Phil Duncan-Complete Chromatic Harmonica Method

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MEL BAY'S COMPLETE CHROMATIC HARMONICA ME-TH ODBY PHIL DUNCAN

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CD CONTENTS* ~

[I] Introduction/Page 5 [2:38] [2J Middle C/page 7 [:43] []]

C~/Page 8 [:55]

[Il Enharmonic Tones [:42]

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Ex. 50-A~/Page 34 [:26]

jgzJ Ex. 54/Page 35 [:27] [g§J Ex. 62/page 38 [:37]

W D/page 10 [:40] []] D::/Page 11 [:31] [[] The Natural Sign [:36] []] Musical Measures & E~ [:39] []] Ex. ll/page 13 [:22] [QJ E & Time Signatures/Page 14 [:31] [TI] Ex. 13 [:23] [1gI Phrases-Ex. 14, 15, & 16 [:45] [1]J Ex. 18/Page 17 [: 17] [11 Ex. 21/page 18 [:28] ~ Tonal Shading [:48] [1]] Ex. 26/Page 20 & 21 [:33] [Z] Ex. 28/page 22 [:38] [1]] Ex. 30/Page 24 [:32] [1]] Ex. 33/page 25 [:32] l2QI Ex. 36-37/Page 26 [:42] l21l Ex. 43/Page 29 [:32] l22l Ex. 44-Tempo/Page 30 [:47] 1231 Ex. 45-Chromatic EtudeiPage 31 [:55] I§I Ex. 47-Eighth Note/Page 32 [:33] ~ Ex. 49-Sixteenth Century/Page 33 [:52]

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Ex. 65/Page 40 [:26] Ex. 70 & 71/page 43 [:48] Ex. 73-C Scale/Page 44 [:35] Ex. 74-C Blues Scale/Page 44 [1:02] Ex. 76/Page 45 [:28] Sharps & FlatslPage 45 [:55] Ex. 83-Chromatic Scale/Page 48 [:24] Ex. 84-Coventry CarollPage 48 [:48] Ex. 87-Darl< EyeslPage 50 [:41] Ex. 94-C,D,E,F/Page 54 [:34] Ex. 100-Graceful WaltzlPage 57 [1:30] Ex. 101-Slide In/Page 58 [:30] Ex. 104-An Evening Prayer/Page 60 [1: 12] Ex. 106/Page 61 [:27] Ex. 109-Upper CrusVPage 63 [:35] Ex. 110-Twice as Much/Page 64 [:41] Ex. 115-Lower Octave/Page 67 [:27] A Song of IndiClJPage 68 [2:58] Whispering HopeiPage 70 [1 :45] Over the Waveslpage 74 [2:01] Irish Folk Song/Page 77 [2:10] Ex. 123/page 78 [1:18]

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Ex. 125/page 80 [:22] Explanation/Page 81 [1 :11] Ex. of Octaves/Page 82 [:18] C,D,E,F/Page 83 [:21] Danube Waves/Page 85 [1 :30] Bourree/Page 89 [:50] Cantabile/Page 89 [1 :22] Ex. 140/Page 92 [1 :25] Romeo & JulieVPage 93 [1 :55] Ex. 143/Page 94 [:29] Ex. 146/Page 95 [:54] Ex. 147/Page 96 [:44] Ex. 151/Page 99 [:27] Ex. 155-Aria in D/Page 101 [:40] Ex. 158-Key of B~/Page 103 [:29] Ex. 163/Page 106 [1 :06] Ex. 164/Page 107 [:49] Ex. 168/Page 109 [:29] Ex. 170/Page 110 [:27] Ex. 173/page 111 [2:34] Ex. 176-Key of E/page 113 [:27] Ex. 179/Page 114 [1 :07] Note from the Author [:28]

*This book is available as a book only, CD only or as a booklCDIDVD configuration. If you have purchased the book only, a recording (MB93890CD) of the music in this book is now available. The publisher strongly recommends the use of this resource along with the text to insure accuracy of interpretation and ease in learning.

4 5 678 9 O © 1983,2005 BY MEL BAY PUBLIGATIONS, ING., PACIFIC, MO 63069. ALL RIGHTS RESERVEO. INTERNATIONAL COPYRIGHT SEGURED. B.M.1. MAOE ANO PRINTED IN U.SA No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.

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PREFACE The objective of this book is to express as clearly as possible the fundamentals of music in a logical sequence as they apply to harmonica The job of explaining harmonica is not easy, but 1 am approaching the problem from the standpoint of an educator. Therefore, this book is a preparation of performing on the harmonica. Whether the music is for harmonica or other instruments a number of technicalities have to be explained. (1 have made every effort to keep technical problems to a minimum.) It seems to me that there is a tendency to exaggerate the difficulty of understanding music. Invariably some say they love music but don't understand it. These feelings are often not justified. Participation in a music instrumental group ultimately depends on the ability to read music. It is a fact that to have the ability to read music, to hear tonally and feeI rhythmically, what is seen in the musical notation, even before it is perfonned, seems necessary. It would be an error to assume that musical sensitivity will increase without serious study. Musical understanding must be consciously, systematically and carefully taught. The overall scheme of the preparation of this valuable book is being made available to the harmonica student and reflects the attitude that education and learning are not necessarily incompatible with the playing of harmonic;:a The, implications of this attitude are in themselves of enormous value, in so far as they may in time breakdown the barrier of "teaching" harmonica in our educational institutions. This book' s value is not only an implicit one but a practical one. Indeed this is its primary purpose, that is, to give the beginning harmonica student the rudimentary musical and theoretical tools that are needed to become a professional musician. Philip M. Duncan

In memory of my Grandfather, William Espy Butler.

TABLE OF CONTENTS PAGES 5-12 Introduction Musical staff Music notes C thru e b Dynamics PAGES 14-23 Music notes E thru gb Phrases Rests Tonal Shading Note values PAGES 24-31 Time signature Notes G thru a lst & 2nd ending Tie notes Tempo Musical form PAGES 32-37 Eighth notes Notes a# thru b flat Expression marks Incomplete measures

PAGES 67-77 Notes middle C ta low G Duet Relative minor PAGES 78-93 KeyofG Major scales Lower Chromatics Actual pitch Lines and spaces 6/8 Time signature PAGES 94-98 Key ofF Triplet PAGES 99-102 KeyofD PAGES 103-106 Key ofB flat PAGES 107-109 Key of A Parallel minor

PAGES 38-44 Notes b thru C Dotted notes Diatonic scale Blues scale

PAGES 110-112 Key ofE flat

PAGES 45-50 Notes C# The slide button Chromatic scale Cut time

PAGES 116-118 16 Hale chromatic Lower Octave Trill Grace note Glissando Listening Examination Dictionary

PAGES 51-57 Sharps, flats, naturals Notes C thru f Upper diatonic PAGES 58-66 Notes C# thru D Upper chromatic Sixteenth notes

PAGES 113-115 Key ofE

CONTENTS OF MUSICAL NUMBERS A Song of India . . . . . . . . . . . . . . . . . . . . . . . . . . .. 68

Jesus, Lover of My Soul .................... , 28

A Waltz from Schubert. . . . . . . . . . . . . . . . . . . . .. 41

La Donna e Mobile ......................... 114

A.ir ....................................... 42

Liebestraume No. 3. . . . . . . . . . . . . . . . . . . . . . . .. 92

American Patrol, The . . . . . . . . . . . . . . . . . . . . . .. 90

Long, Long Ago ........................... , 42

America, The Beautiful. ..................... 104

Mary's Little Lamb ........................ , 15

An Evening Prayer . . . . . . . . . . . . . . . . . . . . . . . .. 60

Menuet 1 & II. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 88

Aria in D .................................. 101

Michael Row Your Boat Ashore . . . . . . . . . . . . .. 41

Au Clair de Lune. . . . . . . . . . . . . . . . . . . . . . . . . .. 15

New World ................................ 28

Banks of the Ohio. . . . . . . . . . . . . . . . . . . . . . . . .. 37

Nocturne Op. 9, No. 2 ...................... 111

Bourree ................................... 89

O Come, AU Ye Faithful ..................... 108

Camptown Races. . . . . . . . . . . . . . . . . . . . . . . . . .. 47

Oh, Suzanna. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 46

Cantabile .................. . . . . . . . . . . . . . .. 89

Over the Waves. . . . . . . . . . . . . . . . . . . . . . . . . . .. 74

Ciribiribin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 95

Pathetique ................................ 102

Concert No. 1 in C ......................... 59

Prelude in A Major ......................... 108

Coo-koo Bird Waltz .. . . . . . . . . . . . . . . . . . . . . .. 66

Prelude in C Minor Op. 28, No. 20 ........... 112

Cornish Folksong . . . . . . . . . . . . . . . . . . . . . . . . .. 56

Romanze .................................. 77

Coventry Carol ........... '. . . . . . . . . . . . . . . .. 48

Romeo and Juliet. . . . . . . . . . . . . . . . . . . . . . . . . .. 93

Danube Waves. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 85

Russian Folk Melody........................ 109

Dark Eyes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 50

Sabre Dance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 49

Deep River ................................ 112

Secret, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 79

Etude in E Major Opus 10, No. 3 ............. 115

Serenade, Op. 134 .......................... 98

Fantaisie-Impromptu, Op. 66 ................ 106

Skater's Waltz ............................. 109

Fur Eloise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 72

Star Spangled Banner. . . . . . . . . . . . . . . . . . . . . .. 66

Graceful Waltz. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 57

Swing Low, Sweet Chariot ................... 102

Habanera from Carmen . . . . . . . . . . . . . . . . . . . .. 96

Toreador from Carmen ............ . . . . . . . .. 97

Hot Cross Buns . . . . . . . . . . . . . . . . . . . . . . . . . . .. 15

Unfinished Symphony ...................... 105

Hungarian Dance . . . . . . . . . . . . . . . . . . . . . . . . .. 86

Valse Lente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 76

1 Know ................................... 27

Waltz from Nutcracker Suite ................. 100

Irish Folk Song. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 77

Water is Wide, The ......................... 56

J esu, Joy of Man' s Desiring . . . . . . . . . . . . . . . . .. 93

Whispering Hope .......................... 70

INTRODUCTION This book deals specjfically with the chromatic harmonica. Learning the chromatic harmonica is a matter of absorption and internalization, therefore, daily practice is necessary.

OBJECTIVES The purpose of this book is to clearly, correctly and completely set forth a foundation for chromatic harmonica study. It is designed to help the student to think and feeI musically.

HOW TO HOLD THE HARMONICA Hold the ha rmonica firmly in the left hand with hole number one to the left. The left index finger should lie along the upper part of the instrument and the thumb along the lower part. The right hand should be cupped around the back of the harmonica with the right hand index finger posittoned on the slide button .

. PRODUCING THE SINGLE TONE A single tone is produced by blowing air through the instrument and by drawing air through the instrument with the use of the tongue to block unwanted holes. Place the harmonica comfortably in your mouth as though to blow four holes. Now bring your tongue forward covering all holes, then move your tongu,e to the left just enough to allow air to flow from the inside right of your mouth into only one hole. DO NOT LET AIR ESCAPE THROUGH THE SIDES OF YOUR MOUTH. BLOW AND DRAW T-H-R-O-U-G-H the harmonica, not at it. without tongue 6

7 8

9 10 11 12

DDDDDD VIBRATO

You can effect the sound of your playing by adding a wavering tone, called VIBRATO. Holding the harmonica in the left hand, close the right hand over the left. Now open and close the right hand over the left and a wavering tone will begin. As the right hand moves back and forth slowly, a rich mellow vibrato is the result. The heel of both hands should stay in contact with each other while the fingers of the right hand move back and forth. The movement of the right hand should be smooth and even. The left hand can also create vibrato.

ARTICULATION You need to develop a skill that will help to control and create the necessary accent and separation of tones. By using the upper lip to physically "bite" the harmonica, you will automatically create a quick and easy note separation skill called ARTICULATION. You MUST WORK each musical piece trying to develop this necessary skill. It must be learned slowly and gradually in order to develop this skill. As this skill develops, your playing will become clear and distinct, with greater efficiency to be able to play fast and accurate. The use of air control and throat muscles to develop articulation seems to work in the beginning but will lead to sloppy and unclear playing.

5

MUSIC FOR THE CHROMATIC HARMONICA

2

2

CHROMAT1C HARMON1CA 1S WR1TTEN ~ IN THE "G" CLEF OR TREBLE CLEF ~

THE MUSIC STAFF

staff

Some notes are

Some notes are space notes

line notes

ALL NOTES ARE EITHER LINE NOTES OR SPACE NOTES ~

Study the following notes and mark them or space.

f egOr j

J d'

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o

D W D D

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D

D

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or

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F

for line

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J

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DO DO O D D D

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DDODDDDDDDODDDDDD Study the following notes and write the number of the line or space.

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j

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D D

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IT

D O

F D u

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O D O

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F

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D D D D O D D O

D D

J r

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w

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D O D O D D O O D 6

CHAPTER 1 The 5th, 6th, 7th & 8th holes are played more often than any of the others. These holes respond easier than the other holes for the beginning harmonica player. Chapter 1 will concentrate on these four holes. TRIS IS A WHOLE NOTE. (o) IN MOST MUSIC TRE WHOLE NOTE RECEIVES 4 COUNTS OR BEATS. THE SOUND MUST LAST 4 COUNTS.

o = 4 Counts C ount: 1 - 2 - 3 - 4 Tap: ~ t • t ~ t ~ t

6

7

8

9

10

11

12

DDDDDD

THE U8E OF THE TONGUE TO BLOCK THE HOLE8 18 NECESSARY! ! !

The tongue* covers holes 2, 3 and 4.

MIDDLE

c

C is on the leger line or added line below the staff. It is a BLOW note on the fifth hole.

