Blues Harp method for Diatonic and Chromatic Harmonica

Mel BaY presents

u es Jor vwtonic cuu1 Chrornafic Jlarrnonica By Phil vuncatt

CD CONTENTS

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TABLE OF CONTENTS eHAPTERI Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Playing lnstructions. . . . . . . . . . . . . . . . . . . . . . 4 Blues Harmonica: eross Harp. . . . . . . . . . . . . 5 Blues For ehromatic Harmonica . . . . . . . . . . 6 12 Bar Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 More Tones For Blues . . . . . . • . . . . . . • . . . . . 8 Blues ... . .... .. ......... • . .... . •..... 9 Blues 1n Quarters . . . . . . . . • . . . . . . . . . . . . 9 eHAPTER II ehord .......................... •..... 10 ehord And Note .. ......... .. . .... . ..... 10 Tonic Blues (no chromatic) . .... .. .. • ... . . 11 e ehord.. .. ... ... .. .... .. ... • .. .. . . .. .. 11 e ehord Blues In 12 D Seventh ehord . .. .... .. .. .. . . .... .... . 12 D Seventh ehord With A Natural .. ... ... . 13 Al! e hords ... . ........ .. ................ 13 Broken Blues.... .. . . . .... .. ... . . . .... ... 15 Walking Boogie .... • .. .. • . •.... • . .... ... 16 eHAPTER III Bending Notes ..... .. ... • .. .... • . .... ... 17 Enhannonic Tones.. . . . ... . • . ... . .... .. .. 18 e Bend... .. ......... . .... • . ... . ........ 19 B Bend ... .. ........ .. .... • . . . . . . •...... 20 D Bend ........ . .......... .. ... . . ... .. . 23 ehromatic Bending .... .. ... ... .. . , ...... 24 ehromatic Sea!e (diatonic) .... .. ... . . •.... 25 ehromatic Scale (chromatic) ....... • .... .. 26 eHAPTER IV One Note Blues ........ . ...... • .... • .... 27 Down Under Blues ............ . .. .. . .... 27 Tri-Blues . ............. . ........... . .... 28 Draw Boogie Blues ..... .. ... . . •.. . . •.... 28 Blues Scale .. .. .......... •.. .. • .... . .... 29 Blues Scale Tone In e .... ..... ... ... ... . 30 Steppin' Out Blues ........ • ..... .. ... .... 30 Long Note Blues ......... . ........... .. . 31 Backup Blues .. ......... . . ... . . ......... 32 Fills ........... .... ...... . .... . ......... 33 eHAPTER V Eighth Notes .. .. ... ... .... . .... .. .... .. . 36 Eighth Note Blues .. ... ... • .. .. • ......... 37 lmprovising . ... ... .. ... ... . . .... • ...... . 37 Simple Swing .. .. .. .. .. . .... ..... . .... .. 38 Swinging Blues .... ..•..... . . .. . . • ....... 39 Triplet. . ... . ... ... .. . . • . .. . • . .. ·. • ....... 40 Triplet Blues ... .. • . .. . • . .. . • . .... ... ... . 41

eHAPTER VI eountry Licks ... . .... • . ... . .... . ........ 42 Pattems .... .. .... .. .... ... ... .. ........ 43 Endings ........... ... ... .. ........ .. ... 45 10 Bar eountry Tune .. .. .... • .... . .... . . 46 eountry Blues In 16 Bars. ... . •... .. ... .. . 47 16 Bar ehorus .. ... ........ .. ... .. ... .. . 48 24 Bar And ehorus ........... ... ..... ... 49 eHAPTER VII Hannonica Shuffie ...... • . .... . ... . ...... 50 Shuffie Blues .......... .. ... .. .. . .. .... . . 51 Shuffie On .. ..... .. .. . . •.... • . . . .. ...... 52 eHAPTER VIII Red River Valley ... . .... .. .............. 53 Amazing erace (HU) .. .... . .............. 54 Amazing erace (solo) ..... .. ... .. .. .. .... 55 Standing In The Need Of Prayer (HU) . .. .. 56 Standing In The Need Of Prayer (solo) . . .. 57 Wildwood Flower (fill) ....... .. ......... . 58 Wildwood Flower (solo) ... .. ........ . . ... 59 The Wabash eannon Ball (ftll) ... . .. .. ... . 60 The Wabash eannon Ball (solo) .. .. .. ... .. 61 eoin' To eatch A Train To Memphis .... . . 62 c.e. Rider ... .... .. .... .. ... .. ... ....... 63 When The Saints eo Marching In (HU) .. .. 64 When Tbe Saints eo Marching In (solo) . .. 65 eotta Travel On (HU) .. .. ... . .... .. .. .. .. 66 eotta Travel On (solo) .... ... .... . ...... . 67 Old Joe elark (fill) ... ... ... .. ............ 68 Old joe elark (solo) .. .. ................. 69 eoin' Down That Road Feelin' Bad (ftll) .. . 70 eoin'DownThatRoadFeelin'Bad(solo) . .. . 7l East Virginia (HU) ........................ 72 East Virginia (solo) ........ .. .. ... . .... . . 73 Lonesome Valley (HU)... .. ..• .. .. • . ... .. . 74 Lonesome Valley (solo) .... .. . •.. . . .. .... 75 Deep River ................ • ... .. . ... ... 76 Shenandoah... .. ..... .. ...... •... .. ... .. 77 eHAPTERIX TEeHNieAL EFFECTS Double Stops... . ........... ........... .. 78 Vibrato ........ .. .... .. ..... .. .......... 79 Tongue F1utter .... .. .... •.... • .. . . •..... 79 elissando ..... ......... .. .... .. .. .. ... .. 80 Tremelo ................ . ... . . .. .. • . ... . 82 Train Whistle .......... .. ... .. .. . .. . .... 82 Amplified Hannonica ... .. ... .. . .. .. . ... . 83 Trill ... ... ... .... .. .... . • . .. . • . .. . •..... 83 Listening ...... . .. . . .... . .... . . .. . . . ... . 83

e e e

e ........... ..........

2

INTRODUCTION WHERE TO BEGIN The basic idea of playing Blues or Country Blues on the harmonica is D R A W. Drawing on the Hrst, second, third , fourth and fifth holes of the 10 hole harmonica, instead of blowing, gives the basic effect of blues. On the 10 hole harmonica the second hole DRAW is the "key center" hole or main tone. It could be called "home base". You will start in this hole,work away from this hole and almost always return to it. DRAW is the main ingredient in Blues harmonica. Work with this idea and you wíll soon be playing or improving your playing in the style of country blues.

