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Page 1: AKNOWLEDGEMENTS - Harmonica · PDF fileAKNOWLEDGEMENTS “Blues Harmonica Lessons” cover page artwork – Dave Brewer “Blues Harmonica Lessons” CD cover artwork ... The World’s
Page 2: AKNOWLEDGEMENTS - Harmonica · PDF fileAKNOWLEDGEMENTS “Blues Harmonica Lessons” cover page artwork – Dave Brewer “Blues Harmonica Lessons” CD cover artwork ... The World’s

AKNOWLEDGEMENTS

“Blues Harmonica Lessons” cover page artwork – Dave Brewer

“Blues Harmonica Lessons” CD cover artwork – Dave Brewer

“How To Read Music” book cover – Sleigh and Sheppard.

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

“The Harp Handbook” book cover – Steve Baker

“Kentucky slave poster, 1853.” - The Story of the Blues – Paul Oliver

“Loading plan of a “Guinea - man” slave ship. - The Story of the Blues – Paul Oliver

Sing – Along, extract from “Do – Re – Mi” – Rogers and Hammerstein’s “The Sound of Music”.

“Key To The Highway”, “Hate To See You Go”, “She’s So Fine” - Harry’s Blues Lyrics Online

“The World’s Best Mouth Organ” advertisement - J Albert & Son – Dance Folio Programme No.2

“Hohner Harmonica – That Musical Pal Of Mine ” - Hohner brochure

“The Story Of Hohner Harmonicas” - Hohner brochure

“The Story Of Hohner Harmonicas - Early History and Development. ” - Hohner brochure

“How to Play the Harmonica” - Hohner brochure

“Everybody Plays The Harmonica” - Hohner brochure

“Music for Everyone, Everyone for Music” - Hohner brochure

“How To Play The Hohner Harmonica” - Hohner brochure

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CONTENTS

Music for Everyone Everyone for Music - Hohner Brochure …..………………………..……………. 5

Introduction ………………………………………………………………………………………….…... 6

The Story of Hohner Harmonicas - Early History and Development - Hohner Brochure ……..………. 7

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

The Comprehensive Five Fold Approach to playing the harmonica ……………….………………….. 9

Foundations of Playing ……………………………………………………………………………….. 10

Practically everybody has the urge to make music of some sort - Hohner Brochure .……………...…. 11

CD Cover - Blues Harmonica Lessons - Tracks 1 - 28 ……………………………………………….. 12

Harmonica instructional CD printed notes ………………………………………………………… 13 - 18

CD Track 21 transcription ………………………………………………………………. ………. 19 - 20

The Story of Hohner Harmonicas and How to Play Them - Hohner Brochure ………………...……… 21

Bending diagrams ……………………………………………………………………………………… 22

12 Bar Blues …………………………………………………………………………………….……… 23

Keyboard Illustration of the Chromatic Scale ……………………………..…………………………... 24

The World’s Best Mouth Organ - advertisement J. Albert & Son …………………………….……….. 25

Note Layout Chart for 10 Hole Diatonic Harmonicas in Major Tuning - 12 keys …...…………… 26 - 28

Note Layout Chart for C Chromatic Harmonicas - 12 hole and 16 hole ….…………………………... 29

Major Scales - Cycle of Fifths - Keyboard Illustration ……………………………………….………. 30

Everybody Plays the Harmonica - Hohner Brochure ……………….……………...…………………. 31

Scales, Chords and Harmonica Positions ……………………………………………………………… 32

Diatonic Harmonica Positions - The Cycle of Fifths - Harmonica Positions Table ………………....... 33

Creating the Cycle of Fifths ……………………………………………………………………….…... 34

That Musical Pal of Mine - 1923 - Hohner Brochure ……………………………………...…………. 35

Harmonica Physics - Harmonica Construction ……………………………………..……………….… 36

Harmonica Physics - Keyboard Illustration of Chromatic Scale & Note Layout Chart C Harmonica ... 37

Harmonica Physics - Bending …………………………………………………….…………………… 38

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 - 93873030 ( tuition, performance, recording )

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CONTENTS

Juke - Little Walter’s 1952 recording ……………………………………………………...………….. 39

Sing A Long - Do Re Mi ……………………………………………………………………………… 40

Blues Lyrics ……………………………………………………………………………………..…….. 41

How To Play The Harmonica - Hohner Brochure …………………………...…………………..……. 42

Resources - Internet Web Sites ……………………………………………………………..…….. 43 - 45

Resources - Look Listen Learn …………………………………………………………………..……. 46

Recommended Reading …………………………………………………………………………..…… 47

Roadmap for the Path of Progress …………………………………………………………...…… 48 - 49

Qualities of a Master Player ……………………………………………………………………..……. 50

How To Play The Hohner Harmonica - New Easy Method For Beginners - Hohner Brochure ……… 51

Blues Harmonica Course Checklist …………………………………………………………………… 52

Practice Journal ……………………………………………………………………………………..…. 53

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 - 93873030 ( tuition, performance, recording )

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INTRODUCTION

Mass production of mouth organs began in Vienna in 1829.

