The Complete Idiots Guide To Playing The Harmonica book cover William Melton & Randy Weinstein

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2 AKNOWLEDGEMENTS 2. Blues Harmonica Lessons cover page artwork Dave Brewer Blues Harmonica Lessons CD cover artwork Dave Brewer How To Read Music book cover Sleigh and Sheppard. The Complete Idiots Guide To Playing The Harmonica book cover William Melton & Randy Weinstein The Harp Handbook book cover Steve Baker Kentucky slave poster, The Story of the Blues Paul Oliver Loading plan of a Guinea - man slave ship. - The Story of the Blues Paul Oliver Sing Along, extract from Do Re Mi Rogers and Hammerstein s The Sound of Music. Key To The Highway, Hate To See You Go, She s So Fine - Harry s Blues Lyrics Online The World s Best Mouth Organ advertisement - J Albert & Son Dance Folio Programme No.2 Hohner Harmonica That Musical Pal Of Mine - Hohner brochure The Story Of Hohner Harmonicas - Hohner brochure The Story Of Hohner Harmonicas - Early History and Development. - Hohner brochure How to Play the Harmonica - Hohner brochure Everybody Plays The Harmonica - Hohner brochure Music for Everyone, Everyone for Music - Hohner brochure How To Play The Hohner Harmonica - Hohner brochure

3 CONTENTS 3. Music for Everyone Everyone for Music - Hohner Brochure Introduction The Story of Hohner Harmonicas - Early History and Development - Hohner Brochure... 7 Kentucky slave poster Loading plan of Guinea man slave ship... 8 The Comprehensive Five Fold Approach to playing the harmonica... 9 Foundations of Playing.. 10 Practically everybody has the urge to make music of some sort - Hohner Brochure CD Cover - Blues Harmonica Lessons - Tracks Harmonica instructional CD printed notes CD Track 21 transcription The Story of Hohner Harmonicas and How to Play Them - Hohner Brochure Bending diagrams Bar Blues. 23 Keyboard Illustration of the Chromatic Scale The World s Best Mouth Organ - advertisement J. Albert & Son Note Layout Chart for 10 Hole Diatonic Harmonicas in Major Tuning - 12 keys Note Layout Chart for C Chromatic Harmonicas - 12 hole and 16 hole Major Scales - Cycle of Fifths - Keyboard Illustration.. 30 Everybody Plays the Harmonica - Hohner Brochure Scales, Chords and Harmonica Positions 32 Diatonic Harmonica Positions - The Cycle of Fifths - Harmonica Positions Table Creating the Cycle of Fifths That Musical Pal of Mine Hohner Brochure Harmonica Physics - Harmonica Construction Harmonica Physics - Keyboard Illustration of Chromatic Scale & Note Layout Chart C Harmonica Harmonica Physics - Bending. 38 Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel ( tuition, performance, recording )

4 CONTENTS 4. Juke - Little Walter s 1952 recording Sing A Long - Do Re Mi 40 Blues Lyrics How To Play The Harmonica - Hohner Brochure Resources - Internet Web Sites Resources - Look Listen Learn Recommended Reading.. 47 Roadmap for the Path of Progress Qualities of a Master Player How To Play The Hohner Harmonica - New Easy Method For Beginners - Hohner Brochure 51 Blues Harmonica Course Checklist 52 Practice Journal Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel ( tuition, performance, recording )