CROSS HARP Because the "key" that a harmonica is made in, the instrument was designed to blow in the "key Center" tone, s uch as the C harmonica hole 4, blow, is middle e, the G harmonica hole 4, blow, is G, and so forth. Therefore to have the "key center" a draw note,you must move to hole 2 and draw, s uch as the e harmonica hole 2, draw, is G, the G harmonica hole 2, draw, is D, the A harmonica hole 2,draw, is E, and so forth. This moves the "key center" down 4 steps or down two holes. All the above was said to say that cross harp eros ses to draw hole two and this becomes the "key center" . Therefore the e harmonica plays in G blues. The following chart illustr ates the cross harp harmonica. Actual Harp

eross Harp

Actual Harp

eross Harp

e harp G harp

G blues

F harp B~ harp

e blues F blues J3i, blues EJ. blues A~ blues ~ blues

D A E B

harp harp harp harp

D A E B

blues

E~

blues blues blues

A~ D~

n

~~blues

~

harp harp harp harp

ABOUT THIS BOOK This book will concentra te on t he e harmonica for learning purposes . The book illustrates numbers and arrows that can be used with any key harmonica. This book discusses the 12 Bar Blues, a touch of jazz, country fills (licks) and country tunes in blues style .

3

ARTICULATION AND ACCENT Tones need to be played separately, yet together to make the tones distinct. When you play blues style you attack the sound and draw with vigor and force to give the feeling of control. Accenting (making certain notes louder) will cause the muslc to cometo llfe and move.

PLAYING INSTRUCTIONS HOLDING THE HARMONICA Hold the harmonica in the left hand, no. 1 hole to the left. The harmonica should fit into the V oí the hand between the thumb and the middle flnger, the first finger may be placed a long the side of the nos e. This position is optional but it seems to help control as ü the harmoníca is closer to you and more of a part of you.

The remainder of the left hand íingers should slightly curve to cover the top and back of the harmonica. The right hand cups under the harmoníca, fingers pointing up. This allows for "vibrato" by the wavering of the right hand. The movement of the right hand should always by smooth and even.

MAKING A SINGLE TONE To produce a single tone for blues, tougue bl'>cking should be avoided. Lip blocking, puckering and pursing the lips , as lf t\l whisle, to forro a single hole, ls used almost excluslvely. The llp blocking is made wlthln the mouth or soft tlssue of the mouth, not the outside of the lips. The harmoníca must be inside the outer lips. The outer lips sea! the a ir from escaping around the harmonica. Aim and draw through the harmonica not around it. The muscles used todo this need to be strenghtened to produce the blues style. Only with MUCH practica can this be achieved. In thi s way you can ORAW and BLOW lnto a single hole. Locate hole two , draw and begin to lip block a single tone.

4

BLUES HARMONICA:CROSS HARP DIATONIC

Draw G Scale

C Harmonica

Llp Blocking slze of a pencU eraser Whole Note

WHOLE NOTES

1

11

etc .. .

l-2 - 3-4-

Tap:

1 1 1

j

2

2

l

2

1

1 Blow

Half note 1

@

Llp blocking

,. i 1' Tap:

HALF NOTES

¡

r

lv

V

1 - 2 - 3 - 4

1

cJ = 2 Taps

¡

¡

-

etc ..

4

4

l

4

f

f

1

r r

lf'

1'

4

4

4

4

f

4

f

f

f

f

11

Draw Quarter notes

@

Llp blocking

,. í

e

1

r r

Tap: 4

1

4

4

l l

1r

r r r IJ J r F r r 1

1 e

1 - 2-3-4 -

1 ¡ ¡

¡

4

4

4

4

¡ ¡l l 5

2

f¡

4

4

T T

4

l

2

1 1

11

BLUES FOR CHROMATIC HARMONICA

1

Blow ~~~~~~~~==~~=rh~ SUde out

Lip Blocking J \.....Main Tone To avoid con!usion treat the chromatic harmonica in the "CROSS HARP" fashion using "G" three hole as a starting or "key note ".

Wbole Note

Jo=4

Taps"""

HalfNote

J

4

,. f

Quarter note

e

1

f

.{1 J = 2 Taps 1

J J

1

J )

1

~

JJJJ

-

1 e

11

Tap:

l

f i

f f

fftf

t

Slide Out

,. ®

Tap:

~

11

1

1-2-3-41 1 1 1

V f'

1 •

1

F FF J

j

5

3

1

l-~-~-1-

5

5

5

f

f f

5

5

5

ii ff 6

3

f f

lv f' 5

5

1e 3

f f f

11

Draw Octave Slide Out

®

"d "

,. í

9

Tap:

r 1r r r r 1J J FF IF r

1[

l-~-i-1-

5

1

1 1

5

5

5

5

3

5

!¡¡¡

3 5

5

f t tt

5

5

rr

9

~

3

r

IMPORTANT! Remember: There are no draw "G" notes on the chromatic harmonlca, all "G's " are B LO W only:

G)

,.

9

1

1

9

9

1

9

Chromatic

\

3

3

3

3

Diatonicf2

I 2

I2

I2

1

1

1

7

1

11

All "G's" for the chromatic a re "blow" notes

12 BAR BLUES

®

* Guitar chords *G

,. í

e

1

•e

J

j

1 e

3

3

3

1

JJJJ1

11

3

5

5

5

4

4

4

lv f'

ehromati c 3

Diatonic

f2

¡2 ¡2

,~

*G e

3

3

f2

C ~ eommon time ?. time

ehr. Dia.

