,Q,E,F#

A, B, C#' D, E,F~ G#

E

G

A

B~, C, D, Eb, F, G, A

44

· . :with arl embellishment

JJTI .r:rn I JJTI 'f m II

· _ .sy nc opated

J n J J

1.1 n J J II

· _ .)'Ilth a.vartatlon

J n n.

Siill ~",ot~erRtiylhm

n I J n ~ n f J. r, II

_ .. wi'th adifle(e~I,<lQ\'mb"al

..• syncopated

it II

One More (slow tempo)

"" .with a variation

C Harp

10 Harp

INSTANT CHORD GUIDE

CHORD - Play noles'

C -ANY ssr OF BLOWHOLES

F -®®.,@@l

G -@®®,®-®@"0® G7-@@@ ... 0®®

D -ANY SET OF BLOW HOLES

G -@@) ... ®@

A - G)0@.@@},®"{V® A7- ®0® ot@@@

E -ANY' ·SET OF BLOW HOLES A -®®o.-@®

B - @@@,®@@l'" 00 B'i-®0® ... @®®

FOR DIATONIC HARP

F Harp

G Harp

A Hiirp

CHORD - Play holes

F - ANY SET OF BLOW HOlES

B~-®®O'®®

C -G)®0.®®@",0® C7- ®®® •. , 0®®

G -ANY SET OF BLOWHOLES

c -®® ... ®@

!7l - 0®® .. <1J@@ 0< @@ D'l-'@®®.'(V@®

A - ANY SET OF BLOW HOLES

o -@~ .. ®@

E -0@@.®®® .. (!)® E7- ®®®"' CD®®

B~-ANY SET OF BLOW HOLES E~-®® .,@@

F -0®®.@@@·'CV® F7-®®®.' 0®®

47

E Harp

46

HARP CARE

, , The big 9 est p rob: e m yoU'll ever e ncou nter with your harrnonrca i$' stuck reeds; that Is, notas thai won't play, While this doss not' indi.cate your' harp is ruined, etten people do ruin their harps ,trying tc sclve this problem. 'he probable cau se 01 the Sill ok reed ts saliva, food, Or some other9ubstance,~8l;fght between' the ,sed and th" channal, The best Way to free ih~ reed Is to firmly 'tap rhe hole, Side of yQur harmcnlea against 1Me palm 01 your hand. In fact, you Should dotnls after Ilverylew millul,es of normal play,lng,

1.1 "his technique does, not work, I wOlJld recorn m ell d ret urn'j ng th e harp to I he d ea I er or rnanutaoturar, Olt~'n Ihe,'" will repair 'Ih~ lnstrurnsnt.at Illtie Dr no expanse, but not if you 'va tWl1pere,i:I with It.

The be s t way to prev_e'nl stuck reeds Is 10 keep you r harp c lean. Plirti ou larly a,vOid 9 rease andutrt.

2. Many players soak Ihelir harps In water to make playing eaeler. Thls technique does frlie-up 1M reeds <lnd Speed up _ the br.eak. In p rocsss. H owe"e r, man utaeterers warn a9 ainst s ubm erg I;,g In 9 harm 011 i ca in any Ilq,~id, and will not gene-rally '!l p'a; r ~ "'s-oaked"

harp, '

A NOTE ON CHROMATfC' }lARP 'CAR,E

smce -IOn rornat ic harmon I cas 'I en d' lobe quite' expenalvs, il Is olten cheaper !'O repair a broken Qn9 than to replace It, Thus, It IS particularly lrnportant Ihat you do not tamper wllh the lnstrument.but leave'repail10 prolecsslonals.

48

Leechers.Inc

Pleasuredome.l.O'l :P