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6 INTRODUCTION Mass production of mouth organs began in Vienna in In 1857, a German clockmaker named Matthias Hohner, began manufacturing harmonicas full time, turning out 650 instruments that year with the help of his family and a single workman. In 1887, the annual output exceeded 1 million with demand coming from North America. In 1930, Hohner's yearly sales topped 25 million. Over the years, the Hohner Company has offered over 1500 different harmonicas, ranging from the small Little Lady with 4 holes only, to the very large chord harmonica which has 96 double holes. 6. You have a 10 hole diatonic harmonica in C major tuning. The harmonica is a free reed, wind instrument. It has multiple, variably tuned brass ( or alloy ) reeds. The reeds freely vibrate to produce sound in response to the outward and inward breath of the player. The diatonic harmonica has 10 holes with 20 tuned reeds ( 10 blow reeds and 10 draw reeds ). The 20 tuned reeds offer 19 different notes ( one note is repeated ) in a three octave range. The length and thickness of the reeds determines the note that is produced. The reeds sit over the open slots of the brass reedplate and are secured at one end by rivets or screws. The top and bottom brass reedplates are fixed onto the comb. The comb has 10 evenly spaced chambers of different lengths. The comb chambers direct the player's outward and inward breath to the individual reeds. The top reedplate is secured to the comb with the reeds sitting inside the comb chambers. The top reeds are riveted or screwed to the reedplate near the front edge of the harmonica. These top reeds respond to blowing. The bottom reedplate is secured to the comb with the reeds sitting outside the comb chambers. The bottom reeds are riveted or screwed to the reedplate near the rear edge of the harmonica. These bottom reeds respond to drawing. The reeds secured to the reedplates are protected by the outer top and bottom covers. Disassembly / Assembly of your Harmonica : Top cover Top reedplate with 10 blow reeds sitting inside the comb Comb with 10 different sized chambers Bottom reedplate with 10 draw reeds sitting outside the comb Bottom cover The standard diatonic harmonica is designed to allow a player to play chords and melody in a single key. Because they are only designed to be played in a single key at a time, diatonic harmonicas are available in all 12 keys : G Ab A Bb B C Db D Eb E F F#. The Chromatic Scale is the scale which contains all the 12 pitches of the Western tempered scale. All of the other scales in traditional Western music are subsets of this scale. Each pitch is separated from its neighbours by one half step ( or semitone ). The Diatonic Scale is the 7 note musical scale which is the fundamental building block of the Western musical tradition. The modern Major and Minor scales are Diatonic scales. The diatonic scale is comprised of 5 whole notes ( tone ) and 2 half notes ( semitone ). The 7 notes of the diatonic scale are repeated in each octave.

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8 8. Kentucky slave poster 1853 Loading plan of a Guinea man slave ship.

9 THE COMPREHENSIVE FIVE FOLD APPROACH TO PLAYING THE HARMONICA 9. PLAYING TECHNIQUES Eg. Playing single notes. Bending techniques. Playing octaves using tongue blocking. REPERTOIRE Eg. Rhymes, melodies, tunes, riffs. Scales, scale patterns, arpeggios. Improvisation. Singing MUSIC THEORY Eg. Scales, chords. Cycle of 5ths. Harmonica positions / modes. HARMONICA CONSTRUCTION & PHYSICS Eg. Covers, comb, reed plate, reeds. Note layout, scales. How reeds respond when bending notes. FORMAT / STRUCTURE OF MUSIC Eg. Chord progressions. 12 bar, 8 bar, 16 bar and 32 bar blues.

10 FOUNDATIONS OF PLAYING 10 POSTURE Aim To maintain a relaxed, comfortable, upright b posture whilst playing whether sitting or standing. Being relaxed allows you to play effectively. An upright posture assists with air support and breath control. Bring the harmonica up to the mouth whilst maintaining posture. Holding the harmonica with one hand only initially can assist with maintaining a relaxed upright posture whislt playing Avoid hunching over forwards, taking the mouth down to the harmonica. Avoid tilting the head sideways. Check your posture by playing in front of a mirror. To ensure a relaxed posture, do muscle tension and release exercises for the face, shoulders, arms and hands prior to playing. Roll the shoulders back and forth. HOLDING THE HARMONICA Aim To hold the harmonica with an effective, relaxed and comfortable placement of the left and right hands on the instrument. This facilitates hand effects and the creation of tone. It allows the mouth to create an embouchure on the front of the harmonica. It contributes to a relaxed, comfortable, upright posture. The harmonica can be held with either hand, left or right. Most players hold the harmonica in their left hand, cupping the right hand at the back for acoustic effects. Hold the harmonica with one hand only to start with. This ensures you stay relaxed with a good posture. Add the other hand later. Cup the hands to create a resonant echo chamber which creates tone. Opening and closing the chamber using the hand at the back creates hand effects. Avoid a tense grip on the harmonica. Being relaxed allows you to play effectively. Muscle tension and release exercises of the hands, arms and shoulders assist in maintaining a relaxed hold on the harmonica. Roll the shoulders. SINGLE NOTES / EMBOUCHURE Aim To be able to play single notes. Embouchure is the position and use of the lips and tongue when playing a wind instrument. There are several different embouchures which can be used to play single notes on the harmonica - tongue block, - pucker or lip block - U block or slotted tongue With tongue block, the lips surround four holes whilst the tongue blocks three holes, leaving a single note played out the side of the mouth. An advantage of tongue block embouchure is specialist techniques such as octaves, other split note combinations plus tongue slaps, pulls and vamping can be played. Additionally the shape of mouth when tongue blocking assists in creating a resonant tone. With pucker / lip block embouchure, the lips surround a single hole, blocking the adjacent holes. Pucker embouchure frees up the tongue to articulate notes. With U block / slotted tongue embouchure the tongue is rolled into a U shape and the tip of the tongue is placed just below the hole to be played. Bending of notes can be achieved with all three embouchures. The tongue is very dextrous. As the fingers are to a piano player, so is the tongue to a harmonica player., Pucker / lip block embouchure is used by Howard Levy and Brendan Power. Tongue block embouchure is used by Joe Filisko and David Barrett. U block embouchure was used by Norton Buffalo.