,~

., J

1

3

3

f2 ¡ 2

r

J g

f' r, 5

5

4

4

1

3

¡2 f2

r r

5

5

5

5

5

4

4

4

4

4

4

1

f i

j

j

1

1

1

1

1 r

High "G"

,r r

J J 3

f f

3

j

j

1 e

3

3

3

¡2 ¡2

¡2

r r

1

11

1

5

5

1

1

6

6

4

4

1

1

1

1~

5~1

Vi

4 ....._1

l~f

8

J

7

r Ji.zr F
** Glissando: To slide the tone (See page 80)

1' V IJ

7

f r

o **Gliss . (Slid e)~

1

Low "e"

e

i

l r

Low "D"

1

5

G

J f i

G

1

/

e

J

•G

*e

r rJ f

r r

r

r r r rr

1r

3

3

MORE TONES FOR BLUES

G

3

*D

f2i2 i2f2 l l l ¡

I

,~

3

3

f2f2f2f2 l l l ¡

1

JJj J

1

3

®

¡

¡

1

¡2

3

1

;~-r 3~7

¡Pf

f f 1 e 3

f2

r

11

G BLUES

@

'1

G

e Tap:

J J

eh roma ti~

1

3

f2

Diatonic'f2

l l

,. J

V

f'

5 4

5 4

t

G

1

f2

¡

f

j 3

f2

~2

1

7 6

3

3

h

S lid e

5 4

rr rr 1

1

5 4

5 4

t t

t

e

5 4

tt

5 4

5 4

t

j

Repeat~

G

J J J J 1 J ;tr r ' r f' IJ J IJ J J J :1 3

3

3

'f2 f2 Í 2

Í2

3

1 1

1···5

5 4

1 -~·4

3

3

5 4

5 4

l ¡ l 1 ¡ V1 ¡

¡

lf' V

7 6

t

¡

e

r

J J lt

07

3

¡

G

e

3

f2 h

t t

3

f 2 Í 2Í2'f2

¡ l 1l

¡

¡

3

3

G BLUES IN QUARTERS e

G

r r Ir r r r 1u w J

Tap: ehromau5

3 Diatontct2 f2

5 4

5 4

5 4

r r r r

5 4

5 4

3

5 4

3

3

3

5

3

!

::1

1

5

5

5 ''••.,1

1

1

1

3

3

3

•

M o7

e

r r· u u 1 1 --r r 1

1

9

G J 1

::1

::1

w

1

J J J

3

3

¡ l l l

G

'• r r r r-·-.J ,1 1 1 1 u w w t t f 1::::::1 t t t r 1 r ~

5

l ¡ ¡ l

f f f t

e 5

1r r u J

w

w w

1

3

3

Í2 f2

l l

rr 5 4

5 4

l l

o7 1

rrr

=11

CHAPTER 11 There are three main chords that are used in blues. In the key of G the chords are G chord, C chord and 07 chord. A chord is three or mor e tones or notes played at the same time . The diatonic harmonica (10 hole) produce both chords and single notes. Both may be utilized as a good effect. Note: the "G" chord cannot be played on the chromatic harmonica. Draw

G Chord

Tonic UChord

G CHORD

• = Breath

,

e up

Slide down

:~~·

~

1-2-3-4 -

Tap:

~

~

4

~

1

1¡

2

l

4

l

~

~

4 .................

------

1

4 .,.,

~ ..............

¡ ¡ l

~ ' '•

..

1::··,..:

1-----~

••

CHORD AND NOTE @

~j Tap:

(~

J

•

1 J 1 IJ 1 11

1

J J j J 11 J

1J

1 - 2 - 3 - 4 -

~

~ ¡ 1 ¡ l 2

2

2

1

~ ~

r J J

¡

10

2

2

~ 2

2

¡ J J J

~ 2

2

~ 2

2

J ¡ l l

11

TONIC BLUES (NO CHROMATIC ) tG\ 'Cl

SUde up I ) SUde down

G I

e

I

6•" ~ ~ ~ ~ 1Fié ~®, 1 d J J 1r r Ir r r r r r }--· l"·~· G

' •

I

~ ~ ~ ~ 1~ 4 3 2

4 3 2

4 3 2

4 3 2

4 3 2

I

1

¡ ¡ ¡ ¡

ps=1 4---3·--2 ----

4

G

I

4

4

rr 4

1

4

f f f f tttt

¡ 1¡ 1 e

D7

4

1F F

I

r r r r 1r r r r 1w w w w 1~ F 11

4

4

4

4

.. ¡¡¡¡

!~_

4

4

4

4

2

2

2

2

t ttt ¡¡¡¡ l l

Diatonic

eh roma tic

IV ehord

e ehord

Sub-Domlnant ehord

, '" IV] [IG ABe Both diatonic and c hromatic can play thls chord.

C CHORD

@

~·

ft

~~

1

~

~ ~ ~ ~

! (~

-- -e"' . u

~

1

e

4

~

Q

o

..e

(.)

"

•,

o

.!!

R:::s. g(7 )::'',,. K,,:,,

11

~

1

~== ~

4

)

¡5 ••:::::-· ::f

11

C CHORD BLUES IN G

e

e

@

G

~j ~~

J J J J 1~ ~ ~ 1J J

I

Tap:

3

G I

IV

3

3

3

IV

!00 li!ir:

f2f2f2f2

¡l l l

3

7

7

f2

6

6

r r

t t

T

lt r lf f f i

100 !i i i

1! ~ ~ ~ 1 ~~i!fm ft tt

G 1

~- J J J J IJ J 3333

3

3

11 5

5

5

5

4

4

4

4

§/Z\§JiS?~Il\ 7 7 7 7 ~6666

r r r r r r r rr tft t itt t

¡

ehromatic

Oiatonic

3

3

2

2

rr

D SEVENTH CHORD (O F~ A) Oomínant chord

07 chord

V7 chord

The above chord has severa! names; O chord, 07 chord, O mínor chord . These na mes need not be confusing . They are all grouped under the "Dominant" chord or "V7" chord. The "F" natural (key of G usually requires a F#) creates the "sad" or "crying" sound on the harmonica. The right hand should open & el ose over the harmonica to stylize the sound. Vibrato right hand

J J J J J J J J LJ J 1

1

>

Accent 3

3

3

\

>"\

(Make louder)

3

3333

3333

¡ l 1 ¡

J!JJ

¡¡ ¡¡

12

! (~) ! (i)

1 1

07 CHORD WITH A NATURAL e

G I

IV

f•eJJJ J IJ J IUUJJIJrrrlf f ehromatic 333

3

3

Oiatonic 2

2

rr

tttt f f 2

2

rr rr

I

t'

2

3333

3454

2!

5555

2

2

~

4

tttt trrr

2

rr r r

2

2

2

rrrr

IV

e

ttrt

J

t r

3

l!!!

V 07

G

3 4

I

1

I

7

3

1

4

4

4

t tt t

G

J J w J 1J rr r 1f 1 1f f 1; ; uu1J r r r 11 i j gi tttt t tttt t 1 1 1! ¡¡¡¡ ¡¡¡¡ ¡ ¡¡¡ ¡¡¡¡ 3333

3455

3333

3

5

4

2222

23 44

2222

23 4

3

@

11

4

r r

ALL CHORDS

All

(DIATONIC)

Vlbrato-----etc.