4

WRITTEN C -e~

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BLOW 4 COUNTS PER MEASURE

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=

Count: Tap:

double bar end of piece J

(BLOW NOTE, HOLE FIVE)

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(Hold ..... ) 1-2-3-4-

.t~t.t.t 5

5

5

5

t

t

t

t

7~ :11

r

two dots means to REPEAT PlECE

BE CARE FUL not to play hole 4. It will produce the SAME tone as hole 5, but will produce a different draw note. NOTICE: Hole 5 of the chromatic is actualiy high C on the 3rd space. This book notates this one octave lower or middle C. This is done for reading purposes. This helps to eliminate ledger or added lines, as well as to allow for a greater variety of music. * Your tongue may only cover holes 3 & 4. 7

ACCIDENTAL: It is a sharp ar flat that is not normally sharp ar flat. In the Key of C there are no sharps ar flats. If any appear they are called ACCIDENTALS. This is a sharp. (#)

6

7

8

rnoooo 9

10

Tongue must cover holes 2, 3 & 4.

11

12

WRITTEN C sharp

C#

#9"

C sharp is an the leger line below the staff. It is a BLOW note an the fifth hale.

Circle

i§L-Indica tes

f

Slide-in

BLOW

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4 i#~

Count & Tap

(Slide out)

(Slide in)

1#& 1-2-3-4-

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5

5

@

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t

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WHEN AN ACCIDENTAL, SUCH AS C SHARP, IS INTRODUCED IT MUST BE RE-WRITTEN IN EACH MEASURE OR THE NORMAL OR NATURAL C IS TO BE PLAYED .

ENHARMONIC WHEN TWO NOTES ARE THE SAME TONE OR PITCH, YET RAVE TWO DIFFERENT NAMES, SUCH AS C SHARP AND D FLAT, THEY ARE CALLED E N HAR M O N 1 C TONES. THEORY TIP: C sharp is an Augmented unison with the tone C ar a half step up from middle C.

8

II

C# (C sharp) AND D~ (Dflat) ARE THE SAME TONES OR PITCH KNOWN A8 ENHARMONIC ! ! !

6

Tongue covers holes 2,3 & 4

7

8

9

10

11

12

DDDDDD WRITTEN D flat

D~

&0

D flat is on the space below the staff. It is a BLOW note on the fifth hole.

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1

BLOW

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Count: Tap:

Isame tonej

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Islide outl -&

1-2-3-4-

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Ienharmonic I

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1& O

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5

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U8UALLY, IF THE TONE AFTER THE ACCIDENTAL 18 HIGHER THE ACCIDENTAL 18 A 8HARP. HOWEVER, IF THE TONE AFTER THE ACCIDENTAL IS LOWER THE ACCIDENTAL USUALLY 18 AFLAT. THEORY TIP: D flat is a minor 2nd from the tone C or a half step up from middle C.

9

II

TillS IS A HALF NOTE. (d) IN MOST MUSIC THE HALF NOTE RECEIVES TWO COUNTS. THE SOUND MUST LAST TWO FULL COUNTS.

d

=

o

d

TWO HALF NOTES EQUAL ONE WHOLE NOTE.

1-2-3-4 1- 2 -3 -4w hole note half notes

Slide out

8

Tongue covers holes 2, 3 and 4

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9

WRITTEN

D

d

o 5

D is on the space below the staff. It is the DRAW note on the 5th hole of the chromatic harmonica.

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THEORY TIP: D is a major 2nd from the tone C or D is a whole step away from middle C. Repeat sign

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c~nt} Tap

J J

1-2-3- 4 -

5

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IJ

5

5

5

5

5

5

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t

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5

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IJ

J

IJ

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IMPORTANT:

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You will notice that note C can be played in hole 4 or 5. However when air is being drawn in hole 4, it will not produce the note D.

4t J

Count: Tap:

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1-2-3-4-

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5

5

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J J

1 &o

1; J

1 - 2 -3 -4 -

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5

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5

5

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Slide il'.

DDDDDD

Tongue covers holes 2, 3 & 4

WRITTEN

D~

d#

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D sharp is on the space below the staff. It is the DRAW note with the slide in on the 5th hale of the chramatic harmonica.

#0

f

DRAW

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I

THEORY TIP: D# is an augmented 2nd fram the tone C ar a step and a hali up from middle C.

WHEN A NOTE HAS BEEN SHARPED OR FLATTED, IT STAYS THAT WAY FOR THE ENTIRE MEASURE.

!#J j 1; J liJ J IJ J I#J j @ @ @ @ J 1-2- 3 -4 @ @ 5

count &

J

Tap

5

t t

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t t

5

5

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J

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5

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II

t

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A NATURAL SIGN (~) CANCELS ANY PREVIOUSLY SHARPED OR FLATTED NOTE.

4

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Caunt

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1- 2 - 3 - 4 @ 5

t

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t

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SOME MUSIC WILL ADD THE NATURAL SIGN EVEN IF IT JUST CLARIFIES THAT THE NOTE IS lNDEED NATURAL.

4!

Count & TaE

5

5

1 ~o 1-2-3-4-

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@

5

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1

1& o

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rs NOT NECESSARY. IT

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@

5

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MUSICAL MEASURES

TRIS LINE RAS 4 MEASURES 1

2

4

3

I

I

II

tMeasure bars j

measure

measure

ROW MANY MEASURES ARE TRERE IN THIS LINE?

II Answer

D

DYNAMICS The Language of Musical Expression The Italian language is used throughout the world to describe dynamic expression of music. LEGA Ta: Play smoothly and connected ANDANTE: Slow; walking speed MODERA TO: Medium speed ALLEGRO: Fast PP: Pianissimo means very soft P: Piano means soft MP: Mezzo-piano means medium soft MF: Mezzo-forte means Medium loud F: Forte means loud FF: Fortissimo means very loud

12

E FLAT AND D SHARP ARE ENHARMONIC TONES.

6

8

9

10

11

12

DDDOLD

E~

e~

4

E flat is an the first line of the musical staff. It is a DRAW NOTE in the 5th hale of the chromatic harmonica.

,

~o

f

DRAW THEORY TIP: E flat is a minor 3rd from the tone C ar a step and a half up from middle C.

~~TO~

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C ount &

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Count

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1- 2- 3- 4-

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TRIS IS A QUARTER NOTE: ( IN MOST MUSIC THE QUARTER to NOTE RECEIVES ONE COUNT. THE SOUND LASTS ONL Y ONE COUNT.

f

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iT j

J

1-2-3-45 S S 5

t t t t

J J r~ =:-:-,.

13 3 3 3 1&3 3 5

5

S

5

J

J

J

J

t f t t

@lModerato

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, i ;0>

Va

a 1 J J 1 ; 1; J ~J 5

t

S

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faur quarter notes equal one whole note 13

5

t

JJs: 5

II

5

r

II

o

Whole Note

d

Half Note

J

=4

=2

Quarter Note

=1 Slide out

1

2

7

8

9

10

11

12

DDDDD

D Tongue must / cover holes

3, 4 & 5.

WRITTEN

E

E

o

r

E is on the bottom line of the musical staff. It is the BLOW note in the 6th hole of chromatic harmonica.

THEORY TIP: E is a major third from the tone C or two whole steps from middle C.

@

Quarter Note Value: One Count

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Count &

Tap

I J J Ij J I J JJ J 1) J J

I

o o 1-2-3-46

6

6

,~ ~ ~

5

~

t t

1

1

5

6

5

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I

5

5 S

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5 5 6

II

5

tJt

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CHROMATIC TECHNIQUE @

Moderato

f iWS

Count

&

5

Tap

@ 5

t t

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'J #J Ci) 5

J

@

J

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6

l

t

5

J

°The tongue need only to cover the number of holes necessary. 14

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5

t t

5

r

II

PHRASES When reading or listening to the written page, a person does not concentrate on each letter. We listen or read each complete thought. As with music, single notes are meaningless. But when those notes are arranged in a musical thought process, otherwise known as musical senfences called "Phrases", music develops a definite meaning. Learn to THINK and PRACTICE music phrase by phrase.

MARY' S LITTLE LAMB

1 117-;-----------J 1; J J I J J J I Î) ®

ist phrase

Moderato

W

655

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t

5

f

6

6

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t t t

+

5

5

5

6

6

6

i 1

t

t

6

r

2nd phrase

jz7Jj f 5

5

6

J IJ J J J I J J J

t i t

5

6

6

+

t

t t t

5

6

5

5

6

+

+

t

JOs: 5

5

+

r

II

HOT CROSS BUNS

, i J'f]j

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Moderato p

Ist phrase

2nd phrase

IJ J

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a

5

5

6

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5 5 5 5

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6

ttt t i i i J t

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1

AU CLAIR DE LUNE @)

Allegro

phrase

'Of!

f i1 7 ; 2

5

5

5

J IJ 5

t t t i

1; J J

J

6

5

5

t

J

f 15

6

t

5

+

r L: 5

5

+

r

Repeat ~

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i

STEM MAY GO UP OR DOWN

f

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J J JJ i

I

~

r

I

Middle line stems may go up or down

Below the middle line the stem goes up

r r

F ~

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II

Above the middle line the stems go down

CHANGE TRESE WHOLE NOTES TO QUARTER NOTES

o

"

o

o

"

"

o

"

o

o

o

o

II

()

o

RESTS (SIGNS OF SILENCE)

Whole Rest

Half Rest

-

-

Equals 4 counts or equals a whole measure

Equals 2 counts

E quals 1 c ount

3 counts per measure

Draw the bar lines:

- -

Quarter Rest

î i î -

II

16

- i -

- î i

L

1/

{

Slide in

~=1~==2~~~~~~~=7~==8~=9~;10~=11~=12~~

O

DDDDD

Tongue covers holes 3, 4 and 5.

E~

WRITTEN E#

E Sharp is on the lst line of the staff. It is a BLOW note in the 6th hole of the chromatic harm~~mica .

®

Î BLOW

THEORY TIP: E# is an augmented 3rd from the tone C or two and a hali steps up from middle C .

@

f

f #0

Count: Tap:

I#J

J

I,W J

@

@

®

® ®

1

r

t

i

I

J I,e

1-2-3-4-

.t.t.t.t

®

®

t t

t

t

SLIDE IN

@

, i a/4

1#;]

j

@

@

I,J J 1#;]

j

Count

.fap

@

@

t

t

! 1

®

t

®

t

@

==----

'1:

@

@

1 l

t

II

E# AND F ARE ENHARMONIC TONE8. 8lide out

1

7

2

8

9

10

11

D Tongue covers holes 3, 4 & 5

WRITTEN

F

f

I~

n

F is on the lst space of the musical staff. It is a DRAW note in the 6th hole of the chromatic harmonica.

t

DRAW

THEORY TIP: F is a perfect 4th from the tone C or two and a hali steps up from middle C. THE DRAW F I8 U8ED MORE OFTEN THAN THE E# BLOW NOTE!

@

4

i

Count: Tap:

-=

;[

LJ

1-2-3-4-

j tJt ~ tJ t 6

6

1

I

r

Count &

J6 t Jt 6Jt 6~ t

6

l l

J

I

i,

6

6

1 'I

1

JZY J

W J IJ IJ #J il@ @ t i t 1 t 1 t t 1 1 t J f 1 - 2 5

J IJ J J 3 - 4 -

6

6

5

6

5

5

6

6

6

11 5

I

5

~

I

FLATS Andante

4i J/iJ J J n~

Count Tap

S

SHARPS

5

Tap

&

I J J ---I

Moderato

~I

@

J7lJ

i

1-2-3-4-

1-2-3-4-

~i~tlt~t

6

®

J J?J

1 - 2 - 3 - 4 -

6

1

@ ~

5

5

t I

~

IpJ

@

5

@

6

6

t

IJm J 5

I

i I t I

18

~

$) @

5

t t

II

DOTTED NOTES

J.

= 3 counts

IN MOST MUSIC A DOTTED HALF NOTE RECEIVES 3 COUNTS. THE SOUND MUST LAST A FULL 3 COUNTS.

Rule of the Dat: The dat is worth hali as much as the value of the note.

10 = 4

o . = 6/

td = 2

d.= si EXAMPLE

J.

-1-2-3-

J.

-1-2-3-

J J J 1 - 2 -

J 1

J

3 -

Count: Tap:

J

- 2 - 3 -

II

1-2-3-4-

.t.t.t+t

r

6

+

TONAL SHADING The melody of a piece of music can be constantly changed in "thickness ". This is the beauty of the harmonica. With more ar less air pressure applied ta the harmonica a distinct "thickness" ar "thinness" of sound may be obtained. This change is sometimes called the intensity of the tone. By using this effect (contrast of "thickness" and "thinness" of the tone) you can add "color" ta your sound, making it more interestingfor playing and listening. Also by changing the shape of the mouth cavity (embrochure) tonal shading can become an important and exciting part of tone development of the melody.

19

FUNWITH 3+1

J I J. C ount

?

-e-

1 - 2-3- 4 -

&

5

5

t

Tap

-=

~ J. J ?

+

r

I j.

------

5

5

~

6

5

5

6

1

t

r

I

f r

......-:::

I

t t

r

J J. I

t

5

5

5

5

37'1

6

6

~

-----........

Z

5

6

J 1d.

5

1J j. J I J.

6

~

J

6

6

1 -----J~

• l

l

J

s, I -eS

6

5

f

t

I

ALL IN THREE @

~-----71

Andante

Count

1 - 2 - 3 5

&

Tap

-

5

r

1 »II

~ '1 J J I } J=--g Ij

7

6

5

5

t l

~ -;1 J ) t

5

5

f t

5

l l

t -.

6

of rest

------------~--

p

Ii

j?§ 5

~

6

6

6

6

6

t

t

l

J

1

J I î J gSI

5

t

J

t

i

IJ

W

J Ii

rO

6

5

5

5

t

t

i

6

t l

ALWAYS TAP YOUR FOOT 20

~

5

6

f

count

6

6

l II

Slide in

~=1=v=2~~~~~~~==~8~=9~1=O~=11~1=2=!TiJ,

D

DDDDD

F#

WRITTEN

f#

II

F sharp is on the first space of the musical staff. It is a DRAW note with the slide in on the 6th hole of the chromatic harmonica. DRAW

@

THEORY TIP: F# is an augmented 4th from the tone C or three fuU steps up from middle C.