11 11. Practically everybody has the urge to make music of some sort, 1958, M. Hohner Inc.

12 1. Harmonica And Guitar Duo 2. Introduction 3. Pep 4. Let s Play PLAYING TECHNIQUES using C major diatonic harmonica 5. Simple Exercises and Patterns 6. C Major Scale 7. Mary Had A Little Lamb 8. Jingle Bells 9. Twinkle Twinkle Little Star 10. When The Saints Go Marchin In 11. Holding The Harmonica And Using The Hands 12. Warble / Trill 13. Tongue Articulation / Dit Dah 14. Puck / Lip Lift Off Gary Collinson harmonica 15. Glissando / Sliding Bar Blues Bar Blues Progression 18. Bending 19. Octaves / Split Notes 20. Tremolo / Vibrato 21. Harmonica And Guitar Duo 22. Now What? 23. Guitar Only Play Along 24. Harmonica And Guitar Duo Track 21 at various track speeds for playing along Dave Brewer guitar 12.

13 PLAYING TECHNIQUES - Blues Harmonica Lessons - Instructional CD - Gary Collinson. 13. Track 1 Harmonica and Guitar duo. Track 2 Introduction. Music is an endless journey of discovery. My name is Gary Collinson. Listening to and playing music offers a lifetime of enjoyable activity. This course focuses on the 10 hole diatonic harmonica played in the blues style. So get on board and let s ride that music train. Track 3 Pep. All you need to succeed is PEP practice, enthusiasm, perseverance. Remember the musician s mantra practice makes progress. Keep a harmonica in your pocket. The harmonica is a very portable instrument. Keep it handy so you can practice when spare moments arise during the day. Track 4 Let s Play Playing the harmonica involves the hands, lips, tongue, mouth, throat, lungs and diaphragm. A relaxed upright posture and good breath control assists. Holding the Harmonica. Hold your harmonica with one hand, either the left or right hand, whichever feels more comfortable. The harmonica should be held with the low notes to the left hand side and the cover plate numbers 1 10 on the top. Posture. Aim for a relaxed upright posture without tension in the face, hands, arms and shoulders. Contract the muscles in the face, hands, arms and shoulders, hold that tension, then relax. Now you are ready to play. Blow the 1 hole, draw the 1 hole. Blow the 10 hole, draw the 10 hole. Single Notes There are 2 ways to get single notes. The tongue blocking method, where air is directed between the tongue and the lips to the desired holes, with the tongue blocking air to holes not required to sound at that time. The pucker method, where the lips are shaped as if whistling, thus directing the air through one single hole at a time. This is the method we will use because it allows us to use the tongue for bending and articulating the notes we are playing. Blow the 1 hole and whilst continuing to blow slide across the 2 and 3 holes landing on the 4 hole. 1b 2b 3b 4b Blow the 4 hole and whilst continuing to blow slide across the 3 and 2 holes landing on the 1 hole. 4b3b 2b 1b Do the same except draw instead of blowing. 1d 2d 3d 4d Aim for individual single notes. 4d 3d 2d 1d