1

,

G

,. t 1

1

4

,. u

1

ll

1 §

~ 2

4 3 2

1

1

V7 07

rr

1

,

IV e

1

ft

1

1

f

1 13

l

, 1

1

2

l

IV e

ltl

u ~

~

l ,

1

4

~

l G

u

,

4

~

V

,

1

1~

V7 07

~ 2

~

~ 2

ft

1

!

f

G

,

f

'1 l 1

!

~

4

r r r r

Up to this point a definite pattern of 12 measures to establlsh a blues progression has been used. Here lt ls for inspection:

12 BAR BLUES @

Toníc (G)

#' ~ ~~

I

1

1

I

L------------------ 4 measures -----------------------------J

Sub-Dominant C f\'

Tonic (G)

1"•

1

I

L-_______ 2 mea sures ________¡¡¡________ 2 measures ----------'

'l

Dominant (07) Sub-Oominant (C)

V'1

L.__ t

Tonic (G) I

IV

t

1v91

=11

measure__JL-1 measure ____JL____ 2 measures -----Turnaround

There are FOUR measures of Tonic, TWO mea sures of Sub-Oominant , TWO more measures of Tonlc, ONE measure of Oominant, ONE more measure of Sub-Domlnant, and another measure of Toníc. The final mea su re may be Tonic or Oominant. The Tonic will end the piece. The Oomínant will crea te a repeat situation.

14

We ha ve studied the 1 chord or G chord (tonic) a s a whole sound. lf we split or break up the chord, we have 3 s ingle tones to use: G, B, D.

@)

,. !

D

B

§

1J r 1r 3

1

4 3

h

1

B

B

D D

B B

I J J r r 1r r r r 1e

r

3

4 3

5 4

r

l

B

3

f2f2

4 3

4 3

5 4

15 4 4 3

4 3

¡ l l ¡ l l ¡ l

l l

1

3

~2

1

As with the G chord, the IV chord (sub -dominant) ore chord also can be

@

broken into 3 single tones: e, E, G. E G E

''ítl

E

E

G G E

E

lf' V l t V Ir FF r 1r r r r 1"

1{g)

5 4

r

f

6

7

6

5

6

15

f

f

i

5 4

5

6

6

4

5

5

7 6

7 6

6 5

6

5

5

4

tttt tft t

11

r

BROKEN BLUES

@ l

1 (G)

IV (e)

4 eJJJJ IJrr JIJJrriJrrrlrrFFirrFrl eh romatic 3333

Diatonic

3454

f2f2hh f2

3

4 3

3344

hh

3 3

3454

f2

3

4

3

¡ ¡¡¡¡¡¡¡ ¡¡ ¡ ¡ ¡ ¡ ¡¡

1 (G)

5566 4

4

5 5

5676 4 5

6

5

tt tt tt t t

IV (e)

V7 (D7)

rrJ riJJ rr1rr r r 1rrrr 5434

3345

5555

¡¡¡¡ l l l l l l l l 15

5676

5433

3454

t t tt

llll l l l l

The V chord, dominant chord, usually a major chord , is D,

F#, A.

However, the blues require the F,! sharp to be F natural. This is possible beca use the "C" harmonica does not have F# (Sharp). This createsa D minor chord. This

@

is used as a dominant chord. F~

4•tm

A

F~

A

r-r r 1rr-r r 1

1r br 1r -r 1r

e

1

Tap:

1(~)

5 4

6

7 6

5

6

5

5

4

6 5

6 5

7

7

6

6

5

6

6

5

5

4

¡¡ ¡¡ ¡ ¡ ¡ ¡

1 1 1 1

1

5 4

1

The most accented or emphasised note should be F natural (Fl¡) .

WALKING BOOGIE

@ ,~

(Accent) G (1)

,/

J

r r r 1-r r r r IJ r r F

3

4

f2

3

~~

Tap:

5 4

6

6

6

5

5

5

¡ J ¡ t

5 4

6

5

7 6

7 6

t t t l

(Double High) (C)

8 7

7

6

i ¡

,. r r ->r r 1r

6

6 5

3

t t

~

6 5

6

6

5

5

l t J f

5 4

5

6

4

5

!2

5 4

rr 4

4

3

3

3

¡ f J J 16

5

5 4

4 3

J t l l

r r r 1-r r r r 4 3

3 4

6 5

l l ¡ t

1J

6

6 5

rr1

>

G (I)

F

~-r F

¡ ¡ J i

r F 1J 7

4 3

h

G (I)

D7 (V)

5 4

3

4 3

J t J l

,. r r r r 1f t C (IV )

5 4

>

rr 4 3

5 4

6

5

6

5

¡ f

¡ l J t

4

3

J l

(1 count each) ('Rest"\

r 1J í 6 5

5 4

3

l

J 3

í

1

CHAPTERIII BENDING NOTES You can achieve harmonica blues style through the use of bending notes. This book will explain the techniques and the physical aspect of "bending". But the performer MUST listen to good records and try to copy the sound and musical ideas that professional players obtain. A new harmonica is stüf and you will have trouble bending the sound. But no one that has real! y wanted to produce the blues sound has failed. Using lip blocking (see introduction) DRAW in sharply, drop the jaw a bit, along with the tongue causing the air to dart downward to the floor of the mouth. It is DRAWING the sound through and down with much pressure causes the sound to bend. By reversing the process and returning the mouth, jaw and tongue ba ck to normal position the "bend" sound will restare itself toa normal straight tone. As you practice, your lip muscles will strengthen untll 1t becomes seemingly effortless. Remember, you will need to draw your breath about twice as hard as normal. The chromatic harmonica cannot easily bend a BLOW note. "G" is a blow note, therefore "G" will be played "straight" on the chromatic harmonica.

DIATONIC HOLE 2

The circled number

(DRAW)

Flat = (Bend)

Bend Flat (Lower one half

@

,. i J 2

r

J

1

vÍ J

1aW

2

2

¡

r 17

Means "Bend" step)~ Bend

J vJ J

11 2

1

If you own a wooden harmonica, soaking it will help bending notes because

it seals the edges around the holes and will not allow air to escape. The urethane harmonica (one piece) does not need to be soaked. As you begin to make the note bend you will discover that you can bend the note a little (a half step) or a lot (a whole step, 2 half steps) . Half step G1. /F#

Bend ---...

Whole step

Fq

Actual)

.

es. ....