3 1#u c~~~gt·:I. #"1~ -t 2~ -t 3+-t 4+-t I#d. 1~ -t 2+ t- d3+ t- 4+ -t 1#31+ -t 32+ -t 33+ -t 34+ -t I#J. 1- 2- 3 - 4 + t + t +t + t @

@

@

®

@@@@

®

1

1 r

+ + + +

1

mi

~ ! i J Ij

COE nt Tap

l

Co~nt _Tap

J Ij

1-2-3-

5

t @

~

5

6

i

t

6

1 t

p

El

I~

...--

r f

6

t

~J 6

l

@

@

~

1

Ij ul

I

). I

6

5

5

t

+

r

mi

t J/ ---- j 1 - 2 - 3 - 4 5 6

I

1

J #J ijJ &J IJ 6

,

6

f

f

5

II 5

r 21

F# AND G~ ARE ENHARMONIC TONES Slide in

1

2

7

8

9

10

11

12

,

DDDDD

D Tongue covers holes 3, 4 and 5.

G~

g~

II

G flat is an the second line of the musical staff. It is a DRA W

t

note with the slide in on the 6th hole of the chromatic harmonica.

DRAW

THEORY TIP: G flat is a diminished 5th from the tone C or 3 full steps up from middle C.

@

G flat draw in hole 6 with slide in.

4i

bo

Tap

@

Count &

IpJ J J J I~J ®

~p

@ @

®

®

i i i l

(enharmonic) same tone

, i 'o

Count

I~J·

®

®

1

1

J I~o

I

1-2-3-4-

1 @

J

1#0 ®

1

1

t

@

1

DOWN BY HALF-STEPS

I~n

1-2-3-4-

®

l

®

o

6

6

1

t

I.~o

o

@

5

1 22

1

1&O

-&

@

5

t

t

I

NOTE VALUES

,. J. I d r J

O

1 Count

2 Counts

3 Counts

4 Counts

Quarter Note

Half Note

Dotted Half Note

Whole Note

IDENTIFY THE FOLLOWING KIND OF NOTE: W for Whole Notes, DH for Dotted Half Notes, H for Half Notes, Q for Quarter Notes.

-

-

r r

" j r -.lL.JL _ _ _ Y:L _

4 r. J

n

j

J

F J

o

n

n

DH _ _

r " r' j r " j

J

o

r j. r "

II

-----------------IDENTIFY THE FOLLOWING NOTE VALUES. (Counts)

"

J

r

J

o

J

r r o

" r r

o

J j.

4 1 3 2 -------------

J

r r J " J r J J r' j r j o

23

o

r J r'

II

2

1

3

8

10

9

12

OOD

DO Tongue covers 4, 5 and 6.

11

~ ,.-----------.

G

WRITTEN G

f

G is on the second line of the musical staff. It is a BLOW note in the 7th hole of the chromatic harmonica.

II

o 7

T

BLOW

THEORY TIP: G is a perfect fifth from the tone C ar three and a haU steps up fram middle C.

@

G IS A BLOW NOTE

fi

Count & Tap

@)

':j

o· 1-2-3-4-

lid

J

I J.

J IJ J J J I o

Jt~t~t~t

7

7

7

r

t

t

1

7

4111 IJ

J

I(J

1-2-3-4-

5

5

6

6

7

=--

6

S

'

(§) @

5

ap

@

1

SLIDE OUT

IJ qJ p'-e-

®

7

I

5

6

t 1 t 1 t t r

'»fI

4I iJl J I J J J J I J J J ilo.

Co~nt T

7

7

t t t t t

W;J I#J #J

J I-e-

t 1 t 1 t t r @

7

SLIDE IN

SLIDE OUT

Count & Tap

7

7

II

1- 2- 3- 4 -

, ,

= Breath

b~J t;;;\.

5556667666665

tt!t !l tl t t~ t r 24

\91

~

5

viJ @

l t

--

5

r

I

TIME SIGNATURE

3 2

{ tells the number of } counts per measure

4

{ tells the kind of note} that equals one count

Of

Il LI-

ACCENT (:::»: To help the rhythm (pulse of music) move along use an accent (::» (to make louder) on the first count. ::> . ONE, two, three, four

@

ro(

~ i ]1

eount & Tap

@

::>

~J

1 - 2 - 3 - 4 -

5

5

i

J

1

I

two three, four

,

=

IJ

1::> ONE,

::>

1]1 ~J

)

ETC.

5

5

5

5

r

f

f

+

T)

J I~J

1t 1 7

5

5

J

1

I

::>

THREE TIMES (ONE, two, three)

Accent (::» first count

~

~

== ! jfj J IJ

Count & Tap

>

1 - 2

5

5

f f

-

w

J I~ J

3 5

6

6

6

J

f

i

J

7

7

t t

~J

::>

1

6

6

5

J

f

J

::>

TI

& Tap

,

-J

=::.--,

Count

1 - 2 5566

t

J

t!

l

776

f

r ::>

I ONE, two IONE , two)

'eY

14 fl7J3---1J"""'-W-I

II

5

::>

PLAY IN TWO (O NE , two

t§'A\ (Accent on the first count) Modera to

uTIl

IJ J

t

::>~::>

I id I J J I J J IJ) I ::>

6

6

6

7

t

i

J

t ! f

AL WAYS PLAY TO YOUR TAPPING! ! 25

::>

6

6

5

5

J

f

1

2

3

DD

8

9

10

11

12

DODO

~--------,

Tongue covers 4, 5 and 6.

Written

G#

~

G sharp is on second line of the

musical staff. It is a BLOW note in the 7th hole with the slide in.

G#

II

10

r

BLOW THEORY TIP: G# is an augmented 5th from the tone C or up four full steps from middle C.

@

~ .! .le1- 2 - 3 - 4 - Ii J J 1,;;; J 1,;'1 - 2 - 3 - J4 - I,e 1 - 2 -3 - 4 1 - 2 - 3 - 4 ~ t ~ t~ Î ~ t ~ Î ~ t ~ Î ~ Î ~ t ~ Î ~ t ~ Î t Î~ Î ~ Î ~ i C o~nt: Tap:

f

t t " ff f t T SHARPS GOUP

@

4i 1.

C ount &

Tap

Ip

I j.

@

5

@

J

r

1-2-3-

5

t

t

4~ ,;. &

Tap

I J.

I#J.

I j.

I,J·

6

6

@

7

(j)

I

J

J

t

I

It]. I j.

I

FLATS GO DOWN

@

Count

I

I~J.

IbJ·

I d.

I j.

I&;J.

I J.

I&J.

11.

@

6

6

@

5

@

5

J

f

J

r

I

f

1-2-3-

(j)

t

7

t

1

26

II

REVIEW OF THE HALF REST

@

-~ -

j

i

Count

,

&

Tap

1 - 2 silence

IJ

3 - 4 -

I

-

IJ

J 5

1 - 2 - 3 - 4 silence 5

Î

J

I

e

7

t

t

I

o I

6

I

FIRST AND SECOND ENDING: Play the first ending and repeat then skip the first ending and play the second ending.

@

~

nt:j? J J

Am

Ij 5

5

f t

5

~

t t

t

Am7

'»fI

5

6

t

t t

Dm7

rlU J 7

5

5

G7

IPa

J IJ J J J

10 J

6

pDm7

6

i

5

6

6

6

f

~

t J C

Em

~

1 KNOW

Andante

777

t t t t

I 1st ending

G7

O IJ J J J 7

5

5

5

6

6

t

t

t

+

t

+

6

mj 6

t t

t

II

:117)

5

5

J

•t

THE TIE NOTES

I

2nd ending

t

5

Tied notes are two ar more notes of the same pitch connected by a curved line that can lengthen a continuous sound.

J. J= ""'--'"

4 counts of continuous sound

J. J = 5 continuous counts of sound

J. J'-'d =

}'~J~J '---"'" ""-"""

---

J

=

J=

o '-""

_ _ _ _ counts _ _ _ _ counts _ _ _ _ counts

ONLY THE FIRST NOTE 1S SOUNDED. DO NOT RESOUND THE SECOND NOTE, ONLY HOLD FOR THE TOTAL VALUE OF BOTH NOTES. 27

II

1

2

3

00

8

9

10

11

12

DODO

~----------,

Tongue covers 4, 5 and 6.

,

G# G sharp is an second line of the musical staff. It is a BLOW note in the 7th hale with the slide in.

Written G#

II

10

~ I BLOW

THEORY TIP: G# is an augmented 5th from the tone C ar up faur full steps from middle C.

@

~ :1'0 1,;];] I.J J J J I,J1 - 2 - 3 - J4 - 1'0 . 1 -2 - 3 - 4 1 - 2 -3 - 4 - 1 - 2 - 3 - 4 COg;nt: Ta p :

~ Î ~ t~ Î ~

(!)

t ~ t 1î ~ Î ~ t ~ i (j) (j) (j) (j)

t t i ~ î~ t ~ î ~ î ~ Î ~

t

(i)

(!)

t

t

Ci) (j)

t t t

f

t

f

~ i J. liJ. I J. I#J. I J. I d. I#J. &

Tap

1-2-3-

5

@

t

t

5

r

, i Il &

Tap

t

@

1

I j.

I,J· ®

6

6

®

7

t

1

1

t

I

II

FLATS GO DOWN

@ Count

(j)

SHARPS GOUP

@ Count

I

I_J

I~j·

I d.

I j.

I~;j.

I J.

I&J.

I~J

®

6

6

@

5

@

5

r

f

r

J

r

I

1-2-3-

(j)

t

7

t

J

26

II

REVIEW OF THE HALF REST

@

:~ i -

Count

I

&

Tap

1;

j

1- 2 - I 3 silence

- 4-

ti

IJ 1

7

6

5

5

t

i

t

J

-

II

o

2 - ,3 - 4 - , silence

6

t FIRST AND SECOND ENDING: Play the first ending and repeat then skip the first ending and play the second ending.

@

:~

1 KNOW

iJtr J .J Andante

Am

n/ 5

5

f t

5

~

t

5

t t

7

7

5

t

t

7

t t t

i

6

6

t t t

6

~

5

6

t

J

C

j

7

6

t

Am7

mf

7

5

5

6

G7

1 IJ J J J lE]

IJ J

, J':J7J J IJ Em

pDrn7

Dm7

I 1st ending i

G7

1 IJ J J J Q?j 5

5

t t

6

~ t

6

6

6

5

+

t

t

J

II

fn

I

2nd ending

5

i

5

~ t

THE TIE NOTES Tied notes are two or more notes of the same pitch connected by a curved line that can lengthen a continuous sound.

J. J= 4 counts of continuous sound J. J = 5 continuous counts of sound ""'--"'"

J. d--d = J~J'-/J ~-----

_ _ _ _ counts

= _ _ _ _ counts

J--------o J =

_ _ _-'-o

'-'"'"

counts

ONLY THE FIRST NOTE IS SOUNDED. DO NOT RESOUND THE SECOND NOTE, ONLY HOLD FOR THE TOTAL VALUE OF BOTH NOTES. 27

I

NEW WORLD @

A. Dvorak

Allegro

Dm

rfJ~q 10 ~

Count & Tap

6

7

f

t r

6

5

~

r

567

1

! iri 1

6

7

t

f

I J. J I -e-

7

6

1

r

~

5

r t

1

::::-----..

II

-------

5_____.5

f

r

r\

-e-

~

5

5

6

1

C

IJ J I J. 1 I

5

5

6

G7

Dm o

G7

5~

5

C

~ ;<1 I

Dm

I j J I J J 10===-tt

I J. J I-e-

7

G7

1

1

JESUS, LOVER OF MY SOUL

, 2 J'z J IJ

@

Moderato

mpC

Count &

--=

6

6

r

t

Tap

1

J Ij

6

5

r

f

G7

C

~?f

G7

5

l

J

d.

o=-

5

5..--

r

r

r

6

+

r

r

~3,

Ij?Q

5

6

r

f

6

IW 7

t t

---

Ej

i Ij?

-...5

J IJ

J 'I

6

6

7

t

r

G7

C ritardando _ - -

J

I j.

I (J.

6

6

5

t

1

----...."

J

G7

Ij 6

t r

f

28

W

6

6

G7

i

G7

mpC

(slow down)

C

IJ

~. 5

------t

6

~~

5

C

1).

wtfC.c:::

1 IJ

12, ---

5

5

J

J

- -

- - - -

5

i

C - - - - - - -

TlJ ----

5""---""'5

f

1'1

1

î II

G# AND Ab ARE ENHARMONIC TONES

1

2

8

3

DD

9

10

11

12

DDDD

Tongue ~ covers holes 4, 5 & 6

Ab

~

A ilat is located on the second space of the musical staff. It is a BLOW note in the 7th hole of the chromatic harmonica.

&0

II

ifL

1

BLOW

THEORY TIP: Aflat is a minor 6th from the tone C, ar up a fuU faur (4) steps from middle C,

,t

@

I&j

Iz"

J II,J J J J lud,

J Ibn

II

1-2-3-4-

Count &

(î) Ci)

r

enharmonic 1 same tone I

@

4 ilz

n

®

f

®

f f ft tf

(7)

Tap

1'0

f

(Slide out)

1_0

t

f

fi)

r

(Slide in) ()

1'0

1&0

O

7

7

(î)

(?)

7

J

f

r

t

f

TEMPO

The definition of TEMPO is tirne. A steady, even tempo is mandatory for the rhythm ta work. You cannot stop in the midst of a musical piece, Therefore, it must be practiced until it can be played without any hesitation. 29

II

2

9

3

10

11

12

DODO

Tongue covers holes 4, 5 and 6 WRITTEN

A

a

II

()

A is on the second space of the musical staff. It is a DRAW note on the 7th hole of the chromatic harmonica.

7

T

DRAW

THEORY TIP: A is a major 6th above the tone C, or 4 and a haU steps higher than middle C.