In 1857, a German clockmaker named Matthias Hohner, began manufacturing harmonicas full time,

turning out 650 instruments that year with the help of his family and a single workman.

In 1887, the annual output exceeded 1 million with demand coming from North America.

In 1930, Hohner's yearly sales topped 25 million.

Over the years, the Hohner Company has offered over 1500 different harmonicas, ranging from the small

Little Lady with 4 holes only, to the very large chord harmonica which has 96 double holes.

You have a 10 hole diatonic harmonica in C major tuning.

The harmonica is a free reed, wind instrument.

It has multiple, variably tuned brass ( or alloy ) reeds.

The reeds freely vibrate to produce sound in response to the outward and inward breath of the player.

The diatonic harmonica has 10 holes with 20 tuned reeds ( 10 blow reeds and 10 draw reeds ).

The 20 tuned reeds offer 19 different notes ( one note is repeated ) in a three octave range.

The length and thickness of the reeds determines the note that is produced.

The reeds sit over the open slots of the brass reedplate and are secured at one end by rivets or screws.

The top and bottom brass reedplates are fixed onto the comb.

The comb has 10 evenly spaced chambers of different lengths.

The comb chambers direct the player's outward and inward breath to the individual reeds.

The top reedplate is secured to the comb with the reeds sitting inside the comb chambers.

The top reeds are riveted or screwed to the reedplate near the front edge of the harmonica.

These top reeds respond to blowing.

The bottom reedplate is secured to the comb with the reeds sitting outside the comb chambers.

The bottom reeds are riveted or screwed to the reedplate near the rear edge of the harmonica.

These bottom reeds respond to drawing.

The reeds secured to the reedplates are protected by the outer top and bottom covers.

Disassembly / Assembly of your Harmonica : Top cover

Top reedplate with 10 blow reeds sitting inside the comb

Comb with 10 different sized chambers

Bottom reedplate with 10 draw reeds sitting outside the comb

Bottom cover

The standard diatonic harmonica is designed to allow a player to play chords and melody in a single key.

Because they are only designed to be played in a single key at a time , diatonic harmonicas are available in

all 12 keys : G Ab A Bb B C Db D Eb E F F# .

The Chromatic Scale is the scale which contains all the 12 pitches of the Western tempered scale.

All of the other scales in traditional Western music are subsets of this scale.

Each pitch is separated from its neighbours by one half step ( or semitone ).

The Diatonic Scale is the 7 note musical scale which is the fundamental building block of the Western

musical tradition. The modern Major and Minor scales are Diatonic scales.

The diatonic scale is comprised of 5 whole notes ( tone ) and 2 half notes ( semitone ).

The 7 notes of the diatonic scale are repeated in each octave. Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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Kentucky slave poster 1853

Loading plan of a “ Guinea – man slave ship.

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THE COMPREHENSIVE FIVE FOLD APPROACH TO PLAYING THE HARMONICA

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

1 2 3 4 5 6 7 8 9 10

PLAYING TECHNIQUES

Eg. Playing single notes.

Bending techniques.

Playing octaves using tongue blocking.

REPERTOIRE

Eg. Rhymes, melodies, tunes, riffs.

Scales, scale patterns, arpeggios.

Improvisation. Singing.

HARMONICA CONSTRUCTION & PHYSICS

Eg. Covers, comb, reed plate, reeds.

Note layout, scales.

How reeds respond when bending notes.

MUSIC THEORY

Eg. Scales, chords.

Cycle of 5ths.

Harmonica positions / modes.

FORMAT / STRUCTURE OF MUSIC

Eg. Chord progressions.

12 bar, 8 bar, 16 bar and 32 bar blues.

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FOUNDATIONS OF PLAYING

b

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

POSTURE

Aim

To maintain a relaxed, comfortable,

upright posture whilst playing whether

sitting or standing.

Being relaxed allows you to play

effectively.

An upright posture assists with

air support and breath control.