=11

es.(~............. 1")

11

Bending Hole 2

r·{r. ~j

2

1

After you begin to make the note "bend", you must work to establish a "slide", like a trombone might play. You work to bend or sUde the note down , then let the note slide up to its normal position or sound.

@

,. i

Drop off

es ,,..,

Slide down =11

9 q_,

''·

.-e

-· @2

·-

Connected

Slide up :11

J, ... __J

Separated 1

l. ..... )

2

/

¡;

You must practice this SLIDE until it becomes comfortable. Your lip muscles will get ti red. Stop awhile then try it a gain. Your strength will increase with MUCH practice.

18

11

After the SLIDE becomes comfortable, end the slide with a BLOW note in the same hole (2). This will complete the slide. The chromatic cannot slide.

UP

DOWN

¡;;;:;.,

j

Slid e

Draw

Blow

' í J..... :J

1

w..

Slid e

L.;

=11

l. l ....J

Blow 1

Draw

J. ...J

When you have mastered the complete slide down, then begin to practice the slide up. Now move to hole three (3) and do the same slide practice, down and up. This is a good way to "break in" a new harmonica.

Slide up

Connected

Separated

lt is more düficult to start down and slide up. With practice, however, it will

create control. Hole three is more difficult to bend. It will be easier to bend this note a lot, than just a little. Begin first by bending a whole step, the half step will develop la ter.

19

11

Now tag on the blow note in hole three (3). This will complete tbe slide. Practice this until you master it. Now start with the blow note G, hole 3, and slide up. (set the draw pressure and slowly release) The chromatic harmonica can bend this note, but it is düficult todo so. The chromatic will bend a half step. This is necessary for the blues style for the chromatic harmonica. Do not use the push button on the chromatic!

Down 1

Up

G

r··· .. J

11

J-.4....r

1

J ..... r

:11

Chromatic

4@

3

Diatonic

Hole four (4), draw is next. This hole is only bent one half step. You need not bend it very far. The chromatic can bend this note. DO NOT use the slide (push button) button to get the half step. Remember the chromatic uses hole 5.

@)

,. !

-Bend

es

'· •

Down

1

rs ..(,)

Up

11. · ee

Connected slide Separated slide 1

f?·z·" r

1

r·?-r

When you bend a note you are flating the tone. The symbol is (b).

20

11

As we examine the harmonica , certaln notes are missing, such as such as "A" and "F" also there are no nats or sha rps. Diatonic

1:!2. F or A

No Sharps or Flats

The chromatlc harmonic does not have any missing notes.

l

11

12

Slide out

Also there are s harps

1

89

10llZ

Slide in

These sharps are also nats. Flats and s harps are enharmonic tones. Thls means that G~ and A~ are the same note , also E~ and F natural are the same . Every note has two na mes, either na me is correct: A:! /B~; B!/ C; C' /Db; ~/&; ~ /G';G~ /M .

21

In gaining the use of these sharps and Clats, we discover through bendlng, that a tone or two exísts between the draw notes, such as B and G, between O a nd C, between G and E. We wíll begin with hole two, draw G. When bending thls tone, F sha rp and F naturalis possible.

Lip Blocking

m

@

~~ (!

G~

G

F~

G

J

~w

~w

lq,J .,J

2

f r !

~ ~

IJ 2

1

Bend

same (enharmonic)

11

J

~J

2

! Tf

1

J

1&d

11

2

Next, we use the slide Idea (Se e pages 18. 19 & 20 ) but now we cut off or separate the bending tone (G ~ / fl F~) so that we have three equal and separate tones , up and down. You also can tag the blow note at the end of the short scale. (E)

Separa te

@

~ ....... ~

. ¡J . J ~· (!

2

¡

!

-........ 1

]

~t

~

.~

J

11

J

2

2

f

f

.« ] qr

.~

I~J

~

~

.~

J 2

l

Thls takes a great deal of practlce and concentration. Your lip wlll galn strength with practice and control will establlsh tone separation.

22

11

The same technique works in hole three (3). Again work on s eparating the sUde, but this time there will be four parts.

~-~-~k~-~~-~t

.

W IKI SO A

Slide

A~

HOLE 3

Bend · · .. - . - ,

r-LJ l r~r i Jd le 3

3

11

G3 A A' Bend . . . . . _ • .,

J ,J

1

#J

,J

11 3

3

1

T Remember it is eas!er to bend to the "A" than t he

,.j r

"8~"

SEP ARATE EACH TONE

@

~

f]J

tJ

' 1 f ~ r 3

(ll e

,(li,J ·(J

~

f.

l#r

T~ !

3

f

¡¡.

(l

r

1

e

11

-..

3

1

1

D BEND

@

'#

E!

J 'O 'ÍJ

1~ 1

o1

f ~

1

11

V

F'1'F

1

4

1

1 23

f

-el

v·~v 4

f

!

., r 4

1

2 Counts Rest

1

~

11

CHROMATIC The chromatic harmonica needs only the use of the push button slide to lower the tone. However this does not give the "bending" sound . The circled number means to use the slide (push in), arrow straight.

@

{

,, í J Chromatic 3

l

Slide in

,;

~SIId oi o ~

~"

11

®

r

r

11

bo

1

j

¡j

t

2

4

3

1

1

r

'

11

However when using "draw" notes on the chr omatic ha rmonica, they too, can "bend" in the fashion of blues. Therefore, do not use the slide while playing B to B flat, A to A flat, D to D flat. Use the "bending" technique to achieve this sound, the circled number with the crooked arrow means bend.

CHROMATIC BENDING

®

*'

ir

Chromatic 4

¡

B'

~

1

j 3

l

By

Bend

!,

11

!

r f l ~ 5

24

1

j 1

¡

~nd 11

r

CHROMATIC SCALE on the diatonic harmonica , 10 hole chromatic possiblities 1

/

2

3

Cd Eg Gb

" '' '

f

•

./

i

. •, 1

•

\.

7

4

5

6

Cd

Ef

Ga

'

'•

9

10

EJEJEJ8]

¡

"-

e

"'

Harmonica in C /

•

DOWNWARDCHROMATIC POSSIBLITIES

@

,. e

f

T

6

!

r

,. ,J

¡F ~r 6

5

t r

&j

~

1

1

~w

J

r

5

4

T

l

1 ~J

il ~

j

~

~2

T

t'

1 ~r

f'

~ 1

J

4

3

i

l

& J

......

r ~ 1

2

Ir

'~ 11

1

i UPWARD CHROMATIC POSSIBLITIES

'

T

No E flat No O s har

@>

i ~ 1

,. gJ

1

2

l

i

¡ !