@

,t

Count & Tap

DRAW IN HOLE 7 Ci

IJ

IJ J J J I J.

j

j

il

7

7

II

1-2-3-47

1

7

7

7

r

r

~

7

~

7

~

7

7

~

1

~

1

MUSIC FORM Music patterns are very important for m'J.sic to make sense. Without this, organization of tones becomes individual sounds without direction. Look for these musical patterns, it will help sight reading and musical interpretations.

A MUSICAL PATTERN

~ J J J II J J J 111 J 30

J

II

J J J II J J J

II

REPEAT AS SEEN IN MUSIC D.C. al fine

To the beginning { To the tap To the Head

Da Capo

D. C. al fine means: Return ta the beginning of a selection and play to fine.

{ Finish End of piece

fine

CHROMATIC ETUDE @

Andante

E7

Am*

C

p

~2 II: fa J ~J J J 1; J J I#J 6

t

6

6

~

t

,

6

6

6

f i

6

t

t

+

D

,

6

1..-:=

6

f,

____ ~
IJ J 6

6

t

~

6

6

~

t

" f 7f7 '67666 '66 C

EJ

,

liJ 6

6

6

t • f

6

t

E7

1

Ifa J IJ

6

t

~

,~

6

t

+

#J ,J

t

fa

6

6

f

i

II

7

1

J liJ J J I J J J I#J J --a f

C

1

i

P

666

~

Fine

--sFj

E7

1 f?3 ~

6

6

6

Am

t

Am

f

6

f

6

6

l

t

Am

rit. _

E7

6

~

6

f

- - - - -

,

E7

- - - -

6

6

t

l

- - - D.C.

B~J J bJ ,J J I &J I I #J J J - - ~ t ~ ~ f t f t 6

* Guitar Chords

6

,

7

31

7

,

6

7

al Fine

:11

@

, fi

---

Pattern #1 ~

J J

5

5

6

5

6

~

f

J J I J J J I J. t t f f l 1

IJ

i

f

6

6

6

7

6I

Pattern #2

~

J§] J IJ J J 7

7

7

1

t i t

7

J J

IW

6

6

6

J J II t ~ f

IJ

6

5

6

J t l t ~ EIGHTHNOTE

t

JJ=

1/2 count

--

~

J ~. JJJJ =d 1

=

&

SAME

1&

n

TO EQUAL ONE QUARTER NOTE

1 & 2 &

=

&

AN EIGHTH REST lS A HALF COUNT OF SILENCE., =

1&

JJJ~=J

1&2&

J

t -+N J 1

5

5

IT TAKES TWO EIGHTH NOTES

THE BASIC COUNT or BEAT may be sub-divided into two parts: a down-beatandanup-beat

j) +)J

I

1 &2&

J

j

1&2&

@

~ i Count: Tap:

WWWWW 1 & 2 &

IJ J J J j

IJJJJJ

3 & 4 & 1 & 2 & 3& 4 &

IJJJJJ

1 & 2

& 3 & 4 & 1 & 2 & 3 & 4 &

7

7 7

t

+

t +t + t + t • t +t • t + t • t • t +t + t + t

7 7

7

7

+

7

7 777 7

f f t f r

7

7

7

7 7 7

f t f ff

US1NG THE TAPP1NG FOOT YOU WILL RECOGN1ZE THE "HALF" COUNT WHEN THE FOOT (TOE) 1S UP.