Bring the harmonica up to the mouth

whilst maintaining posture.

Holding the harmonica with one hand

only initially can assist with

maintaining a relaxed upright posture

whislt playing

Avoid hunching over forwards, taking

the mouth down to the harmonica.

Avoid tilting the head sideways.

Check your posture by playing in front

of a mirror.

To ensure a relaxed posture, do muscle

tension and release exercises for the

face, shoulders, arms and hands prior

to playing. Roll the shoulders back and

forth.

HOLDING THE HARMONICA

Aim

To hold the harmonica with an

effective, relaxed and comfortable

placement of the left and right hands

on the instrument.

This facilitates hand effects and the

creation of tone.

It allows the mouth to create an

embouchure on the front of the

harmonica.

It contributes to a relaxed,

comfortable, upright posture.

The harmonica can be held with either

hand, left or right.

Most players hold the harmonica in

their left hand, cupping the right hand

at the back for acoustic effects.

Hold the harmonica with one hand

only to start with. This ensures you

stay relaxed with a good posture.

Add the other hand later.

Cup the hands to create a resonant

echo chamber which creates tone.

Opening and closing the chamber

using the hand at the back creates hand

effects.

Avoid a tense grip on the harmonica.

Being relaxed allows you to play

effectively.

Muscle tension and release exercises

of the hands, arms and shoulders assist

in maintaining a relaxed hold on the

harmonica. Roll the shoulders.

SINGLE NOTES / EMBOUCHURE

Aim

To be able to play single notes.

Embouchure is the position and use of the lips and tongue

when playing a wind instrument.

There are several different embouchures which can be used

to play single notes on the harmonica

- tongue block,

- pucker or lip block

- U block or slotted tongue

With tongue block, the lips surround four holes whilst the

tongue blocks three holes, leaving a single note played out

the side of the mouth.

An advantage of tongue block embouchure is

specialist techniques such as octaves, other split note

combinations plus tongue slaps, pulls and vamping can be

played.

Additionally the shape of mouth when tongue blocking

assists in creating a resonant tone.

With pucker / lip block embouchure, the lips surround a

single hole, blocking the adjacent holes.

Pucker embouchure frees up the tongue to articulate notes.

With U block / slotted tongue embouchure the tongue is

rolled into a U shape and the tip of the tongue is placed just

below the hole to be played.

Bending of notes can be achieved with all three

embouchures.

The tongue is very dextrous. As the fingers are to a piano

player, so is the tongue to a harmonica player.,

Pucker / lip block embouchure is used by Howard Levy and

Brendan Power.

Tongue block embouchure is used by Joe Filisko

and David Barrett.

U block embouchure was used by Norton Buffalo.

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

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1. Harmonica And Guitar Duo

2. Introduction

3. Pep

4. Let’s Play

5. Simple Exercises and Patterns

6. C Major Scale

7. Mary Had A Little Lamb

8. Jingle Bells

9. Twinkle Twinkle Little Star

10. When The Saints Go Marchin’ In

11. Holding The Harmonica And Using The Hands

12. Warble / Trill

13. Tongue Articulation / Dit Dah

14. Puck / Lip Lift Off

15. Glissando / Sliding

16. 12 Bar Blues

17. 12 Bar Blues Progression

18. Bending

19. Octaves / Split Notes

20. Tremolo / Vibrato

21. Harmonica And Guitar Duo

22. Now What ?

23. Guitar Only Play Along

24. Harmonica And Guitar Duo

25. - 28. Track 21 at various track speeds for playing along

PLAYING

TECHNIQUES using

C major

diatonic harmonica

Gary Collinson

harmonica

Dave Brewer

guitar

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PLAYING TECHNIQUES - Blues Harmonica Lessons - Instructional CD - Gary Collinson.

Track 1

Harmonica and Guitar duo.

Track 2

Introduction.

Music is an endless journey of discovery.

My name is Gary Collinson.

Listening to and playing music offers a lifetime of enjoyable activity.

This course focuses on the 10 hole diatonic harmonica played in the blues style.

So get on board and let’s ride that music train.

Track 3

Pep.

All you need to succeed is PEP – practice, enthusiasm, perseverance.

Remember the musician’s mantra – practice makes progress.

Keep a harmonica in your pocket. The harmonica is a very portable instrument.

Keep it handy so you can practice when spare moments arise during the day.

Track 4

Let’s Play

Playing the harmonica involves the hands, lips, tongue, mouth, throat, lungs and diaphragm.

A relaxed upright posture and good breath control assists.