'No E flat

r

1

f' #¡'

No .~ shar~

1 e

~ 1 f f 1 3

4

2/ 3

1f

1

f'

~r

l t #r

f 1 i -~

4

6

5

6

r

@]

-

~

6

1

Attempt the above scales , it will take practice to play them with s kill. But a ll practice will pay off . 25

11

CHROMATIC SCALE on the 12 hole chromatic harmonica /

'

1

2

3

4

5

6

7

8

9

10

11

12 "'

§JEJBEJEJE]EJEJEJGEJEJ

~ Slide out

/

/

1

1c'JII

2

3

4

5

6

7

8

9

10

11

12 "'

E~ill JIIb'
--1 Slide in

/

L

1

2

3

4

5

6

7

8

9

10

11

p

lobe ~~~gb ll gJII;ob llobebll F~b ~~¡{bbii M IIo ebll F~b~~¡{b llcob1

H Slide in

/

" POSSIBLE BEND * NOTES

@

$' e-

¡

r

1 t 1

t

tr

1 1t 1 t

rr rrtt1 r1r r rr

r rt 1

1

r

The designated (*) tones may be bent through a ir pressure using lip blocking. These tones should be used (bending) instead of pushing in the slide button.

26

CHAPTER IV Most draw notes should start flat then raise to the proper pitch. The chro'(Doo-Wee)

matíc can only play •stralght" tone.

@

ONE NOTE BLUES

Bend G

-¡' ekJ iJ

1@

ehromatic 3

3

3

Dlatonicf2

f2

f2

iJ

1@ gJ 1@ @ 1@ k) li j

3

h

3

3

h

f2

07

o I;J iJ

3

3

h

1 7J 1 7J 1 1 1 ~ ~ ~JG

lJ

e

\

¡J lkJ iJ li) ......

f2 A1J

3

3

3

3

3

3

f2

f2

f2

f2

f2

f2

f2

:rr 1 :r¡ 1 lJ 1 1

o

3

3

3

f2 f2

3

h

f2

1 lJ 1 lJ

e

3

1

te2

G

l&l

3

h

lJ

&J 1~w @

3

3

f2

f2

3

11

3

f2 f2

:;¡ lJ

1 1

Start below the draw pitch and attack the sound! ! ! ehromatic cannot "Bend" G

@

o

M

1

DOWN UNDER BL UES

e

o

e

IV No Bend

I

IV No Bend

5 5 5 5

3

~ ei:Jk_JiJ¿J 1Fr r FliJiJ¿J@ I@~@ J@ 1FFFF1Frr F1 3

3

3

3

f2f2 f 2 h

4

4 4

4

3

3

3

f2f2 f 2 f2

3

5 5 5 5

5 55 5

f 2 f 2 hh

4444

4

3

3

3

4 4

4

111/J t f t T 1111 1111 t t t t t t t t

G 1

~ 3

~

3 3

'f2 h f2 h

3

~ ~~~

07 V7

e IV No Bend

~ ~

5 5 5 5

55 5 5

f2f2f2 f 2

4 4 4 4

4 4

3 3

4 4

3

~

~

~

3

3

07 V

G 1

3 .3

3

f 2 t2t2t2

5 5

5 5

4

4

4

4

1111 1111 1J .r¡ ;p¡ t t i f 11 "l 1 1111 27

All draw notes can be "Bent".

®l

'

TRI-BLUES e

G

..,..---Repeat provious measure -.- .. -~ IV

I

e k) =~r '~E' ~r 1 z3 1 x 1 z 1r F F F 3

f2

4 3

5 4

4 3

%

%

:ot¡ )¡ ;¡ :;¡

e

D7 V

3

4

5

7

6

5

6

5

t

%

i

G

D7

1

V

~

~ 56 76 4 56 5

4

6

t f

IV

l!

'i-"=

5 4

z

!

5676 3454 4 565f23 4 3

5 4

6 5

7 6

6 5

1111 t ttt1111 1111 DRAW BOOGIE BLUES @

'

1

J.~ ,tr

e

F 1tt F¡l!r =ty 1k) = !f ,xr F 1Jtttr

3456

h

3

4

6654

5

5

411 f '

1

5

4

3

1 f"'l1

e

t4

4

5

4

f 2

6

6

6

6

3

5

5

5

5

5

4

1k) r!r '? F 1~r F,tr .ar 1

4

3

4

3

f2

4

6

441 i

555 4

45

G

r r r r 1r•? ~ F~er 5565

3

456

6

6

5

4

3

5

5

4

3

4

5

t t ¡ t ¡lJ t1 111 r

,

.

e

G

r IO'lf r=t

D7

Ft;E F 1=? ~r ·tr

5

866

55

44

4

5

4

3

·t

5

5

;¡ tlJ t

4

er 'fTI

3

3455 f2

3

4

4

1 f lJlJ 11 f1 28

§F'V kA :11

1•! 5

5

4

3

1 t4 1

By scooping each draw note (Doo-Wee) you create a country blues style. You can slide quickly or very slowly. Make the harmonica •cry" and "moan" by using this slide {below the pitch) technique. U the music is not marked slide or scoop, do it anyway.

THE BLUES SCALE There is a scale that can be used to crea te melodies at random while playing the harmonica. The more practice with thls sea le the better you can c r ea te melodies and "fill-ins" between the vocals or during the "breaks" . ...-::--:--::-:----=---:-----:-...,..,

@ 1Cutt Time 1

$~w

B L UE S SC AL E

(Twice as fast)l

r

1

v ~r

1

r -r r -r r &r 1

1

Chromatic 5

'- 3

,. J f

3 2

~j 2

1

I~

~

1

CJ 1 1

l

&J

t~

6

7

IJ #J

1

1 1

t

5

6

1

j

~j

1

2

1

1

l[g) ~

e 3 f2

1

A scale usually conslsts of l (G), 2(A), 3(8), 4(C), 5(0), 6(E), 7(Ff) , and l(G) again. The blues scale uses only l (G),

3flat(B~).

4(C), 4sharp(C#) , 5(0), 7flat(Fq),

and l(G). These tones can be used with I(G chord), IV(C chor(l) and V7 (D7 chord).