J

J

J

J J

J

J

J

~~~V~VQ:::,V q

&t

2i

3~

&t

32

II

&

t

4~

&

t

~

7

t +t

EIGHTH NOTE STRATEGY @

t lJ Count:

J BJ IJJJJJ J IJJJJJJJJI

1

& 2 & 3

* t

Tap:

7

~

t

7

&

~

4

&

1

~

tit

777

, J nj

&

2

& 3 & 4 &

~

t

~ t ~

t

77777

1 &

~

t

7

&

& 3

~

t

&

* t

t

nlu

~ t

1 & 2&3& 4 &

UJj

1&2& 3&4&

1&2&3

7777

7777777777777777

~t~t~t~t ~t~t~ t~t

4 &

77777777

IJ J JJJJIUJJ J &4

2

I

1 &2 & 3&4&

~t~t~t~t

~t~t~t~t

I l ll++ ftf r lS f tfr

f tfr

SIXTEENTH CENTURY @

Andante Am Em

Am

Em

B

iEm7lZ1'5 ) ~ i J~ J ~ I J #3

Em

J

U

Count: 66677'67

t t ti

1

Am

,-----

E

J

9

1

Am

B7

l'1J

Em

J J

#J

D·

-

6

7

f l

B

Em

7

,t t, 6

lia J

î

7

6

I

t t

Em Am Em Am

Am ----.....

J J J ,J I J.

7

t t

t

6

6

6

f t t

7

7

f t 33

Em

B

Em

J I J #J J 7

7

J

f

Am

uil J

f ~

r

E7

,

7

~

J

7

l

f

7

t t

Am

J J tJ 3"i·

7

6

EI

7

1

II

1

2

DD

8

3

Tongue must cover holes 4, 5 and 6

9

10

11

12

DDDD WRITTEN

A#

a#

A sharp is on the second space of the musical staff. It is a DRAW note in the 7th hole with the slide in. DRAW THEORY TIP: A sharp is an augmented 6th above the tone C, or 5 full steps above middle C.

@

,t

(Slide in)

Count: Tap:

,i

#0

I#J

,

I#J j J J I#J JJJJJJJI#J J a~ 1 &2 &3 &4 &

r

+

I ~: I ~l I~: I

SLIDE

6

5

#-e(5)

I

II

t +t • t +

j j 9~19 '9m?T9 111

®

,i

j

,

1#o

1

#0

1

I~5 1

#"

1

j

f SLIDE

@

7

(6)

j

IN

I

E f 6

I

~I 7

#0

1#0

f

J

o

"

OUT

o

"

5

6

6

7

7

J

t

1

r

1

-&-

o

5

1

34

I

II

A SHARP AND B FLAT ARE ENHARMONIC TONES

1

2

8

3

9

10

Slide in

11

12

DODO

DO

~

T ongue covers holes 4, 5 & 6~-----~---------.

B~

WRITTEN bb

~o

B flat is on the 3rd line of the musical staff. It is a DRAW

f

note in the 7th hole with the slide in.

T HEORY TIP: B flat is a minor 7th from the tone C or 5 full steps above middle

C. (NOTE! ! ! B flat is used more often than A sharp)

@

.,

t~ ..

I~r

1&2&3 &, 4 &

Count: Tap:

1

j ~

~~

mf

X

Count &

Tap

r r r IT j j rre rr 11 r r

11;

IJ

.f.t.f.f

1&2&3&4&

.f.f.f.f

1'~1 ~'fr

J I J.

I~r'

IJ

W

J Il)

7

7

1-2-3-

5

5

6

6

t t t

t

t

5

II

7

7

7

t t t

r 35

6

5

t 1

1/

INCOMPLETE MEASURES The first and last measures are incomplete.

Count:

IJ J J

J

IJ

IJ

W

4-

1-2-3-4-

7

7

7

7

t

t

I

i i t t

1-2-3-4-

1- 2 - 3 - 4 7

7

7

I J.

J

II

1-2-3-

7

7

7

t

t

t I

When the FIRST measure does not contain the number of counts as shown in the time signature the remaining counts can be found in the LAST measure. Even though the music begins on the 3rd or 4th beat, be careful to ACCENT the first beat of the next measure.

ACCENT IN THREE

@

fine (stop)

Moderato

flJGJJJ

C ount &

3 -

1 - 2 - 3 -

1-2-3-

5

6

7

6

6

! l l

t

Tap

II 7

t t

;::,.

7

7

J

J

t 1 t t t

~& J'iJ IJ J 11 J J

Count 6 Tap

6

7

t t ~

7

;::,.

5

6

t t t

1-2-3-

7

J.

6

6

7

r

t

!

r

7

i

-; .- -tiT

1-;]·

5

6

; !

;

f

t

D.G. al Fine t

rit. _ ::::.

::::.

1

6

6

I

;'1 t r

Repeat) i

:111

I

- 2 -

I i

f

.~

SHORT BOOGIE

0 ~I J J t l 5

5

Cm

I~J

i

G7

Cm

j

IJ

5

5

!

1 36

Cm

G7

J 1 J J J ~J 1; 5

J

6

7

t t

5

J

,

5

r

:11

PATTERNS IN THREE

@

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p~~

~2

l

J

W .J

IW

6

7

5

7

7

t

J

t

JJ

J 6

7

J

t

J

t J t

W

j

6

6

6

6

5

J

t

J

1

t

1

5

t

l t

w

J

J

J J IJ J

5

1 '~

D

5

)/8

6

6

J TI

mf

J J---------I~

IJ

7

,J

6

6

W

IJ

i ~ t

l

7

~

J J

,..--......

6

Iw

6

6

6

EI 7

l t

t

J

I

J J 2D

II

6

7

7

7

5

7

7

6

7

6

6

6

J

t

J

t

t

J

j

J

t

J

t

1

BANKS OF THE OHIO @

Modera to

C

Tradi tional

j+ J I -

mf

:4 i

Count

2

5

-~ 5

4 -

U J J 1 I~

--

6

_6

6_

6

t t tIt t rn

l z@ 5_

c

~ J ) J I ~ 3) _5

~ ~~

___

5

6_

11 1§35J 6

_6

6

7

~ II j

I

5

~

tIt t t t

6

.

5

-.......7

--.....7

5

7

7.-

t

G7

6

6

5

6

6

7

t t II C

t t 1J 37

5

fU J ~ fj

fU J J J

f

5

iJJ I ~= .

7..-

__5

f

t t t t 0=

--

5

C

m-P

7______....7

1

5

1 j t ~!

1 F

5

--

5__

la 11 r"1

-8-_____

5..--

f

?ta _

__......5

t

I

Slide out

1

2

3

DDD

9

4

Tongue Covers holes 5, 6 and 7

10

11

I

12

DDD WR1TTEN

B

b

o

B is on the third line of the musical staff. It is a DRAW note in the 8th hole of the chromatic harmonica.

8

Ţ

THEORY TIP: B is a major 7th above the tone C or 5 and a half steps above middle C.

IMPORTANT'"... UNT1L NOW THE PATTERN WITH THE SL1DE OUT HAS BEEN: Hole 5 BLOW-DRAW

Hole 6 BLOW-DRAW

I

Hole 7 BLOW-DRAW

AT THE E1GHTH HOLE TH1S PATTERN 1S REVERSED:

5

EXAMPLE

@

6

8 Draw-Blow b C

7 .f Blow-Draw a G

Blow-Draw E f

Blow-Draw d C

Hole 8 DRAW-BLOW

,j,

Draw in hole 8

4i

o

Count: Tap:

8

r

I

r r 8

r

8

l

l Ir r r r IErEFErEr 4 1 & 2 & 3 &

8

8

; ; 38

8

8

~ ~

t +

I

I

II

&

•+•+• *+ t • • • ~ t +

o

I

88888888

8

J

I

@

~

t

A Draw

o

'i

G Blow

B Draw

I

o

Io 7

II

1-2-3-4-

Count & Tap

@

B Draw

8

7

8

1

1

1

Allegro

I

Draw

J I J 'J Ir J I J J I J Iqs~

4I jq IJ t1i

I

Count &

j

Tap

@

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Draw

wf===

4t i g

Count & Tap

IJ

I t @

r

7

6

5

1 j IIi r j r

f

~I~ iz

J IbJ J J~J IJi]

~ 1,

8

t

I~r

J

, l t,

6

6

i

6

5

II

(5) 5

l tI

Andante

~4 i

j@ J J Ir J IJ J Ir J Ir r I J ro

Count & Tap

1 - 25

6

7

iti

7

8

7

J

1 J

7

1

8

i

J

-1 1

39

7

8

8

J J

7

7

7

~ t

r

I

DOTTED NOTES R ULE: A dot following a note lengthens the note by one half of its original value.

DOTTED HALF NOTE

DOTTED WHOLE NOTE

== 2 ==

0(+).

dc+)o===

+

4

3 counts

2 (+) 1

O • 6 counts

DOTTED QUARTER NOTE

ro 1 ~ counts

COUNTING

J.

1&2

SAME VALUE

= 1 -!

counts

J.=j)j)j)

J. = J j)

1&2 1

'-"

Tied

&

2

J.=J j) 1&2 1 & 2

Jo

Up

Down

~

~

&t

1~

UP~

COUNT AND TAPI (ALWAYS)

q

Down

~

'§)

'4

~

Count: Tap:

J.

lJ

1& 2 & 3 & • 1 ~ 1 ~ 1 7

t

7

7

f

t

J. J. li J; J. J ,W ~~ ~ . I • 1 • t • 1 • 1 • 1 • t • t • t • t +1.t.t i t t t t t t t t t

IJ

1

1 & 2& 3 &

1

& 2 & 3 &

7

7

7

7

7

40

7

1 &2

7

7

& 3 &

1&2&3&

7

7

A WALTZ FROM SCHUBERT @

Moderato ~~-G7----8~-~

J--- I J.) J------ I

7

6

7

6

t

t

t

t

1&2& 3&

655

566

t

t

J

t~

t J

c

'7f1 J 5

5

1 t

5

6

5

J

t

f

C

4; 7

7

6

t

t

t

5

t

+

5

~

5

t

in J.

)J I J J J7'1

6

5

6

5

t • l

t

G7

J 1;

6

G7

I J . 11)

~

F. Schubert

Jg)

~I ilD. J)J IJ J J I~ 6

G7

5

6

6

J

t

J

C

Jill.

J)J IJ

6

6

5

t

f

t

5

~

5

J

J J IJ

il]

5

6

5

t

t

5

t i

I

5

"

t

MICHAEL, ROW YOUR BOAT ASHORE @

eFe

Moderato

41 ia IJ. ~

F

lJ J I J J J I

7677

t t

f

tt

G7

7

~

t

C

:~>g:lIJ S I J 1 J IJ F

l f

t~ t

C

~

7

7

67

t t

1

t

t t

F

55567677767

t l

t tt t t

G7

~ -:-D· jJ3 I J.

C

JB).lf] IJ. JjJ j 1; sJl

766655565

t

67

f

G7

p

3tJ

II

1&2& 3 &4&

56

an

C

t C

JyJ J IJ 1 J IJ

t J t t t G7

J 3)

7

766776665556

5

1

t tt t t ti t 1 t

J

41

+

f

C

5

t

I

WATCH THE EXPRESSION MARKS -=======Means CRESCENDO, a gradual increase in tone volume. ======-Means DECRESCENDO, a gradual decrease in tone volume.

~

~~_ _ _ _~~_ _ _ _ _ _ _ _ _ _ _ _mp ~~~zart

Moderato

i~ ~ "If~ Jd)J 19:j 6

I

6

6

7

+

t

t

IJ

li ']

J

Ir

J 6

6

J

1 C

C

~~

i 1

?~ I , 1'i'

5

5

I

t

!

1

I t

I

!

"If~----jl I J. j J I El ~ II

I El

1

5

5

6

l

J

r

~ ZŢ lJ 6 5

t ~

J

@

Moderato

~I

~C

6

i

6

t t G7

F

G7

5

6

7

t

t

J 1;

J3l)~

6

6

6

5

1

J

r

1

Ij

l))1 El

J.

6

7

6

7

I

6

7

6

!

r

7

I

6

1

42

6

5

6

1

1 t

I

5

I I

G1f---------- , 1; J. J 1 I~

Mt: 7

IIII

Folk Song

__- - - - - - - - - - - -__

îV I j

i

!

5

LONG, LONG AGO

11].

7

-------

5 ______ 5

1 r

1

i

6

!

t

f !

Slide in

1

2

3

DDD

9

4

Tongue covers 5, 6 and 7th holes

10

~

12

DDD WRITTEN

B~

b#

4

B sharp is an the third line of the musical staff. It is a DRAW note in the 8th hale.

@

11

le

t

THEORY TIP: B sharp is an augmented 7th from the tone C ar 6 full steps from middle C. DRAW IN HOLE 8

4i 'e

I'p p Iir r

r r 1, r r r Lrr riIe

"

B SHARP AND CARE ENHARMONIC TONES

1

2

3

9

4

DDD T ongue covers 5, 6 & 7th holes

mGH

11

12

DDD WRITTEN High C

C

()

C is an the third space of the musical staff. It is a BLOW note in the 8th hale.

@

10

t

C is used more of ten than B#

THEORY TIP: C is one Octave above Micid.le C, ar 6 full steps apart.

11

u

Ir

r

8

8

t

f

Ir 8

r r F I rE rr err rl 8

8

8

8888 8 8 8 8

n

II

a

t t t t tt tt t t t t 1 43

C DIATONIC SCALE

@

f ! 1 J IJ 5

5

I
j

6

6

7

7

8

8

"8

8

7

7

6

6

5

5

t 1 t 1 t 1 li r 1 It 1 t j t C SCALE EXCERCISE

@

fiJJJIJJ~IJJJI~JJIJJFIJrrlr5

5

6

t

J

t

5

J

6

6

6

6

7

6

7

7

7

7

7

8

t 1 t t l t 1 t 1J

8

1 J

J

II

8

8

t t

C BLUES SCALE

®

G

C

4t ti ~J

J #J IJ

C

~r

, , , i i 5

6

7

J

G

r

I~r

C

F

J bJ J

I~J

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8

Î

1·

7

6

5

Î

J

r

II

The BLUES SCALE can be played with any combination of C chord, F chord and G chord. (The chords to be pla ved an another instrument. guitar. piano. etc.) Any part of the scale ar aU mav be used as a blues tune. The following is an example. Try it, then experiment wi[h -other combinations of the- fones from this BLUESSCALE.

EXAMPLE FOR BLUES

c

Br

î f j tj

7

8

t

r

II

44

1

2

3

DDD

9

4

T ongue covers holes 5, 6 & 7

10

11

12

DDD

HIGH

Written

C#

C#

C sharp is an the third space of the musical staff. It is a BLOW note in the eighth hole with the slide in.

t

THEORY TIP: C sharp is an augmented octave from Middle C

@

BLOW NOTE IN HOLE 8 Slide in

41

count} Tap

r r F It r r r rr r r 1#0

#u

I#F=

(ij)

@

@

(ii) (a)

r

t

t

t f

F I#r

l' """'~

I

@

r

SHARPS

(C# SCALE)

® I

Hale

42 il.

5

Iti].

I IHale

1#;.

6

I#J.

I!Hole

7

II Hale

8

I

I,J·

I,J·

11ţ'

Ij~·

1/

t i r 1

I

1 1 r

®

t

FLATS (SLIDE IN)

@

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t

"1

ISlide in

lI~r'

I&d.

I~J.

I J.

(jJ.)

!

®

~,

6

(6)

r

l (ţ)

45

I~J.

I&iJ.

1 1

II 06E. 5

t

II

NATURAL

OH, SUZANNA (SLIDE OUT) ~ Alle gro .

C

f ! TI I J J J J

G7

I J J J J I J J J J 1J.

556777

t~

tit l t t t

C

4J J J 6

7

7655

7

j 7

t t t 1

1

Foster

nI

6655

5

55

t t

1

tt

J

t

G7

C

I a J J J la J J J IJ 7

6

5

6

5

6

5

t t l

t t i l

5

II

5

~

r

SHARPS

OH, SUZANNA (SLIDE IN)

@

i

Allegro

Foster

c#

~ 1 ma I,J,J J #J I,J #J #J @@ @ (?) Ci) (J)

t~

4

c~

J

#J

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CV

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t t t l

t i t

l

1,;

®

J

@ @ @

t t

G#7

I#J J il! #l I#J. ® @

t t

Î 1

@ @

@

@@

Î

1

t+

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G#7

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@

@

t t t 1 46

PiJ I

c#

J #J J 1#1.

® ® @ @ 1 t t

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@

!

1/

NATURAL

CAMPTOWN RACES (SLIDE OUT)

@

Allegro

~I J IJ J J 7

W 7

7

7

t

t t t t

6

IJ J J 7

7

J

i t

6

7

6

i t t

7

7

7

t

J

t t

6

5

6

t

J

t 1

G7

~ J J J J IJ J J

7

5

t

C

Ij

6

; I

IJ J

IJ J.

C

7

Foster

G7

C

5

W

J IJ.

6

5

5

t l

l

I

ţ

IMPORTANT: The harmonica is designed with the slide to sharp or raise each note one-haU step. Therefore, to create a "flat" you have to move the harmonica to a lower number or hole and sharp that note which is enharmonic to the flat. Such as B to B flat, you move to A and push the slide in and play A sharp which is enharmonic to B flat.

FLATS

CAMPTOWN RACES (SLIDE IN)

Foster

G~7

I~J &J.

,! @

c~

Hole 4 slide out C~ 1enharmonic!

G~7

~ ~J J bJ J I~J bJ bJ

I&J @

t

~J

J IgJ.

,t

AÂ

®

HOWEVER, it is best to "think flats l ' by moving the harmonica so that you are actually flating or lowering the tone rather than sharping the tone below. As you become more aware of the harmonica and the placement of tones, most of these beginning problems will be resolved through practice. 47

I

CHROMATIC SCALE Twelve half-step intervals This scale should be practiced DAIL Y:

@

J #J I J J #J J . 1,; J #J

41 J iJ (5)

5

,

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a

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J

f

(-i)

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r

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7

6

6

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(5)

J

t

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8

r

la

J I W pJ J &J

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W

7

I

1

-

II

5

t

I

COVENTRY CAROL English

:

J 6

,

t

t f

-

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7

6

Am

mi

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' ::: Breath E m . . - - - : ________

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1

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Rerninder: (q) A NATURAL (Cancelation of the sharps or flats)

,

O

IJ

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1 7

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J J J I J &J J

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I J~W J J I ()

7

7

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------'___

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C?2 7

7

1

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I

0

I

ABa Breve - Cut tirne rneans twice as fast as Cornrnon tirne. (Two counts or taps per rneasure)

f Written ,"

EXAMPLE

@

7

1

Plared

Written

Played