Holding the Harmonica.

Hold your harmonica with one hand, either the left or right hand, whichever feels more comfortable.

The harmonica should be held with the low notes to the left hand side and the cover plate numbers 1 – 10 on the top.

Posture.

Aim for a relaxed upright posture without tension in the face, hands, arms and shoulders.

Contract the muscles in the face, hands, arms and shoulders, hold that tension, then relax.

Now you are ready to play.

Blow the 1 hole, draw the 1 hole. Blow the 10 hole, draw the 10 hole.

Single Notes

There are 2 ways to get single notes.

The tongue blocking method, where air is directed between the tongue and the lips to the desired holes,

with the tongue blocking air to holes not required to sound at that time.

The pucker method, where the lips are shaped as if whistling, thus directing the air through one single hole at a time.

This is the method we will use because it allows us to use the tongue for bending and articulating the notes

we are playing.

Blow the 1 hole and whilst continuing to blow slide across the 2 and 3 holes landing on the 4 hole. 1b 2b 3b 4b

Blow the 4 hole and whilst continuing to blow slide across the 3 and 2 holes landing on the 1 hole. 4b3b 2b 1b

Do the same except draw instead of blowing. 1d 2d 3d 4d 4d 3d 2d 1d

Aim for individual single notes.

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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Track 5

Simple Exercises and Patterns.

Blow, draw, move. Playing consists of blowing and drawing the notes whilst moving across the holes of the harmonica.

Tablature Note.

For this instructional material, the number indicates the hole of the harmonica,

“b” indicates a blow note, “d” indicates a draw note.

Please refer to the notes accompanying the c.d. for the tablature of exercises, patterns and tunes.

Try these simple exercises.

1d 1b 1d 1b 1d 1b 1d 2d 2b 2d 2b 2d 2b 2d 4d 4b 4d 4b 4d 4b 4d 6b 5b 6b 5b 6b 5b 6b

Repeat this last exercise but try sliding between the notes whilst maintaining a continuous stream of blowing.

This produces a more fluent sound.

4b 4d 3d repeat. Try sliding between the 4d and 3d to increase fluency.

Control is more important then speed. Play it slow and get it right, then increase the speed.

Repetition results in muscle memory. It imprints the pattern in your brain.

You can use your tongue to punctuate the notes instead of using individual breaths.

Draw on the 1 hole with a continuous in breath and then use the tongue to punctuate the notes. 1ddddd

Try the same on the 4 hole draw. 4ddddd. Then try the 2 hole draw. 2ddddd.

You can use the same technique on blow notes. Try 1bbbbb, 4bbbbb, 2 bbbbb.

Utilize the technique in these simple exercises 1dd 1bb repeat 2dd 2bb repeat.

Combine the preceding exercises for this effective rhythmic pattern. 2dd 2bb 1dd 2bb repeat

Track 6

C Major scale. C D E F G A B C

4b 4d 5b 5d 6b 6d 7d 7b

do ray me far so la ti do

Play the ascending scale starting on 4b. Play the descending scale starting on 7b. Combine them.

Track 7

Mary Had a LittleLamb.

5b 4d 4b 4d 5bb 5b 4dd 4d 5b 6b 6b

Ma-ry had a little lamb, little lamb, lit-tle lamb

5b 4d 4b 4d 5bb 5b 5b 4d 4d 5b 4d 4b

Ma-ry had a little lamb, its fleece was white as snow

Track 8

Jingle Bells.

5bb 5b 5bb 5b 5b 6b 4b 4d 5b

Jingle bells, jingle bells, jingle all the way

5d 5d 5d 5b 5d 5b 5 b 5b 5b 5b 4d 4d 5b 4d 6b

Oh what fun, it is to ride, on a one horse op-en sleigh, hey

5bb 5b 5bb 5b 5b 6b 4b 4d 5b

Jingle bells, jingle bells, jingle all the way

5d 5d 5d 5b 5d 5b 5 b 5b 5b 6b 6b 5d 4d 4b

Oh what fun, it is to ride, on a one horse op-en sleigh

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Track 9

Twinkle Twinkle Little Star.

4b 4b 6b 6b 6d 6d 6b 5d 5d 5b 5b 4d 4d 4b

Twinkle twinkle lit-tle star, how I wonder what you are

6b 6b 5d 5d 5b 5b 4d

Up a- bove the world so high

6b 6b 5d 5d 5b 5b 4d

Like a diamond in the sky

4b 4b 6b 6b 6d 6d 6b 5d 5d 5b 5b 4d 4d 4b

Twinkle twinkle lit-tle star, how I wonder what you are

Track 10

When The Saints Go Marchin’ In.