14 Track Simple Exercises and Patterns. Blow, draw, move. Playing consists of blowing and drawing the notes whilst moving across the holes of the harmonica. Tablature Note. For this instructional material, the number indicates the hole of the harmonica, b indicates a blow note, d indicates a draw note. Please refer to the notes accompanying the c.d. for the tablature of exercises, patterns and tunes. Try these simple exercises. 1d 1b 1d 1b 1d 1b 1d 2d 2b 2d 2b 2d 2b 2d 4d 4b 4d 4b 4d 4b 4d 6b 5b 6b 5b 6b 5b 6b Repeat this last exercise but try sliding between the notes whilst maintaining a continuous stream of blowing. This produces a more fluent sound. 4b 4d 3d repeat. Try sliding between the 4d and 3d to increase fluency. Control is more important then speed. Play it slow and get it right, then increase the speed. Repetition results in muscle memory. It imprints the pattern in your brain. You can use your tongue to punctuate the notes instead of using individual breaths. Draw on the 1 hole with a continuous in breath and then use the tongue to punctuate the notes. 1ddddd Try the same on the 4 hole draw. 4ddddd. Then try the 2 hole draw. 2ddddd. You can use the same technique on blow notes. Try 1bbbbb, 4bbbbb, 2 bbbbb. Utilize the technique in these simple exercises 1dd 1bb repeat 2dd 2bb repeat. Combine the preceding exercises for this effective rhythmic pattern. 2dd 2bb 1dd 2bb repeat Track 6 C Major scale. C D E F G A B C 4b 4d 5b 5d 6b 6d 7d 7b do ray me far so la ti do Play the ascending scale starting on 4b. Play the descending scale starting on 7b. Combine them. Track 7 Mary Had a LittleLamb. 5b 4d 4b 4d 5bb 5b 4dd 4d 5b 6b 6b Ma-ry had a little lamb, little lamb, lit-tle lamb 5b 4d 4b 4d 5bb 5b 5b 4d 4d 5b 4d 4b Ma-ry had a little lamb, its fleece was white as snow Track 8 Jingle Bells. 5bb 5b 5bb 5b 5b 6b 4b 4d 5b Jingle bells, jingle bells, jingle all the way 5d 5d 5d 5b 5d 5b 5 b 5b 5b 5b 4d 4d 5b 4d 6b Oh what fun, it is to ride, on a one horse op-en sleigh, hey 5bb 5b 5bb 5b 5b 6b 4b 4d 5b Jingle bells, jingle bells, jingle all the way 5d 5d 5d 5b 5d 5b 5 b 5b 5b 6b 6b 5d 4d 4b Oh what fun, it is to ride, on a one horse op-en sleigh

15 Track 9 Twinkle Twinkle Little Star. 4b 4b 6b 6b 6d 6d 6b 5d 5d 5b 5b 4d 4d 4b Twinkle twinkle lit-tle star, how I wonder what you are 15. 6b 6b 5d 5d 5b 5b 4d Up a- bove the world so high 6b 6b 5d 5d 5b 5b 4d Like a diamond in the sky 4b 4b 6b 6b 6d 6d 6b 5d 5d 5b 5b 4d 4d 4b Twinkle twinkle lit-tle star, how I wonder what you are Track 10 When The Saints Go Marchin In. 4b 5b 5d 6b 4b 5b 5d 6b Oh when those saints, go marchin in 4b 5b 5d 6b 5b 4b 5b 4d Oh when those saints go marchin in 5b 4d 4b 4b 5b 6b 6b 6b 5d Lord I want to be in that number 4b 5b 5d 6b 5b 4b 4d 4b Oh when those saints go marchin in Track 11 Holding the Harmonica and Using the Hands. Hold your harmonica with one hand, either the left or right hand, whichever feels more comfortable. The other hand is cupped at the back to create an echo chamber. This enhances the tone and allows for hand movements to create a variety of sounds. Try to create the largest, sealed echo chamber possible with your hands. There are 4 main ways to use the cupped hand. The 4 techniques are demonstrated using the 4d note. - finger flutter using small rapid movements of the fingers. - hand wah wah with the cupped hand pivoting outwards to create a wah wah effect. - wrist wah wah using the outward movement of the wrist to create the same wah wah effect. This technique is useful when holding a microphone in the hands for amplified playing. - whole arm wah wah using an outward movement of the whole arm for a flamboyant effect. Track 12 Warble / Trill. To warble, slide rapidly and smoothly between 2 adjacent holes repeatedly, either blowing or drawing. Common warbles include 4d-5d warble, 4b-5b warble and the 3d-4d warble. Start slowly and smoothly then increase the speed as you gain fluency and breath control. Commence with a 4d-5d warble. Continue with a 4b-5b warble. Next try the 3d-4d warble. You can combine the 3 warbles into a single pattern 4d-5d 4b-5b 3d-4d 4b-5b and repeat. A variation on this 3 warbles pattern is 4d-5d 4b-5b 3d-4d 2d and repeat. You can incorporate the 3d-4d warble into this run 3b 3d-4d 4b 3d-4d 2d and repeat.