Written Played Written

Played

It IIJJJJ IJJJJIIJJIJJI:J j IJ J 7

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77

t tt t tftt tt tt t r

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49

DARK EYES @

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I J.

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6

6 ____6

6

t t

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Russian

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50

I

r'

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4 5U

7

7.--.......7

t

+

1

I

III

SHARPS

This is F#. It is on the tap line.

The SHARP raises the pitch of a tone onehalf step.

This is C sharp. It is on the 3rd space. Sharps are either line or space sharps. Observe the keyboard below and LABEL the following sharp signs using their letter names.

#

#

I

#0 I

I

#

#

#

I

II

#0 #',' I

#

#

II

YOU CAN SEE SHAR PS ON THE PlANO KEYBOARD.

RAlSES for SHARPS

(

4J

~ J

iJ

C to C sharp is up one-half step.

#J

to F sharp is up one-half step.

F

NOTE: to SHAR P a tone on the chramatic harmonica just press the slide button

@

=$ i J ,J FILL

..Q... to

Ij

#J

__ to __

IJ

I

#(J

_ _ to _ _

OUT.

51

I IT

'r I r

_to __

#r

_to __

II

FLATS The FLAT sign lowers the pitch of a note by one-half step.

@

~

This is B flat. It is an the third line.

This is A flat. It is Flats are either space ar line flats. an the 2nd space. Observe the keyboard below and LABEL the following flat signs using their letter names.

h

~

i

~

b

ti

~

b

~

~a

&0 b"

-&&0 . I

I

~

~

b"

b~

~n

ba

b

iz

~

II

YOU CAN SEE FLATS ON THE KEYBOARD.

II

I

I

b

LOWER for FLATS D

C

~

j

E

F

A

G

&J

D ta D flat is down one-half step.

~

B

j

D

C

bJ

G ta G flat is down one-half step.

NOTE: Ta FLAT a tone an the chromatic harmonica you must move the harmonica ta the right and press the button. Sharps are enharmonic ta flats.

@

FILL OUT.

~ i J bd A

to_

I F ~r __ t o _

IJ _

~J to _

52

Ir

~F

_ to _

I J &J _to _

II

NATURAL

The natural sign is used to CANCEL a sharp or flat. This is "F" Natural. It is on the lst Space.

LabeI the follawing natural with letter names.

q

q

~

~

q

~

R

q

q

g

II

LabeI the following sharps, flats and naturals by their letter name.

&

#

#

&

#

F#

REVIE"W A sharp RAISES a tone one-half step. (slide in) AFlat LOWERS a tone an-half step. (slide in) A Natural CANCELS aflat or sharp.

II

CHAPTER II NOTE: C, hale 9 is the same pitch as C, hale 8, Hawever,8 DRAW praduces "b" and 9 DRAW praduces "d" ta begin a new actave. Slide out

/

1

2

3

4

5

6

7

8

9

10

12" ~

11

DDDDDDDDEJGDD

"~

______________________________________-J/

NOTE: The tangue remains in place as befare. (Always cavering the left ADJACENT hales.) Written Written

c

d

C is an the third

d

d is an the 4th Line of the Musical staff. It is a DRAW note in the NINTH hale, slide out.

space of the musical staff. It is a BLOW note in the NINTH hale, slide out.

o 9

T

NOTE: This third ar upper actave is the same as the lawer twa actaves. This actave is used for extended ar higher tanes and for variety of saund. Wl'itten E

E

E is an the 4th space of the Musical staff. It is a BLOW note in the 10th hale, slide out.

4

Written f o

f

1:1

4

f is an the 5th line of the Musical staff. It is a DRA W note in the lOth hale, slide out.

10

T

10

T

TONES "C", "D", "E" & "F"

@

41 " 9

o

"

o

9

10

10

1

1

I

rr rr 9

9

J

Î

I c: r el t;

r

10

10

i Î

1

II

PLAY WITH EASE

@

41 ecrrj r r 9

9

10

9

Î Jt J

10 10 10

t i t

10 10

9

10

9

9

9

9

9

t

J

10 10 10

t~

9

9

t l t

Infarmatian Hale 8 & 9 bath cantain C. Hale 9 is used when playing the upper actave ar moving inta the upper actave. (see page "7 ) 54

II

EXERCISE 1 @

Different holes

{

t

f i J ti J J IJ.tia J Iti r J r Ir r r r I 5

6

t f

5

~

6

6

7

6

7

J

f f J J

7

t

8

7

8

J ~ f

8

9

9

10

J J f t

re re

r ro

9

9

10

l J

I

10

J J

Different holes

:, r r r r IFJ r IJ a J J IJ J J ti I J J 1 I W

109988787

t t

J J

f

J -J f

7676

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f f

6565

J J

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i

t f

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f

J change

t

t

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ff.ftf.f t.t ••• f. ff •• f.lt ••• t.1' ••

7 8 8 9 10 9 9 8

7 9 9 10 1010 9 9

8 9 1010 11 10 10 9

11 1010 9

a

9 9 10

1.f. fl1l lf+fJt.t .ifJf.1. 1 f. 1Jt.t change

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8 7 8 9 9

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8 7 7 7 8 8

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9 8

7 7 6 7 7 8

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8 7 7 6 6 6

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l f iti

t. t t J t • t • 1

Practice the above hanon until memorized! 55

7 7

t~tittft

fJJ]/JUQliJ31;;JlSIf]J3i1JJlj • f J t • t.t

I

r

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I

THE WATER IS WIDE Folk Song

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i

nif

10

tt~

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7

9997

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+l

f

f~

aa8

8.....-....9 9 10 1QjO 9

t ttl r t~ftt l =========-- mp (change)

C

liOiiT'~ 1l@113 Un 5*

i~

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9 9 1010 11

101010 99

f f f.t

10

9 9 7

7_

_7 7 7

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7

8

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f

6

t

7

f

9

f

f

9

9 8

8 7

ftfi

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f.f

8

~

+

~

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8 7 7 8

78

8

ttt.fJ

r-°m ' wal 8....-..8

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7

7

f ff

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7

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8 9

9

9

8

8

7

8

56

8

8

8

7 7

8.....-....8

o

GRACEFUL WALTZ

Johannes Brahms ( 1833-1897)

Teneramente e grazioso

poco cresc.

An~

C

I J. JEg I 2g@ I 6__...5 5..-6

tf t

r

ttf

r

4 J~Jn I QSJ 6---5 5~6

6- 6 --""'5

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fff

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N.C.

rit.... _ ... ... _

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1

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i

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m-l!

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t

Ş----S---5

6__...5 5_6

a tempo

C

G

P

Am

I J~Jn I ~@n I ~d8 I ..7 f 1 ff l tf f 1 fff

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6 - 5 5_.

7""'-""6 6 ...........7

7.--..6 6-...7

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7...--.....5 5._...7

7.....---...6 6..--...7

8...--...7

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7 6

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5 _ 6 6--.7

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rit.

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t

7_9

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9 ____7

1

7.......8

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8 8 7

f~~

t

t ft

C

P

G7

a tempo

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7

6-...5 &-..6

t

f

Am

C

t

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5_6

6--S---S

fft f f1f rit.

G7

poco cresc.

~

~~=--

J

t

f+f

7___...6

l

6..-.7

f ft

7 _ 6 6 ..........7

J

ttt 57

a

7

6

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S

t

f J

C

4 LJD I b n lun IA J]3) 6 _ 5 5,..-..7

7..-..8

S

t

1

I

Slide in

./

1

2

3

4

5

6

7

8

9

10

11

I

12 "

DDDDDDDD8BDD "

~

/

NOTE: Tongue use remains same throughout.

C#orD~ C sharp is located an 3rd space of the Musical staff. D flat is an the 4th line of the musical staff. Both are BLOW in hale 9.

E# ar F E sharp is an the 4th space of the staff. F is an the 5th line of the Musical staff. Both are BLOW notes in hale 10.

d# or e b

Written C# Db

~

~a

~"

d sharp is an the 4th line of the staff. e flat is an the 4th space of the staff. Both are DRAW in hale 9.

®

1

f#org ~

Written Eţ

~

F

#n a ~

1

f sharp is an the 5th line of the Musical staff. g flat is an the space above the staff. Both are DRAW notes in hale 10.

Written d# eb

~

Izu

la

®

T

Written f# gb

#a

~

ba

t

SLIDE IN

0

,i

C~

d#

E#

#n

1la

1#"

1

T

f#

#e

I#m #r

, Gf r 1 58

'r

#r

@)

@

~

t

II

UPPER CHROMATIC

@

!r

f4

f

#Q I

'r

Ir

9

(9)

t

t

!

!'F

r

I~r

j

9

1

9

,

10

t

,

10

l

lE F LOt rlzE ~J

r

i

l

I r jr

t

lE

9

f ti

I

J

r

10

10

l

i

I~r

l' t t

9 10 9 10'10

Iiţ

9

II

F

®

'9

I

r

t

CONCERTO NO.I INC P. 1. Tchaikowsky

@

f

Andante

if

C

m~

2i

j

( 1840-1893)

Dm

ebn IJ

---- IJ r· r· Pil DU

D~ I .

7 6

5

5

10

10

tt

+

t

9

10

~

l

7

9

l

t J t

J

,....

8

10 8

J

9

7

8 7

t 1

~ +

9

7 11 10 9

t

C

IJ

f'+

J.

l I J.

7

5

6

t

l

t

c

f 1+

jJ*J I J.

7

5

t

J +

5

f

Dm

.

7

6

P I r DCf I w

6

10

11

t

r

t

t

c

~

7

5

8

r·

10

~tr

7

t

9

rit.

D7

J

:f ~ J J J adi ~ r r E r r I El ti: . D7

9

(ill

8

a

j j t

6

7

8

t j j

7

t

7

8

8

9

10

j j t j

t

59

9

10

7

It 1

I 8

8

1 1

AN EVENING PRAYER "HANSEL AND GRETEL"

0

Am

Andante

F

C

J IJ

w7J

7

7

C P con espressione

$ e iT W 6

5

6

7

t t t i

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6

1

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___

6

7

E&

5

1 C7

(7)

7

(TI

i i i t

Pc

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5

z

Am

Tw 6

6

t t t t

7

5 5

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Em

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Er

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J J J IJ

7

t

i i i

---!

+

7

7

6

r

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G

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1

i i 1 t

F

Em

7

7

1 i r

5

6

1 ar r Ir RtI~ D7

~ ~ 7

1

6

8

Wd

5

t

5 5 6 6

J t

6

6

7

J IJ 7

fin

t t t t

A~ IJ ;<1 IJ

6

D7

J J IJ

7

8

1 t r

&J J J J I~r ~j F ®

r

J

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6

B~

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A,:,~

E. Humperdinck

Em

8

8

8

9

IFO J J 1; 7

l f

1

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7

9

9

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8

Am

6

t t t t

6

C

JaD 5

6

II

5

t i tf

EXPRESS

I~F ~J J IJ 5679®1®,1088

i ff f t

t

~) f

am

P.D.

II

CHAPTER III Slide out

./

1

2

3

4

5

6

7

8

9

10

11

+

12 "

DDDDDDDDDDBEJ

, ,________________________________________-r./ NOTE: Tongue blocking remains the same.

Written

G

~

G is on the space above the musical staff. It is in the 11th hole and is a BLOW note.

,

Written

a

o

a is on the first leger line above the Musical staff. It is a DRAW note on the llth hole.

11

T

-e-

11

T

NOTE: These tones require very Httle air with much warmth of sound so as not to sound shrill.

Written

b

i

b is on the 200 space above the musical staff. It is a DRAW note in hole 12.

Written .a-

C

...fi...

C is on the 2nd leger line above musical staff. It is a BLOW note in hole 12.

T

f

12

T

NOTE: Leger lines are added lines to extend the m:Isical staff.

§

ON THE RIGHT SIDE

1 i r r ţ ţ Ir r ţ r Ir r r ţ It t f t It 11

11

11

11

t t

J

J

11

11

t t

J

11

11

11

11

12

11

11

t t t t

J .f.

61

J +-

draw

12

12 12

J t

J

r

11

11

l

t

II

SCALE AND ARPEGGIO

5

9

9

5

6

8

7

6

7

7

7

8

9

5

7

8

11

11

12 12 12

10 11 12 11

10 8

11

6

j

t II t tI ttt It t tI

~

6

10 10

6

1 ti 1 t

5

8

7

11

6

10

10

5

1

HANON II

~

, !jJ J J J J IJ J J J JJ IJ~JJ....-...J~JJ Id J J JJ J I 588878

t

786868

t i t t t. t t

+

599989

t t t

J +

t

+ J

797969

J

+

t t

J J J

, J J J J J J Ir r Er r r Il f f r el I[ E r r r r I 6

10 9

t t

J

10 9

10.

t t t

8

10 7

t

~

10 7

10

6 10 10 10 9

t t t t J

J

t l

10

JJ

9

10

t t

8 10

7 10

J l

t

J

f c[ [ Eel Ir f Ef r fie FrrrJ IrFG ~ rFI 7

11 10 11 10 11

t t

+

t t t

9

11

+

12 11

12 11 12

11

t t t

~ Ef r f el I r 8

9

8

11

7

t

+

11

11 11 10 11

J J tl

+

10 11 9

J

t

J

+

rEf j r I LFf TI ţJ I r"

10 12 10 12 9

62

12

9

12

12 12

12 12

9

11

9

11

J J +

I

Slide in

/

1

2

3

4

5

6

7

8

9

10

11

~

12 "

DDDDDDDDDDBEl

H

Note: Tongue bloeking remains the same.

G#or A~ G sharp is on the space abave the musieal staff. It is a BLOW note in hole 11 with the slide in. Aflat is on the lst leger line above the musieal staf .

WRITTEN

f

I

#0

~

fi

r

a# or b ~ a sharp is on the first leger line above the staff. b flat is on the 2nd spaee above the staff. It is a DRA W note in hole 11 with the slide buttan in.

WRITTEN

,

~ ~.Q.

l-

Note: These tones require very little air with mueh warmth of sound so as not ta sound shrill.

D D is an the 3rd space above the musical staff. This is the highest tone an the chromatic harmonica. It is a DRAW note in the 12th hole with the slide button in.

WRITTEN

..o.

4

C#orD~ C sharp is on the 2nd leger line above the musieal staff. D flat is on the 3rd spaee above the staff. It is a BLOW note in the 12th hole with the slide button in.

~

j

63

WRITTEN

,

#-9- ~.o..

f

SIXTEENTH NOTE

n

=.~ J Jj j = J

(

~ count)

(1 count)

16th Rest

1

=

)

(1/4 of a eount of silenee)

SIXTEENTH note equals 1/16 of a measure or 1/4 of a count. It takes 4 sixteenth notes to equal ONE count. A sixteenth rest is 1/4 of a eount of silenee.