29

11

BLUE SCALE TONE IN G

@

IV

I

e

G

,. t J 3 2

l

t

lv

~

5 4

r

I

r

6

5

5

4

r 1

e

G

~v

IJ

1r

Ir

!' 1~v r

' ' ¡f i l *r f' 5 4

I G

~· -r

IV

®

V7 07

3 2

®

5 4

5 4

l

r

f r

IV

1

e

1r -r l v

1!

r

t'

5 4

5

6

5

4

5

4

f

! !

G

BF

1r

®

5 4

f f~

r @)

l®

¡ }

7

6

I G

1e

11

3 f 2

1

STEPPIN' OUT BLUES

e

G

@)

3

5 4

l

f

,. J ijj

® t~

2

f2 l~

1 $

5

6

4

5

¡ 1

I (J

&CJ

1 ~~

1 1

IJ 1 1

f

7 6

íJ

I CJ

~

6 5

1

@)

G

~j

IJ

2

3

¡ ·~~

1

30

5

f 1 e

07

G

3

e

G

' 1

fi

®

1 e 3

~ 1 f2

:11

The blues scale, as is , is not style, it is mechanical, the time is straight. Jazz and blues :m· not us ually "straight" but syncopated or adjusted around the main beat. When pla ying blues or .iazz, the muslc can be and should be changed to fit your mood.

LONG NOTE BLUES e

Tie (Do not r epeat second note)

IV................... , ................___...... ...

1; @ 3

2

1

1

1

1

...----...5

5

3

4 ---

t ;i:_ 1

07

G I-..............................- ....., .. ,.....

~ 8 3

1

te

e

•J

1

r

1"

3

t

31

f

G

07

l -.............., .. ..

V7-... ............ ...

Ita 3

4

-......4

f

V7-............. ............. . IV_... ................. .

~-=-

1 :¡,

.;

h

)1

1·1!9 5 4

)1

=11

A single note to a ll the notes or any combination of the blues scale can be used to create "solos" or "fills". "Fills" are bits of music (group of tones) that support the entire song . Usually exists between the vocals (words) or at the end of a musical thought.

BACKUP BLUES e

G

!................

IV

e

G 1

-

Fill

-

Rest Silence for ha rmonica

t)¡2

e

'# f'

-

Silence

5

e

07

5 4

;¡

10

IV

-

¿; 3

-

pJ

'*~ @

3

h

1

' =g

"r @

F "r 1r F

r@

G 1

Silence

~

*.

¡¡

1@

)¡

*~

1@

'

5 4

¡¡4 t~

3

h h;¡

0j

f

''=q f

G 1

3

4

V

@

3

1 IV_ ...... ........

~r .tr

liJ

3

f;¡2

5

07

V

~r

t. f' 5

5

5

4

4

4

f

¡ f

@

~

3

!2 ¡

The important thing to remember in creating "fills" is to always develop a pattern of notes. Repeated notes, groups of notes a lmost always work. Notice the pattern repeated in the above example.

32

11

Here are sorne examples of "fills" called riffs or licks . These ma y be r e peated through the 12 bars or u sed as a "back up" sound .

SINGLE NOTE RIFFS

®l

4

~

CP.j 3

16'# Quick

Slow

Quick

lu,Q X

11

(!J~

'

3 (No Bend)

----~f~ 2 ___®7 2~t~2~

'1 @

Slow

liJq 11 @) 4

4

i

e•e:e

Slow

#f]

1

_ ___;:5:...._---? ®

·----~ 3--~@~3~

1 \ 11

Qu lck

@)

4

~11

TWO MEASURE RIFFS

'i @

.

G Riff to G Chord

One count

{!

trest

G J J it 1

2

11 @

3

@

3

2

t G Riff to G Chord Am

2

3

' r @

5

4

f

r r

TJ 4

1

r

ar

7

6

5

5

4

6

6

5

4

4

3

t

t 33

3

¡ *~

7

t

@

11

3

D Riff to G Chord C G/ B

:P.r

G

¡

~

To Am

@

3

11

5 4

11

Always tap your foot steadlly and evenly.

STARTING BEFORE THE DOWN BEAT

@ 07

G

Count:

4

-

-

1

2

~

3

~

3 - 4 1

15

1

@)

-

8

{

t

~ 5

1 - 2 8

1

15@

-3 -

lli

1 t 1 G

e

G

4

-

~ .....----....3 5@3

notes

DUferent ways to use the same RUf or Fill.

l 1

t

2

~

3

5 c4.

3

5

3

f~ 1 t +T)

f

6

1

B

1

B

rf rt

S

1f

SEQUEN CE

®

G

~ 15615 @

3

1tfff1

® cb

rr r·~rr ft ;;; ~

o7

1

1.18· 11

@o

G

ft r F' Cla& ftf 1 1 8

6 1 6

5

c4.

Sequence can be used to lengthen a short melodic run. It is a repeated pattern, a short musical phrase at another pite h.

35

11

CHAPTER V Using the tapping foot while playing keeps the time or rhythm moving. Until now only quarter notes were the shortest sounds being used. This limits the music and its combinations. The next step is to divide the quarter or one tap in half.

E IGHTH NOTES

@

,. J

4 Taps

4 Taps

J J J

1

-

2

3

-

1

4

J J J J J J J J 11 1

&

4 Sounds

2

&

3

&

4

&

8 Sounds

)l=.tcount

n

= 1 Count

J=

1 Count

When the toe is up that is the half beat.

@

,. i J Tap: Count:

~

t

1

&

J ~

2

f &

J ~

3

t &

J ~

4

l

1

&

J J J J J J J J +

t

t

t

t

t

t

t

1

&

2

&

3

&

4

&

You can get twice as many sounds with the use of the 8th note.

36

11

EIGHTH NOTE BLUES e

1

G

r r r r 1tw

w

4

ltJ J J J J

G

I;Jl JJJ J IPJ?

#

07

~ r

e

rrrrr Ir

!5

55555

t

t111 f

uur

G

I JJw; ;

le

11

IMPROVISING Improvising is playlng an original melody based upon a known melody or set oí chords. You can improvise a known melody, or lt can be totally or iginal. Improvisa tional music is not usually wrltten down, but developed and crea ted on the spur oí the moment du r ing the performance. In playing jazz or blues what is actually wrltten down ls not necessarily what is pla yed. This book used stralght eighth notes so as not to coníuse the sight-reader . Sorne muslc is written,

/1 J. j J. j

and others

Jy )lJ.__}¡Jy )l. Thls is an attempt 1

to slmulate the swing oí jazz or blues. Always remember eighth notes are not to be played "straight" but with a swing or st roll when playing "jazz" or "blues". 37

Pla yed

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Practice the above r hythm skill until it becomes natural. It mus t be done wit h smoothness a nd give evidence of easiness.