16 Track Tongue Articulation / Dit Dah. We have previously discussed using the tongue to punctuate notes. Now we will use the tongue to articulate the notes we are playing. Use the tongue to articulate the sound Dit, with the tip of the tongue starting and ending behind the front upper teeth. This starts and ends the word sharply. Use the tongue to articulate the sounds Dah, with the tongue starting on the roof of the mouth and ending in a neutral position in the mouth. This ends the word gradually. Now apply the same articulation to the notes you play on the harmonica Play 1b 1d ( dit ) 1d ( dah ). Then play 2b 2d (dit ) 2d ( dah ). Add an extra dit to the above phrases. Play 1b 1d(dit)d(dit) 1d(dah). Play 2b 2d(dit)d(dit) 2d(dah). Track 14 Puck / Lip Lift Off. Loosen the lips from the pucker method used to create single notes. Draw the 1,2 and 3 holes simultaneously to create a chord of 3 notes. 1d-2d-3d chord. Using a Key C diatonic harmonica, this chord is G major chord, comprised of the notes D, G and B. Leaving the harmonica resting on the bottom lip, rapidly lift the top lip off the harmonica whilst playing the 1d-2d-3d chord. It can be repeated rhythmically for effect. Track 15 Glissando / Sliding. Glissando is achieved by sliding rapidly across the holes of the harmonica, either blowing or drawing, then landing on a particular note. Try the following examples 3b glissando to 6b, 2b glissando to 5b, 2d glissando to 5d. Combine the blow glissandos into this melody 3b-6bb, 2b-5b 4d, 3d 2d, 2d repeat Track Bar Blues. The most common blues form is the 12 bar blues consisting of the I IV V progression. This progression is a blues in the Key of G. It consists of 12 measures or bars. The chords are G7 (I), C7 (IV) and D7 (V) These are the I, IV and V chords in the key of G. There are 4 beats per bar with accents on the 2 nd and 4 th beats. Try tapping your foot 1234 for each of the 4 beats per bar. Continue evenly for all of the 12 bars then repeat. Try snapping your fingers on the accented 2 nd and 4 th beats. You can play along using the 2 nd and 4 th holes of your Key C diatonic harmonica in second position. Track Bar Blues Progression. 12 bar blues progression in the Key of G G7 G7 G7 G7 C7 C7 G7 G7 D7 C7 G7 D7 Diatonic Harmonica, Key C in 2nd position 2dd 2dd 2dd 2dd 4bb 4bb 2dd 2dd 4dd 4bb 2dd 1dd G G G G C C G G D C G D

17 Track 18 Bending. Bending is a technique which flattens the pitch of the played note. It is achieved by moving the tongue. Bending increases the range of notes available on the harmonica. Bending produces that "bluesy sound." Start by playing 1d. As you draw the note, move the tongue down and back in the mouth. Saying the words Eeeee Ooooo replicates the tongue movement associated with bending. Do Not - draw the note louder or more vigorously Do Not - move the jaw, Do Not - tighten or loosen the lips from the single hole position, Do Not - tense the face, hands, shoulders or other parts of the body. Bending the notes is a difficult technique which requires practice to master. It's all in the tongue movement. Try 1d bend again. Once you have mastered the 1d bend, move onto the 4d bend, 2d bend and 3d bend. Play 4d and bend 1 semitone. Play 2d and bend 2 semitones. Play 3d and bend 2 semitones. The lower the pitch of the draw note, the greater the movement of the tongue. Thus the tongue movement and technique varies as we play across the different holes of a harmonica. It also varies with the different key harmonicas. Refer to the Note Layout Chart for Diatonic Harmonicas to see the selection of blow and draw notes that can be lowered in pitch by bending. Using standard note bending technique, the 1d and 4d notes can be lowered by 1 semitone, the 2d note lowered by 2 semitones and the 3d note lowered by up to 3 semitones. 17. Advanced bending technique. The next stages of draw bending technique focus on moving between unflattened and flattened notes. Commence playing a note and then stop drawing once the note has reached its flattened pitch. Try this technique on the 1d, 4d, 2d and 3d notes. The next step is to commence playing a note in the bent position and release the bend as you draw the note. Try this technique on the 1d, 4d, 2d and 3d notes. Once this is mastered, the next step is to play the unflattened and flattened notes directly with no sound between the selected notes. Try this technique on the 1d, 4d, 2d and 3d notes. Blow bends. Blow bends are also achieved by moving the tongue in the mouth. To flatten a blow note the tongue moves very slightly forwards. Blow bends are usually played on the higher holes ( 8b, 9b ) of lower key harmonicas ( G, A, Bb ) Using a Key C harmonica, try blow bends on 8b, 9b and 10b. Track 19 Octaves / Split Notes (separated notes played simultaneously) By using the tongue blocking method, 2 notes on separate holes can be played simultaneously. By placing the underside of the tip of the tongue across holes 2 and 3 and blowing the air out the corners of the mouth, you can block holes 2 and 3 whilst playing holes 1 and 4. 1b and 4b are both C notes an octave apart. (refer to the Note Layout Chart for Diatonic Harmonicas). The D note octave is achieved by drawing the notes 1d and 4d. The 2b-5b, E note octave, is another of the several octaves which can be played. The 2d-5d, G F, is one of the split note combinations which are not octaves. You can use electrician s tape to cover the appropriate holes and thus get a beginners feel for octaves and split notes. Try 1b-4b octave, 1d-4d octave, 1b-4b octave, 1d-4d octave. Try the 1 and 4 hole octaves in a blow and draw combination. 1b-4b 1d-4d 1b-4b 1d-4d 1b-4b 1d-4d 1b-4b 1d-4d Once mastered you have to be able to alternate fluently between single notes and octaves.