4b 5b 5d 6b 4b 5b 5d 6b

Oh when those saints, go marchin’ in

4b 5b 5d 6b 5b 4b 5b 4d

Oh when those saints go marchin’ in

5b 4d 4b 4b 5b 6b 6b 6b 5d

Lord I want to be in that number

4b 5b 5d 6b 5b 4b 4d 4b

Oh when those saints go marchin’ in

Track 11

Holding the Harmonica and Using the Hands.

Hold your harmonica with one hand, either the left or right hand, whichever feels more comfortable.

The other hand is cupped at the back to create an echo chamber. This enhances the tone and allows for hand

movements to create a variety of sounds. Try to create the largest, sealed echo chamber possible with your hands.

There are 4 main ways to use the cupped hand. The 4 techniques are demonstrated using the 4d note.

- finger flutter using small rapid movements of the fingers.

- hand wah wah with the cupped hand pivoting outwards to create a wah wah effect.

- wrist wah wah using the outward movement of the wrist to create the same wah wah effect.

This technique is useful when holding a microphone in the hands for amplified playing.

- whole arm wah wah using an outward movement of the whole arm for a flamboyant effect.

Track 12

Warble / Trill.

To warble, slide rapidly and smoothly between 2 adjacent holes repeatedly, either blowing or drawing.

Common warbles include 4d-5d warble, 4b-5b warble and the 3d-4d warble.

Start slowly and smoothly then increase the speed as you gain fluency and breath control.

Commence with a 4d-5d warble.

Continue with a 4b-5b warble.

Next try the 3d-4d warble.

You can combine the 3 warbles into a single pattern 4d-5d 4b-5b 3d-4d 4b-5b and repeat.

A variation on this 3 warbles pattern is 4d-5d 4b-5b 3d-4d 2d and repeat.

You can incorporate the 3d-4d warble into this run 3b 3d-4d 4b 3d-4d 2d and repeat.

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

15.

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Track 13

Tongue Articulation / Dit Dah.

We have previously discussed using the tongue to punctuate notes.

Now we will use the tongue to articulate the notes we are playing.

Use the tongue to articulate the sound Dit, with the tip of the tongue starting and ending behind the front upper teeth .

This starts and ends the word sharply.

Use the tongue to articulate the sounds Dah, with the tongue starting on the roof of the mouth and ending in a neutral

position in the mouth. This ends the word gradually.

Now apply the same articulation to the notes you play on the harmonica

Play 1b 1d ( dit ) 1d ( dah ) . Then play 2b 2d (dit ) 2d ( dah ).

Add an extra dit to the above phrases. Play 1b 1d(dit)d(dit) 1d(dah). Play 2b 2d(dit)d(dit) 2d(dah).

Track 14

Puck / Lip Lift Off.

Loosen the lips from the pucker method used to create single notes.

Draw the 1,2 and 3 holes simultaneously to create a chord of 3 notes. 1d-2d-3d chord.

Using a Key C diatonic harmonica, this chord is G major chord, comprised of the notes D, G and B.

Leaving the harmonica resting on the bottom lip, rapidly lift the top lip off the harmonica whilst playing the

1d-2d-3d chord. It can be repeated rhythmically for effect.

Track 15

Glissando / Sliding.

Glissando is achieved by sliding rapidly across the holes of the harmonica, either blowing or drawing,

then landing on a particular note.

Try the following examples 3b glissando to 6b, 2b glissando to 5b, 2d glissando to 5d.

Combine the blow glissandos into this melody 3b-6bb, 2b-5b 4d, 3d 2d, 2d repeat

Track 16

12 Bar Blues.

The most common blues form is the 12 bar blues consisting of the I – IV – V progression.

This progression is a blues in the Key of G. It consists of 12 measures or bars.

The chords are G7 (I), C7 (IV) and D7 (V)

These are the I, IV and V chords in the key of G.

There are 4 beats per bar with accents on the 2nd and 4th beats.

Try tapping your foot 1234 for each of the 4 beats per bar. Continue evenly for all of the 12 bars then repeat.

Try snapping your fingers on the accented 2nd

and 4th

beats.

You can play along using the 2nd

and 4th

holes of your Key C diatonic harmonica in second position.