38

=11

SWINGING BLUES

QY

IV

Eighth I ~est G

1

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The above tune is somwhat difiicult, but not impossible. Four (4) taps per meas ure

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=11

TRIPLET The triplet is used for variety in rhythm patterns. Triplet means three tones in one count.

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=11

CHAPTER VI Country licks are "layed back" or complementary to the lead player or singer. The country lick, a short melodic phrase, can be as simple is a single tone, oras difficult as one's capabilities. The following are sample licks that can be memorized, and used over and over on any piece of music.

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COUNTRY LICKS @ 07

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The r oma n num e rials designa te the chord in any key. In the key of G, 1 is G, IV is

e, V7 is 07 . Other names are tonic (I) (G), sub-
dominant (V7) (07). In t he key of A, A is 1, O ls IV, E7 is V7. In the key of B~, B~ is 1, El. is IV, and F 7 is V7. In the key of other keys are t he s ame as the above .

46

e, e is 1,

F ls IV and G7 is V7. All

COUNTRY BLUES IN 16 BARS

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As illustrated above "fllls", licks or riffs a r e usually played at the "breaks" or change of chords.

47

11

16 BAR CHORUS 1 G

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24 BAR AND CHORUS o·. e. =TO the begining al Fine= To Fine and stop A Section:

Q

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5 4

4

3

4

11

B Section:

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3-----a

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=11

P l a yed

W ritten

nn. n.n

CHAPTER VII

HARMONICA SHUFFLE

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11

CHAPTER VIII RED RIVER VALLEY 1 From thls

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AMAZING GRACE

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=11

CHAPTER IX TECHNICAL EFFECTS DOUBLE STOPS

When playlng fills or solo a technique callee! "double stops" can be used. It is borrowed from the tongue blocklng method , wherein you release the tongue to get 2 or S tones simultaniously. However in lip blocking, the tongue is not used in thls manor. While playlng a single tone, you open the llps to allow 2 tones to be played together. T hese tones are played very quickly, alternating draw-draw, blow-blow. The tongue separa tes the two draws a nd the two blows. Dlatonic only.

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'---Very Quickly

ur r~ter F Ir

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VIBRATO

The use of a waverlng tone can add depth lo your playing. This can be done by a rapid or slow opening and closing of the right ha nd and fingers over the back of the harmonica. The movement of the right hand and finger s must be smooth and even. Another way to create víbrato of the tone is to use the tongue . Put the tongue on the back of the lower teeth and arch the middle of the tongue up and down, as U you were saylng yah, yah, yah, yah, yah rapldly.

l@j

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1

v ·?r

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t 1 t 1

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2

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r

f

5

5

4

4

11

4

3 3h

1 ¡ l 1

TONGUE FLUTTER This is for blow notes. You make a whirring sound by vi brating the tip of the tongue against the roof of the mouth. T his sometlmes is designated by a "ft" printed in the music , but most of the time ls used a t the player s dlsc r etion.

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h

1

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5 4

ft

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i

GLISSANDO (DROP OFF, SLIDE, WHIP, ETC. ) DROP OFF This is a slide downward, but without a deíinite ending pitch. Sometimes this is designated with a note and a jagged Une downward. To execute this glissando, move the harmonica rapidly to the right after blowing and drawíng the proper pitch.

G

e .. ...

rr

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r

4

GLISSANDO UP This is the opposíte oC the drop o(f. It has no definíte endlng pitch. To execute thls move the harmonica rapldly to the lect acter playlng the proper pltch.

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G

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a .................... , . .

~

..,--'

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3

f2 ..........................

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6

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5 ...........

80

es

3 .....................

11

WHIP UP This is a sllde upward , but without a definite beginning pltch. You move the harmonica (usually 2 or 3 tones) to the left to the main tone to be played.

e

07

e &# ... t.;e

1

G

r r i4 r lit:)r ·t r 1~ 5

. ...- 5

07

4 3

3

4

t2

3

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4 3

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4

11

3

1'2

1

WHIP DOWN This is the opposite of the whip up. It has no definite beglning pitch. You move the harmonica (usually 2 or 3 tones) to the right to the main tone to be played. G

@

4 f··a U

11

SLIDE UP, SLIDE DOWN It usually moves from a definite pitch toa definite pitch. This technique

can move slower than the whip or drop oH.

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Fast \

G t low

3

h ....

.-"5 .-"4

r::>1

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1'2

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h

7J J J
11

TREMOLO Sorne books state that a tremelo ls a single wavering tone. This ls true on a bowed instrument such as a violln. But on a non-bowed instrument like the harmonica a tremelo ls created by the rapid alternating oC two tones usually a third apart. You move the harmonica back and forth from tone to tone very, very quickly. Thls can usually be mastered very quickly.

e

Tremolo

G

3

4

5

4

h

3

4

3

5

4

3

4

5

¡:::;::

6

TRAIN WHISTLE With a little practice this can be mas tered. This is a draw technique using boles 4(5) and 5(6) togethe r . You must use the hand vibrato technique to obtain the proper train sound (Woo-Wee). The hand is closed to cause the "Woo" and the hand is open to cause the "Wee".

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Woo-Wee

8

G

::>:

3

345 f2 3 4

¡ ¡! -....!/

6

Woo-Wee >

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e

e

11

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M

3 4 5 23 4 ~

82

6

11

AMPLIFIED HARMONICA Oí all the technlcal ef!ects that can be used, the ampllf!ed sound pro-

bably gives the most benefit for the blues sound. An amplüier wlth rev erberation will give that "spacy" or "far away" sound. Us ing a mlcrophone on a stand or in the hand will boost your harmonica sound above any band.

TRILL The trill is used with the chromatic harmonica. Using the push button slide, quickly pushing it in and out. (Tr.)

Trill

Chromatic

3

4

5

t l t t t

4

3

i l t

t t tt

3

4 @)

3 4

4

f

LISTENING Probably the most importa nt technical effect that can be mastered is listening to records. Also, playing along with those records are most useful in developing the blues style. Use the harmonica to mock other Instrumenta and other harmonica players. lmprove your ear so asto recognize lnteresting patterns and runs. This t echnique of llstening can be used to improve every aspect oC your playing.

83

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Blues Harp method for Diatonic and Chromatic Harmonica

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