18 Track 20 Tremolo / Vibrato. Tremolo / Vibrato is the pulsating effect that embellishes a played note. It is achieved by various techniques : the movement of the hands using the finger flutter technique. drawing a note with a rapid and rhythmical quick succession of breaths centred in the diaphragm. blowing a note with a rapid and rhythmical quick succession of breaths centred in the upper airway. blowing or drawing a note and bending the note rapidly, rhythmically and smoothly. 18. Try the techniques on the 4d and 4b notes. using hand movement play 4d then 4b using the diaphragm play 4d using the upper airway play 4b using the tongue to bend rapidly play 4d then 4b Track 21 Harmonica and Guitar duo. Basic harmonica technique with guitar accompaniment. Track 22 Now What? Once the basic techniques are mastered, you have to incorporate them into simple runs and tunes. Next you have to learn to play along with the format of the music, for example a 12 bar blues. The next challenge is to learn to improvise. Listen and play along. Listening to the recordings of harmonica players and then playing along with them, is an effective way to learn. You need to be using the same key harmonica as the player on the recording. ( use the Artist Song Listing Harmonica Masterclass internet resource ) Listen for the various techniques being used, try to work out the runs being played, count through the bars to understand the structure of the tune. Positions Choosing the key harmonica to use to accompany another instrument involves the theory of Harmonica Positions. The positions commonly used are 1 st, 2 nd and 3 rd although there are a total of 12. One guide to positions involves the Descending Circle of 5 ths. Another method involves counting intervals on the chromatic scale. Refer to chart Diatonic Harmonica Positions. Track 23 Guitar Only Play Along Track. Play along with this swinging 12 bar blues performed by the talented guitarist, Dave Brewer. Track 24 Harmonica and Guitar duo. A swinging 12 bar blues shuffle. Tracks These tracks are Track 21 slowed down at various play speeds to assist with playing along.

19 TRACK 21 HARMONICA and GUITAR DUO - PLAYING TECHNIQUES CD 19. Key of Music = G Harmonica = C in 2nd position 12 Bar Blues Instrumental with 6 verses G Major Scale G A B C D E F# G Degrees of Scale Chords of Scale I IV V I = Tonic = G = 2 draw IV = Subdominant = C = 4 blow V = Dominant = 4 draw & 1draw Verse 0.04 minutes 2dd 3d 4b 2d 2b 2dd 3b 3d 4b 2d 4d-5d trill 4d-5d trill 4b-5b trill 2dd 3d 4b 2d 5d 4d 4b 4d 3d 2d 2b 2dd 3b 3d 4b 2d Verse 0.28 minutes 5b 6bb 5d 4d 4b 3d-4d trill 4d 3b 3d 4d 2d 3b 3d 4d 3d 4d 3d 4d 3d 2d 2b 3b 3d 4d 5b 3d 4d 5b 2dd Verse 0.53 minutes 4d wah wah 4d wah wah 4d wah wah 4d wah wah 4d wah wah 5b 6b wah 4d 5d wah puck puck puck puck puck puck puck puck 2b 2d 2b 2d 2b 2d 2b 2d 2b 2d 2b 1dd

20 Verse 1.18 minutes 2dd 2bb 1dd 2bb 2dd 2bb 1dd 2bb 2dd 2bb 1dd 2bb 2dd 2bb 1dd 2b 3b 3d 2dd 2bb 1dd 2b 3b 3d 2dd 2bb 1dd 2bb 2dd 2bb 1dd 2bb 2dd 2bb 1dd 2bb 3dd 4bb 4dd 5bb 6bb 5bb 4dd 3dd 2dd 3dd 4bb 20. 4d 3d 2d 2d// 1d Verse 1.42 minutes 4b 4d 4b 3d 4b 4d 4b 3d 4b 4d 4b 3d 4b 4d 4b 3d 2dd 1d-4d octave 2b-5b octave 3b-6b octave 1d-4d octave 1d-4d octave 2b-5b octave 1d-4d octave 1d-4d octave 2b-5b octave 1d-4d octave 1d-4d octave 2b-5b octave 1d-4d octave 1d-4d octave 2b-5b octave 1d-4d octave 4b 4d/ 4d 4d/ 4d 4d/ 4d 4d/ 4d 4d/ 4d 4d/ 4d 4d/ 4d 4d 3d 2d 2d 2b 2dd 2b 2d 2d// 1dd Verse 2.07 minutes 3b 3d 4d 5b 6b 3b 3d 4d 5b 6b 3b 3d 4d 5b 6b 3b 3d 4d 5b 6b 3b 3d 4d 5b 6b 3b 3d 4d 5b 6b 3b 3d 4d 5b 6bb 5dd 4dd 4bb 3dd 2d 2d// 1dd 2bb 2dd 3dd 4bb 4d 4d 4d 4d 4d 3d 2d 6bb 5d 4d 4b 3d 2d 2b 1-2-3d chord 1-2-3d chord