When tapping the time or teml'Jo two sixteenth notes equal one tap and two sixteenth notes appear on the rise of the toe. In counting verbally you can say: le&a 2e&a 3e&a 4e&a

Practice verbally first then play the harmonica with the same tempo.

~ ~ 1 e

TWICE AS MUCH

@

'i i

J J

2 e Count { & ·a a 7

3 e & a

7

r 1

4 e & a

4 e & a

1&2&3&4& eaeaeaea

1e&a2e&a3e &a4e&a

7

7 7 777777

7777777777777777

f t t t f tttffff

1 111f1ft1t tt ttf1

e & a

2 e & a

7

7

1

3 e & a 7

64

UPPEROCTAVE CHROMATIC (MEMORIZE THIS CHROMATIC PATTERN)

@

,1

u I#u 1°

rr!

9

,

In 1° ,#0 I

1.

10

9

t -&

b.o.

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I 12

12

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r

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10

f

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11, , 11

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1

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NOTE: Tongue blocking remains the same. (AIways block ta the Ieft.) Written C

C C is on the first leger line below the musical staff. It is in the 4th hole, slide out. It is a BLOW tone.

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*NOTE: Instead of writing out every F sharp, most composers put a sharp sign at the beginning of the piece. This is called the KEY SIGNATURE. You play all the F's sharp.

MAJOR SCALES A major scale is eight tones in alphabetical order, beginning and ending on the same letter. The major scale consists of a series of whole steps and half steps. A pattern exists because the half steps are always between 3 & 4 tone and the 7 & 8 tone of the scale. AU other steps are whole steps.

SCALE PATTERN

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1

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4

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7

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12 "

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NOTE: Tongue blocking remains the same. Written

Written

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c#

b#

Db

C sharp is an the first leger line below the staff. D flat is an the space below the staff. It is in the fourth hale and is a BLOW tone.

a#

b Sharp is an the second space below the staff. c is an the lst leger line below the staff. It is in the 4th hale and is a DRAW tone.

b~

a~

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Same tone

G#

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In keys other than C, the shifting of an octa ve to actual pitch becames necessary for two reasons. FIRST, the reading of the music ta remove ar avaid leger lines for easier sight reading. SECOND, for ease of playing. Playing in the lawer octaves is much easier than the upper actave.

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1

2

3

4

5

6

7

8

9

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For reading purposes in the key of C this boak used hale 5 as middle C. As we pragress to ather keys, it becomes necessary

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81

II

Generally speaking each octave of the chromatic harmonica is the same, except for register change. That is, each octave is a complete actave and can function without regard to written notational levels. Moving from octa ve to octave, without regard to notationallevel demonstrates an understanding of variety, musicianship, experience, expression and professionalism.

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I

,I

I

1

I

I

I

I

I

:

1

1/

I

,

1

I

I

I

1

1

I

.

I

I

ACTUAL PITCH 1

2

3

4

5

6

Cd

Ef

Ga

8J

Cd

Ef

/' I

I

"\.1

I

I

I

1

I

•

I

I

1

,

I

,

I

1

I

I

I

I t i

1

I

1

I

,

I

I

I

,

I

,

.

7

Ga bC I

I

I

I

I

1

1

,

I I

I

I I I

I

12

11

Cd Ef

I I

10

9

8

Ga bC ,

I 1

I

I

I

I

I

"'

I

I

/

I

I I 1

I

I

I

1

I

I

I

I

I

I

IMPORTANT As you have experienced, the upper octave is difficult to execute certain melodies. At this point you may wish to return to the previous music and attempt to play it in the lower octaves. If the tune does not descend lower than middle C, hale 1 of the chromatic will become the lowest tone. 82

1/

CHAPTER V Slide out

/

1

2

3

4

5

6

7

8

9

10

11

~

12"

mOODDDDDOrn b

~

/

The octave change is for aU keys for variety and expression. The music will dictate the octave to be used. Written

f

~-

f is on the 3 rd leger line below the staff. The octa ve change s hould be noted .. It is located in the 2nd hole and is a DRAW tone.

E

f

f

2

T

actual pitch

Written

d

d

~_.

d is on the 4th leger line below the musical staff . Note the octave change. It is in the first hole and is a DRAW tone.

1

1""""T !

actual . pitch octave change

o 2

Y~T

T

actual octave pitch change

c

C is on the 5th space below the musical staff. Note the octa ve change. It is in the Ist hole and is a BLOW tone.

o

~-

Written

c

d

E

E

E is on the 4th space below the staff. Note the octave change. It is in the 2nd hole and is a BLOW tone.

n

~?T

octave change

Written

c -e-

-

1

"'r?Ţ

T

actual octave pitch change

LOWDOWN

@

~ t jî~i@>111j1@) IfiJf111EJ~if le:;: 2

J

2

2

l t

2

1

1

t

J

J

1

1

1

1

1

i i i t l 83

1

2

2

2

2

J

i

t J J

2

1

II

Slide in I

/'

1

2

3

4

5

6

7

8

9

10

11

.J..

12 "

~~DDDDDDDDDD

~~----------------------------------------/ The Octave Change is for AU Keys for yariety & expression. The wiU dictate the octave change.

m~sic

Written E# F E# F

Written f# gb f# gb

f sharp is on the 3rd leger line below the musical staff. g flat in on the 3rd space below the staff. Note the octave change. It is a DRAW tone in the 2nd hole with the slide button in.

4

#<'~o #&~t

t

actual octave pitch change

I--#t

E sharp is on the 4th space below the staff. F is on the 3rd leger line below the staff. Note the octave change It is a BLOW tone in hole 2 with the slide button in.

#O"~

® f I

d#

d sharp is on the 4th

leger line below the staff. e flat is on the 4th space below the staff. Note the octave change. It is a DRAW tone in hole 1 with the slide button in.

e~

Written C# Db C#Db

d# eb

i __ #o~o CD

#ol1cr

(DT T

actual octave pitch change

actual pitch

octave change

Written

e~

2

4==~oCD

C sharp is on the 5th space below the staff. D flat in on the 4th line below the stafE. Note the octave change. It is a BLOW tone in the first hole with the slide button in.

~~

CDT Ţactual octave pitch change

, ! ~1 t1. ~ 1~1~~ ij I~$,a II'jtl~ ~ f f' l "t t ~~f~ t r

@

same tone

same tone

+

2

2

t

same tone

t

1

2

1

J J

+

84

t

t

(1)(1)

t

(1)

1

I

DANUBE WAVES A MINOR* Ivanovici

E7

Il. Am

.

~J J J I;t ~J

f:;JZ 4___

_4

4

4

3_

~ f ~

J G7

J

g :11 J

+ Am7

~

777

6

î

___3

4 II:J J J 1J J J 1J ; #3 777

112.

r'

2

3

455667

t

1

J

1J 7

f

J

tt t

G7

Iq3 3 3 13 3 3 1 666666

gli:,s..:-",--

r -",""

E7

Am

11.G

112. Am

r 1J <~J.:J-=JJ J WJ :11 4

10

9

8

e

1 ~"J ti tit

1J 1 i II

1

*NOTICE:

Relative minor scale is "related" ta the major scale by use of the same key signature. Key of C has no sharps ar flats, A minor has no sharps ar flats. 85

I

HUNGARIAN DANCE E MINOR**

Actual pitch:

o f #1 ţ~

J. Brahms (1833-1897)

Am

Allegro B7

4

6

r

t 1

Eli

r "r' 1j

7

Em

*

li

1'" 5

5 6

4

t I

Jt

1

ţţl ~m

fi JjJJa. Am

B7

~ :

7

7 7

t

Am

Am

Am

Em

Am

B7

4 r r rr r ErrIr j r r JJJJI JJJf1 JJ. $

5 5 6 4 4

5 5 4

3

4

4 3

3 3 4

3

3 3 3

1

t

1

E

~Ie 4

2

l

1 E

J Iţ' 4

4

l l

4

r

_

4

3

@3

1

J

E

Ir J

4 3

@4 3

t+ ++t+J

B7

Em

3

4

3

l l

Am

B7

r

**Notice: Relative minor scale is "related~' to the major scale by use of the sam·e key signature, G major has one sharp, E minor has one s harp, 86

~

Em

#n I J~J Jti tir iri I F'

1 * see page llt

3

q

NAMES OF LINES ANO SP ACES The Ietter names, A, B, C, D, E, F, & G are the only aIphabet letters used. They repeat many times over. Examine the following and memorize the letter organization:

Lines

Spaces

A

above

® BeIow

® C-e-)

above

BeIow C Lines: Every Good Boy Does Fine

Spaces Spell: F - A - C - E

@

,

LabeI the following notes: (letter names) o

r

o

J

n

r -r- -J- - - r r' il

F

o

-- --

II

-- --

@ Write the notes:

II D

A

D

FAC E

B A D G E

87

CABBAGE

MENUET 1 J. S. Bach

Actual pitch:

@

(1685- 1750)

E~_ _ _B_m_ _ _~c_ __

f #! CA r Ir r r IF D trei· t 1 1 1 1 it. t l 6

4

4

62'33

t-

J

B7

3

Em

4 3

J

t

J

3

3

J

f t1 nffft 6

2'3 3

5

5

543

Î

J

t

1

4

t t tJ 1

J

i

Bm

7t~6 J

~44 J J J

i

iti! E7

B

I

Irr E Ir r fi

4333@

tt l

c

4

Em

fi'fgHIJ nnTI. 4

Ih$i

+

Am

4

A~Bm~

G

D7

G

100 u(; Bei lJlrtfjj. 5

6554

J

tJtJ t JtJJ J

5

5 543

4

6

3

:11

3

ti

t

MENUET II

t

t

t

tt

t D7 ________G

Em

B

E~ B7

t t Em

J IJ n~ IplE!IE 3322147.

88

t, Am ~

rTI

65644

,.

BOURREE B

Em

G

J. S. Bach (1685-1750)

A

B

m

A

#tJ E -OF I r SUn I @@6

t

f

J

554

J

1 ~ t

t

t

+

:11 3

t

3

I

Saint-Saens

r

:11

4

tllt

I G7

fr f

f II

FO

E7

Am

J

IJ

~ ~ JpJ J I J <='

3f2 t. . J

1

f

G7

j I Rr CI 43 t J ~ f~ î j

4

3...-3

l

J

c

J

r EE u. I J Rrr:rlJJJJ J J

3

6,...--6 6 5 5

•

2

2

j

5_5 5

2

f

Am

~

Dm

5.-.5 543

3 2 2 2 3

i tJ+ t i t

J

3

~

2

j

Ilti 1

3

I

G7

I~

2

l t

J

j

2

1

! j c c I f • r cr cr IJ RCUlJJJJJ r Ir r I t

~

J

ti t

--...

t

J

Dm

Am

J

G7

C

Fm

n

3

6_6 655

t

J

2

5_5543

t tt t t J tt~

32223

J t ~ t 89

+

~

6

5

t t

5

r

5

1

II

m ~

THE AMERICAN P ATROL

Actual pitch:

F. March

G

f #~ J IJ J JJ JJ IF F j#e j r Iţ ţ 1

3

3~3 3

3

4

4

4@ 44

5

5

r

w. Meacham

ţ#r C I ["

r

5 @ 5 7

4

5

I

t tt~ t l II I 1 1 t t 1 1 -f j J J 3~33 ti J3J IF F r#r: r r Ir r r#6 r I [" J t t t t+ ~ ~ +t+t J J .tit l i C D7 D7 G ~tr r r F IJ J J J IJ Ur J 1; .nnJJI G

3

r

3

44

4\;!)44

55

5@57

5

3

5554331334443312f334

t

J

t 1

J

t

t l ttJ 1 t it

t~+

G

D7

r r F F I EJ r ~F I re r PE r r I IT" r @ It t t ti t t 1 l it It 1 1 D7 G ~ # E ErE I U F #E I r e [qc j r I F' ; @ t t t t ti f 1 1 l j tit r t D7 4# E r LEle e OF lE E J r Ir r n; i i t t J J + tJ t i . t ~ ~ JJt D7 ,tE ELE le rUF lE E J J IJ rJ~JJI f t t t t 1 J ~tJ i i . 1 i tt t •• ,

j

4444

445

5555455

4

5555455

3

4444445

C

G

55

7

5555544.4'444433

C

5

G

G

5

7

5

5

C

5

5 5 4

90

4

4

3

3

1 2
D7

4r II

G

4444445'

It II

r

5

5

, F r E F Ir 6

6

7

6

t t t t

~j

c

l

J Il f J

I

D7

E:fr Ir

r

554

4

4'

1 i t~

t t

G

:3,

3 3

D7

G

4 r gJ r Ir l1

4 j

4

5

5

4

4

4

433

,f

J J

J J I J. 3

5@ 5

7

4433

t tt1

t

1

4

3

3

3'3 3

t t t

c

Am

t+

4

~

4

32'

4'44

J ~

5

~t J

D7

4 r r r r 1J J J J IJ 11

rj rî îr

'i

91

t

J 1

J

r 4

J

D7

3

3

t.t J l t t r' J ~ ~ J3J 1r r r#j Ei F' 1re r [#E ţ r1rr

G

~

5

BJ r IJ J J ~ 1';'

4

+

G

A7

4443

~

~~

44f3

4' 4 4

I

r

D7

4

3

Ir

t t I t r l +t J i i l 1 ~ ~ ~ J 3J 1r r j#r r Fir r ţir [ fir t tI t+ ! l J il Il .tlt J 3

J

G

r

J

r r r r I r r Ori r r 3

J

5555455

667655554

f

4

#r lţ re r~EEiFIţ' @ t i l ~I.I 1

4444445

G

I

G

~IF F r F lur t t t t t. t 1"

1155455

ItI

D7

ilie

r

#r I f r Eqr r Fir

r r r I CJ r

5

i

5@57

5

~t+t J

Ur

J 1

J

~ 3

t

G'

j

j1tî 1

1;'

i

i

I

CHAPTER VI

6

Time Signature Values

~ =

J. = 6

j; =1

=

Counts per measure Eighth note receives one count Therefore,

J =2 J.=3 J)=t C ount : 1

,~

2

n=l 3 4

5 6

1 2

34

5 6

IA quarter note equals 2 counts (J = 2) I 1 2 34 5 6 1 2 3 4 5 6 12 34 56

J J J JJ J I J ~J j) I J. J. IJ J J J J J I J. ttt ttt t ft t f.. t tttttt t

7777777777

@Andante C

mp

3

6

7

777777

LIEBESTRAUME NO.3

Octave change:

,g iO.

7

E7

Gm

A7

6.......-.....6

6

6

D9

6

6

tE7 l

7

Franz Liszt

J. 6

II

(1811-1886) " -=::::::

6

6

3

t

tA7

t:

Gm

IJ. J ~ IJ j)~ il

1

J

t l Jtt t

92

t

r tI

JESU, JOY OF MAN'S DESIRING J. S. Bach (1685- 1750)

j-

Actual pitch: An~ante.----.......G

Dm7

Am

E

II

P.1. Tchaikowsky (1840-1893) ~Gm

4...--4

Dm9

f

I

t

G7

Am

N.C.

223

3

t

t

N.C.

11123

Am

N.e.

3

2

t

JIJ J J 1;" ;1"1 J

r r r 1ţ"

--1 --1

N.C.

#J J#~ ~

,.

1

Em

r Ir-" r

3~'4 tI J

6 ţ

.......-.....G

4

6

444

t t

7

t

Am

7

Dm7

6

t CO

E

Gm6

Dm9

Fm

C

r--

4__....4

t

t

93

3

4

t

I

4

J

1

CHAPTER VII

@

, p!

FLAT, B~)

KEY OF F (1

Actual pitch:

j,

j j 1

SCALE

r r 1r- r 1r r 1r f'

1

1J

J

:11"

I

ii l'iii1iiijlî i

8

SCALE EXERCISE 1

J J W r 1J

, pi

F

r r 1F F r r 1F r r r 1J rl

233 ,

3515

5656

6765

32

II t

1 t

t t

r t 1 t

J

@

l

l

J

I

l

EXERCISE II

fP! J J r r r J iij' 11ji W

I

W 1

JWJ

iir'

76655566

7

t

1

~

iî

t

~

titi

î' r

r

I

IF r r r I

II

5

f

5

t l t

556676655'332

t 1 f·

l

t

l tl

t

SCALE PATTERN

,~ F~~!~lw:§=e(,):~:~ 94

6

~

t j

6

~

CIRIBIRIBIN

:'\ctual pitch: Tempo di valse

@

'nff

A. Pestalozza F

f bi EJ~n lE 4

t

4~ J

+

J?l

4

3

3

2

1

2

3

2

t

J

t

t

J

I

J

I

J

I

F

ţ"

2

J

t

J IF

3

3

3

l

4

J

3

l

3

2

I

J

J I W"

3

2

5

t

J

r

F

ţ' 6

t ~

1

I1

C~#c:r ;j

s,s t

6

5

I

J

r

6

5

t

J

IJ J 1; J I 3

2

1

3

t

J

t

J

~

+

I ţ'

It

t~S ;;:j

I

6 5(5) 5

6

l

t Jt

+

F

I î S#R Ir J

6

G

C7

3

2

1

Gm

J

l

W"

r

IV

6

l

f

t)

44' ti 3 1

r

5

li QţdJ 1I J IJ J 1;

5

El! I r

+

J IJ

t

1

sfs,t

1

~

J IJ 3

It j ~r

J I f"

3

3

J

C7

J IJ

1

f~

J Ij

3

1 ,~

J 1;

1

~~ F

'b

4'3t

I

J IJ

r't 1

J IJ

J I J,

2

3

t 95

3

l

t

---

2 ___

l

IiJ _2

J

II

THE TRIPLET ~I