21 21. Easy to Play. Can you blow or draw? Then you can play the Harmonica. 1950, M. Hohner Inc.

22 BENDING DIAGRAMS 22. Refer to Note Layout Chart to see which holes are available for bending. Tip 1 st hole bends 1 semitone, 2 nd hole bends 2 semitones, 3 rd hole bends 3 semitones, 4 th hole same as 1 st. Practice on the 1 draw hole first, then move onto the other draw bend holes. Develop bending proficiency on holes 1, 2, 3, 4, 5 and 6 hole draw. Blow bend holes 8, 9 and 10. Bending technique varies across the holes of each harmonica and across the selection of harmonicas. As a general rule, low pitched notes require more tongue movement than high pitched notes. down and up down and stop start at the bottom bottom to top to bottom one breath and go to the top one breath no stops no stops top then bottom then top nothing in between one breath straight to the bottom and repeat one breath Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel ( tuition, performance, recording ) double notes top to bottom nothing in between one breath double notes straight to bottom and repeat one breath top to bottom bottom to top top to in between top to in between but pause in between but pause in between in between to bottom in between to top one breath one breath one breath one breath

23 12 BAR BLUES This is a framework for a swinging 12 bar walking blues. There are 4 beats per bar with accents on the 2 nd and 4 th beats. Try tapping your foot 1234 for each of the 4 beats per bar. Continue evenly for all of the 12 bars then repeat. You can also walk the blues with each footstep equivalent to a beat. Try snapping your fingers on the accented 2 nd and 4 th beats. You can play along using the 2 nd and 4 th holes of your diatonic harmonica in second position (cross harp). 23. Schematic diagram of a 12 bar blues Bar 9 count 1234 play 4dd Bar 5 count 1234 play 4bb Bar 6 count 1234 play 4bb Bar 10 count 1234 play 4bb Bar 1 count 1234 play 2dd Bar 2 count 1234 play 2dd Bar 3 count 1234 play 2dd Bar 4 count 1234 play 2dd Bar 7 count 1234 play 2dd Bar 8 count 1234 play 2dd Bar 11 count 1234 play 2dd D C C C 12 BAR BLUES in KEY G = G G G G G G G D Bar 12 count 1234 play 1dd DIATONIC HARMONICA in 2 ND POSITION in KEY C = 2dd 2dd 2dd 2dd 4bb 4bb 2dd 2dd 4dd 4bb 2dd 1dd G G G G C C G G D C G D Check your notation chart for diatonic harmonica C major. When listening to blues music, try to work out the structure of the song by counting and observing the chord changes. The 12 Bar Blues usually uses just three Chords. These Chords will always have the same relationship to each other: They will be Chords formed on degrees I, IV, and V of a Major scale ( also referred to as the TONIC Chord, SUBDOMINANT Chord, and DOMINANT Chord ). These three Chords can be either Major, Minor, or 7th Chords depending on the type of character you want your music to have. Other blues forms include 8 bar,16 bar and 32 bar blues.

24 KEYBOARD ILLUSTRATION OF THE CHROMATIC SCALE. 24. Ascending chromatic scale commencing on C C C# D D# E F F# G G# A A# B C C Db D Eb E F Gb G Ab A Bb B C Descending chromatic scale commencing on C

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26 NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 26. overblow A D F# A C E bend 2 semitones E bend 1 semitone A C F Blow F# A# C# F# A# C# F# A# C# F# F# harmonica Draw G# C# E# G# B D# E# G# B D# bend 1 semitone G C E G D bend 2 semitones B D# bend 3 semitones D overdraw G B D G F# major scale F# G# A# B C# D# E# F# overblow Ab Db F Ab B Eb bend 2 semitones Eb bend 1 semitone Ab B E Blow F A C F A C F A C F F harmonica Draw G C E G Bb D E G Bb D bend 1 semitone Gb B Eb Gb Db bend 2 semitones Bb D bend 3 semitones Db overdraw Gb Bb Db Gb F major scale F G A Bb C D E F overblow G C E G A# D bend 2 semitones D bend 1 semitone G A# D# Blow E G# B E G# B E G# B E E harmonica Draw F# B D# F# A C# D# F# A C# bend 1 semitone F A# D F C bend 2 semitones A C# bend 3 semitones C overdraw F A C F E major scale E F# G# A B C# D# E overblow Gb B Eb Gb A Db bend 2 semitones Db bend 1 semitone Gb A D Blow Eb G Bb Eb G Bb Eb G Bb Eb Eb harmonica Draw F Bb D F Ab C D F Ab C bend 1 semitone E A Db E B bend 2 semitones Ab C bend 3 semitones B overdraw E Ab B E Eb major scale Eb F G Ab Bb C D Eb

27 NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 27. overblow F A# D F G# C bend 2 semitones C bend 1 semitone F G# C# Blow D F# A D F# A D F# A D D harmonica Draw E A C# E G B C# E G B bend 1 semitone D# G# C D# A# bend 2 semitones G B bend 3 semitones A# overdraw D# G A# D# D major scale D E F# G A B C# D overblow E A Db E G B bend 2 semitones B bend 1 semitone E G C Blow Db F Ab Db F Ab Db F Ab Db Db harmonica Draw Eb Ab C Eb Gb Bb C Eb Gb Bb bend 1 semitone D G B D A bend 2 semitones Gb Bb bend 3 semitones A overdraw D Gb A D Db major scale Db Eb F Gb Ab Bb C Db overblow Eb Ab C Eb Gb Bb bend 2 semitones Bb bend 1 semitone Eb Gb B Blow C E G C E G C E G C C harmonica Draw D G B D F A B D F A bend 1 semitone Db Gb Bb Db Ab bend 2 semitones F A bend 3 semitones Ab overdraw Db F Ab Db C major scale C D E F G A B C overblow D G B D F A bend 2 semitones A bend 1 semitone D F A# Blow B D# F# B D# F# B D# F# B B harmonica Draw C# F# A# C# E G# A# C# E G# bend 1 semitone C F A C G bend 2 semitones E G# bend 3 semitones G overdraw C E G C B major scale B C# D# E F# G# A# B

28 NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 28. overblow Db Gb Bb Db E Ab bend 2 semitones Ab bend 1 semitone Db E A Blow Bb D F Bb D F Bb D F Bb Bb harmonica Draw C F A C Eb G A C Eb G bend 1 semitone B E Ab B Gb bend 2 semitones Eb G bend 3 semitones Gb overdraw B Eb Gb B Bb major scale Bb C D Eb F G A Bb overblow C F A C D# G bend 2 semitones G bend 1 semitone C D# G# Blow A C# E A C# E A C# E A A harmonica Draw B E G# B D F# G# B D F# bend 1 semitone A# D# G A# F bend 2 semitones D F# bend 3 semitones F overdraw A# D F A# A major scale A B C# D E F# G# A overblow B E Ab B D Gb bend 2 semitones Gb bend 1 semitone B D G Blow Ab C Eb Ab C Eb Ab C Eb Ab Ab harmonica Draw Bb Eb G Bb Db F G Bb Db F bend 1 semitone A D Gb A E bend 2 semitones Db F bend 3 semitones E overdraw A Db E A Ab major scale Ab Bb C Db Eb F G Ab overblow A# D# G A# C# F bend 2 semitones F bend 1 semitone A# C# F# Blow G B D G B D G B D G G harmonica Draw A D F# A C E F# A C E bend 1 semitone G# C# F G# D# bend 2 semitones C E bend 3 semitones D# overdraw G# C D# G# G major scale G A B C D E F# G

29 NOTE LAYOUT CHART for C CHROMATIC HARMONICAS - 12 Hole & 16 Hole 29. Blow slide in C# F G# C# C# F G# C# C# F G# C# Blow slide out C E G C C E G C C E G C C Chromatic Draw slide out D F A B D F A B D F A B Draw slide in D# F# A# C D# F# A# C D# F# A# D Created by Gary Collinson Blow slide in C# F G# C# C# F G# C# C# F G# C# C# F G# C# Blow slide out C E G C C E G C C E G C C E G C C Chromatic Draw slide out D F A B D F A B D F A B D F A B Draw slide in D# F# A# C D# F# A# C D# F# A# C D# F# A# D Blow slide in C# F G# C# C# F G# C# C# F G# C# C# F G# C# Blow slide out C E G C C E G C C E G C C E G C C Chromatic Draw slide out D F A B D F A B D F A B D F A B Draw slide in D# F# A# C D# F# A# C D# F# A# C D# F# A# D