~

J J J=

J J J = one ~ quarter

1 caunt

Tri - pl - et

~

J

I

~

,.

= note

Tri - pl - et ~

~

~

J

~

~ ~

Triplet 1

Say : Triplet Triplet Tri - pl - et Caunt: 1 2 3

,.I

~

Tri - pl - et Triplet 2 3

* HABANERA FROM "CARMEN" @

3

2322232

3

tttttf

t f

+

G. Bizet (1838-1875)

~

~

A :;:;:p-

I~r' 2_5

pijr ~r

@

3

3

3

J

tt

2

222122

2

l

2322232

tfttJ ~

::::>

2 ____5

@

5

t It t

5 4

@

tj j

3

:;:;:p-

3

3

2

1 It)

2 2 2 1 2 2

t I

:;:;:p-

2

1

ti!J!) t 1

Relative minor is "related" ta the major key by using the same key signature. Key of F has one flat, D minor has one flat. 96

TOREADOR FROM "CARMEN" Actual pitch: Q March

G. Bizet (1838-1875) G7 C

g f p
V

C7

marcata

5

5

5

5 3

3

ttJj t J t J @

F

3

3

33

3 3 __3

JJ I

t

3

3

j t

Dm

4 3...--3

j

2

t

I

1

3 (::::::::1

I lj

THREE'S IN F

4p! J J J Ir r r IJ r r Ir r re Ir r r Ir J J IJ iii 't' 111 iii tii Tit r 97

/1

SERENADE, OP. 134

Actual pitch: ~ ~

D MINOR*

Moderato

F. P. Schubert

cantabile

, ~ imJ7n~r-'-J-)l-mj1)~3~r·-fb--:11~.-:fil§8Dm .D bLID.

(1797-1828)

3

3

3

3

t +

7

r

t

5

7 6

6

t--LI

@6

6

l tl

4~ au r IGm

7@7(f)

t ~ t r ~

3

3

l

7

6

t

1

t t

2

2

+

t

2

j

~

6

3

3 3

3

6

9

9

t

t

1

.~.

1

,

+

5

.

laJr' @6

1

D

'RfIA 3

3

65

3j

_______D

4

m~,nor

2

.~

~ 11t'

Gd'\

*Relative

3

1

F

C7

l

3 @3

5

t

3

3

t

6

"33

3

3

t 1

~

7

. 5

3

I

W t

t

1

is "relateci" ta tne major by use of the same key signature. 98

1

CHAPTER VIII KEY OF D

Octave change:

@

, ~i j J

J

l(#ld

r

1j

(2 SHARPS F#, C#) SCALE

r 1F r

IC#:'F:

J

J

WIj

:11 o

II

ii it Ii tiri 11 ii 1

§

D SCALE EXERCISE 1

'ia! J J J IJ J J IJ 5

6

~

,~

I

J 7

t

,

1

6

t

t

Ir F @

~

t

8

~

8

J

t

r r

,

9

l

Il! I tI !

1

1

7

j

Ir

,

W 7

J IJ J 7

7

7

t l

t î

r r

I

9

l

9

t

j

It! t !

r

SCALE PATTERN

1 I

2 I

~

whole

8

l

ro

10

~~ş

r I

I

Em

f

fi

~

?J ! f 1t

~ Irt§

(*7

~

[IT

t t +t+l t

25 li rJI7

r!

rf f

t

~

~

J I j7

3'1

!!

i

t

tttJ

ti

=

t

~t

J

t

tf

A7 A7

G

P

D

~ ##fffrrrr IEUrU I;J

DJ

EG

lenta

D

Ij1 J lE;) I

t

D

II

ARIA IN D

Octave change: @ Andantino

...--n ~ #IJ IJ

V

=

'»f!cantabile

i.

nJ

r Ir r J J I~ A

77'779

1 l

J. S. Bach

tJ

----....

---D

@877

1 t

:=

r Ir r J J I A

nJ

7'779

l

J J

(1685- 1750)

t~

J

----

---

@877

J

J ~

t

J

-==== 9

@109

7

l .tl 1

8~8 J +. J

8

T t t

6

6

t

7

j

7

J

7

J

A7

II 9

@ 10

9

1 ~ fI

7

8

8 ~ 8

6

J

J

J

f

l

101

6

t

@7

J

î

7

J

5

l

'65 SWING LOW, SWEET eHARIOT

Actual pitch:

W V

Andante

A7

f##it§f r Ir ~?J. ImrU t ,

5

15543

1

1 G

43

D7

~Il

5555"7

~l~~

it

---

f' Spiritual

ltlţ" l"1

7

1 r

D

87j Il

A7

f #q ~p. IHuUfIi" II +++

l r

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f

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SCALE EXERCISE 1

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, t f ti fi' r 'i 1 i I j I1f r1i f Actual Pitch: 2 3

@

3

3 3

@

3

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EXERCISE II

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1

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SCALE PATTERN 1

3

1 J J 1J J J1

'tir

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Actual Pitch: 2

f

4

8

I

AMERICA, THE BEAUTIFUL Actual pitch:

@ ~b !

4

B~

F

Bb

J I J. J)J J I J. ))) 2

2

1

l,

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+

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l l

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S. A. Ward

J

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t

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II

UNFINISHED SYMPHONY Actual pitch:

F. Schubert (1797-1828)

~

@

f ~b~ fU . j

f ~b r'G -

G

~ IIE" /: ţ' ~

4

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45

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105

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F ANT ASIE- IMPROMPTU OP.66

Actual pitch:

o ~

F. Chopin' Moderato cantabile

Bf'P~ _ 4~

tiP= I r

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2~5

3

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tt t

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a tempo

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II

5

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106

j

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CHAPTER X

KEY OF A

8

(3 SHARPS F#, C#, G#)

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4

5

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SCALE PATTERN

2

*NOTE: The actual pitch and octave change allows for more pitch variance and the use of more music litera ture . 107

J II

PRELUDE IN A MAJOR

Actual pitch:

S

#

~

r],

=

RID r re î

O COME ALL YE FAITHFUL

Actual pitch:

Q

__ = = (I'al t ţ It

Andante p do_lce_E_7_ _

,~ 2J--- I c:a= r

F. Chopin (1810-1849)

Moderato'

mi

E

i j # -1 :::=:;;A-i ~ # i ~Ad

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108

2

(1751) ____

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n IJ

lt l!

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43

I

l t"II L ~ Îr~1

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SKATERS WAL TZ

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§

4~#i Azq~ Moderato

8

l

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E

J J J J IJ r ~ l l J r J t 3

3::--:::3

IN A MINOR*

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RUSSIAN FOLK MELODY

Actual pitch: Key signature AllegroAm

fI

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7

Emite 'Valdteufel A (1837-1915)

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t l l

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*PARALLEL MINOR SCALE has the same beginning tone (A) as the major scale, but has a different key signature. 109

I

CHAPTER XI KEY OF

(3 FLATS B~, E~, A~) SCALE

Octave change:

o

4

bit" I

r If'r Ir r Ir J IJ J :11

@W J I W J l(9)ţ

jj fi @

ii i1 r i fI f!

I

e

1

SCALE EXERCISE 1

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J J J IJ J J IJJ r IJ r Fir Fr IFrEI r Eri

n

rf r ! tf f ff '1 t fir f r' rrr 1

@

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pb&

f J J J J Ir J J J IJ J J J I e

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l

la J J J Ir J a J ~

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f

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l

Ir r r r Ir Er r Ir J J J leII

199 ' 110

1°f 99

1f76

1

NOCTURNE OP. 9, NO. 2

Octave change:

m ~

AndanteE~

espress. dolce

F. Chopin Bbm

C

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em

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f em

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rf j 111

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1

PRELUDE IN C MINOR Octave change: r.;;:;).. Largo f Fm ~ Cm ~

e-:i

!!!

i ~

i

~

Iî'b e

OP. 28 NO, 20.

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GL Cm

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iir r

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66

I

t II tt

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h PP...--------Bm----Gm-A-m-A~&-G-n;7

6

1t

a

7

t

J

7 7

~ ti

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::s

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ha

ţst

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Pa W IW J 76 t t t t1 f6'SS i +t

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8(7)

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F. Chopin ( 1810-1849)

Ab

n J I J J 7ijJ 7f 76f , 6f fS Wd

*

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cresc.

_

fa ia7 I"j J ffljm I

i ii! r ! i r f DEEP RIVER

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V

PE~

4 e t23n lîb&

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-::::::::::: A~

f 1 !~ ....-1

'b\\~~. +

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pp

7_________7

6 ,

6

5

@

f

+

1

f

1

t

IA @ @ l l

B~7

Hymn

= Gm7

6

~

t I' r

8

(7)

7

Eb

IJ3) I D. 'S@S Ţ , f +t ,

*RELATIVE MINOR SCALE is "related" to the major by use of the same key signature. C minor uses the same 3 flats as E flat major.

II

CHAPTER XII KEYOFE

(4 SHARPS F#, C#, G#, D#) SCALE

Octave change:

~

f ~; i J,J I
li

fI" J J

IJ

ESCALE EXERCISE 1

J J I J J J J IJ

i~fi

'#b

@7®@

~

J

t

~

rJJ

IT

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t ~ ~ t

rrrr rrrr rrrr I

i11r

I

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1,'rf

SCALE PATTERN

j :11

e

I

r

rrJ

7@S7

~ f ~ J I

II

It

'0

1

RIGOLETTO' 5

LA DONNA E MOBILE Octave change: Moderato

Q

~

~

Giuseppe Verdi (1813-1911)

B7

-----~------------~

&'b Ej§

W IA J

Ij

j

I ~in

j

7

G~

~

E

B

.t;g

li J 787 f t I

I JJJw

r

i

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(7)

8

@

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J

6

4

I

8

~

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E__ B_ B7 _ _~.-E_ _ _ _ _ _~~ ~

f~#t>F

l' I r

8

4

r

+ +

B7

8

r

I

8

8

r

J

J

W

,

787f i i ~

~

Ji

f _ _--~~~~~------

ft;rf5 j11; 8

r JJJ

4

8

8

1€\ţA

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,

9

r 114

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7

+

4

6

8

I

PiTI

ff I 6

î

II

ETUDE IN E MAJOR OPus 10, NO. 3

f)ctave change:

@

Lento

E

B7

~ Ylijffi 4

6

J

t

~

F. Chopin

E

S

~

LlS J J J t W Jj 3 r"p I >

B

8

E7

A

JJJJIJJJffUJJI t

i t

~Ytr

J

B

j

F#

nlu fU

E

B

B7

____

E

_________

r IJ ;1JLJ)JJJJ I A7

cresc.

Iar rJJ Jij 8@@ 878 E~m6

F#

G#

C#m

E

J

rit.

4in r r r r F r j r I r r j Sr r r rit #~

: B7

115

7

=======_

--~

i3? t~.

f

~

Cr Eri

t

1/

CHAPTER XIII 16 HOLE CHROMATIC HARMONIe The 16 hole chromatic harmonica has an additional 4 holes or one more octave. This additional octave is attached to the left of the 12 hole harmonica. Therefore, it is the octave below middle C, actual pitch level.

1

2

3

4

1

2

3

4:

5

6

8

9

10

11

12

BEJEJbC DDDDDDDDDDDD 0

.,

I

I

I

I

I

I

I

I

I

I

I

,

I

J

I

I

"

; :0 t,

I

I

I I

\

I

,

\

·middle C

\

' \

\

I

I

I

~Lower

\ \

\ •

o u o

\

octave elef

o.e-

8

The 16 hole harmonica adds the lower octave so that songs written below middle C can be played on the actual pitch level. It takes less pressure and more air to the play the lower octave. The lower octave does not respond as quickly as the upper octaves. It will take practice, but a smooth, easy tone can be achieved.

o 'ir- rid J IJ J Ij J IJ~JJIJJrrlr r1 r f r 1 1 1 tJfJ fi Ii LOWER OCTAVE

J IJ J I

8

2

2

11223344

4

3

r r

2

1

rr

TRILL Using the push button slide, rapidly push it in and out. The Trill consists of a rapid alternation of a given note with the note chromatic or diatonic second above it. TRILL

J
r~gn I

8

7

8

t

t

a

I

7

t

t

GRACE NOTE

t

r

II

li

8 7 B

1

see page 97

A note printe n in small type ta indicate that its time value is not counted in the rhythm of the measure and must be subtracted from ("hat of the adjacent note.

hCf I o 56

II

4

*t

1

GLISSANDO The execution of rapid scales by a sliding movement.

Q

~I

t .

see.page 85 & III glzss.

11l'~'izJ re r IJJJJ..~IJ

5

L../-- r r ! 2

5

5

This book ls only the beginning. Now you must expIore other techniques by listening. Records are excellent sources for listening. Collect them and use them ta improve your playing. Concerts are inspiring and should be attended. Improve your listening skills so as ta recognize interesting patterns and runs. This technique of listening can be used ta improve every aspect of your playing.

117

EXAMINATION 1. A music staff is composed of ___ lines and _ _ spaces. Name the lines ._ _ __ Name the spaces. _ _ __ 2. The top number in the time signature tells the _ _ of counts in a _ _ __ The lower num~er tells the kind of note that gets count. 3. In tirne a whole note ( o ) gets - - counts. In time a half note ( gets _ _ _ counts. 4. The musical alphabet is composed of __ letters. Theyare _ _ _ _ __ 5. When a piece begins with an incomplete measure, we find the remainder of the count in the measure. 6. Rests are signs of . 7. When two notes of the same pitch are tied,
â

i

J)

DICTIONARY A TEMPO . . . ACCENT . . . . ACCIDENTAL. ALLA BREVE. ALLEGRETTO ALLEGRO . . . ANDANTINO ANDANTE . . AUGMENTED CANTABILE CON MDTO . CON ESPRESSlO)1E . CRESCEN:JO . . D.C. al fine DECRESCENDO DlMINISHED . DOLCE . . . . ENHARMONIC FLAT . . . FORMATA . FORTE . . . FORTlSSlMO GLISSANDO LEGATa LARGO . . LENTa . . MARCATa MEZZO FORTE. MEZZO PlANO MO:JERATO. NATURAL PlANa PIANISSlMO . POCO . . . . PRESTO RITARDANDO

to return to the original tempo to make a note louder a sharp or flat not in the key signature twice as fast tempo between allegro and andante quick, cheerful, lively quicker tempo than andante slowly, walking speed .' Larger than · singing style, smooth · with motion, quick · with expression · gradual increase in sound (louder) Da Capo; to the beginning then to "FINE n gradual decrease in sound (softer) less than sweetly · two notes of the same pitch, but two different names lowers a tone one-half step to hold -:-. loud (f) SHARP raises tone onevery loud (ff) half step sliding the scale TEMPO time smooth and connected TEMPO DI VALSE . waltz tempo very slow tempo TENERAMENTE . . tenderly slow March tempo Medium loud (mf) medium soft (mp) medium speed cancels a sharp or flat soft (p) very soft (pp) Httle very quick, brisk rit ... , to slow down the tempo 118