Track 17

12 Bar Blues Progression.

12 bar blues progression in the Key of G G7 G7 G7 G7 C7 C7 G7 G7 D7 C7 G7 D7

Diatonic Harmonica, Key C in 2nd position 2dd 2dd 2dd 2dd 4bb 4bb 2dd 2dd 4dd 4bb 2dd 1dd

G G G G C C G G D C G D

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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Track 18

Bending.

Bending is a technique which flattens the pitch of the played note. It is achieved by moving the tongue.

Bending increases the range of notes available on the harmonica. Bending produces that "bluesy sound."

Start by playing 1d. As you draw the note, move the tongue down and back in the mouth.

Saying the words “Eeeee Ooooo” replicates the tongue movement associated with bending.

Do Not - draw the note louder or more vigorously

Do Not - move the jaw,

Do Not - tighten or loosen the lips from the single hole position,

Do Not - tense the face, hands, shoulders or other parts of the body.

Bending the notes is a difficult technique which requires practice to master. It's all in the tongue movement.

Try 1d bend again.

Once you have mastered the 1d bend, move onto the 4d bend, 2d bend and 3d bend.

Play 4d and bend 1 semitone.

Play 2d and bend 2 semitones.

Play 3d and bend 2 semitones.

The lower the pitch of the draw note, the greater the movement of the tongue.

Thus the tongue movement and technique varies as we play across the different holes of a harmonica.

It also varies with the different key harmonicas.

Refer to the Note Layout Chart for Diatonic Harmonicas to see the selection of blow and draw notes

that can be lowered in pitch by bending.

Using standard note bending technique, the 1d and 4d notes can be lowered by 1 semitone,

the 2d note lowered by 2 semitones and the 3d note lowered by up to 3 semitones.

Advanced bending technique.

The next stages of draw bending technique focus on moving between unflattened and flattened notes.

Commence playing a note and then stop drawing once the note has reached its flattened pitch.

Try this technique on the 1d, 4d, 2d and 3d notes.

The next step is to commence playing a note in the bent position and release the bend as you draw the note.

Try this technique on the 1d, 4d, 2d and 3d notes.

Once this is mastered, the next step is to play the unflattened and flattened notes directly with no sound

between the selected notes.

Try this technique on the 1d, 4d, 2d and 3d notes.

Blow bends.

Blow bends are also achieved by moving the tongue in the mouth.

To flatten a blow note the tongue moves very slightly forwards.

Blow bends are usually played on the higher holes ( 8b, 9b ) of lower key harmonicas ( G, A, Bb )

Using a Key C harmonica, try blow bends on 8b, 9b and 10b.

Track 19

Octaves / Split Notes (separated notes played simultaneously)

By using the tongue blocking method, 2 notes on separate holes can be played simultaneously.

By placing the underside of the tip of the tongue across holes 2 and 3 and blowing the air

out the corners of the mouth, you can block holes 2 and 3 whilst playing holes 1 and 4.

1b and 4b are both C notes an octave apart. (refer to the Note Layout Chart for Diatonic Harmonicas).

The D note octave is achieved by drawing the notes 1d and 4d.

The 2b-5b, E note octave, is another of the several octaves which can be played.

The 2d-5d, G –F, is one of the split note combinations which are not octaves.

You can use electrician’s tape to cover the appropriate holes and thus get a beginners feel for octaves and split notes.

Try 1b-4b octave, 1d-4d octave, 1b-4b octave, 1d-4d octave.

Try the 1 and 4 hole octaves in a blow and draw combination.

1b-4b 1d-4d 1b-4b 1d-4d 1b-4b 1d-4d 1b-4b 1d-4d

Once mastered you have to be able to alternate fluently between single notes and octaves.

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

17.

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Track 20

Tremolo / Vibrato.

Tremolo / Vibrato is the pulsating effect that embellishes a played note.

It is achieved by various techniques :

the movement of the hands using the finger flutter technique.

drawing a note with a rapid and rhythmical quick succession of breaths centred in the diaphragm.

blowing a note with a rapid and rhythmical quick succession of breaths centred in the upper airway.

blowing or drawing a note and bending the note rapidly, rhythmically and smoothly.

Try the techniques on the 4d and 4b notes.

using hand movement play 4d then 4b

using the diaphragm play 4d

using the upper airway play 4b

using the tongue to bend rapidly play 4d then 4b

Track 21

Harmonica and Guitar duo.

Basic harmonica technique with guitar accompaniment.

Track 22

Now What ?

Once the basic techniques are mastered, you have to incorporate them into simple runs and tunes.

Next you have to learn to play along with the format of the music, for example a 12 bar blues.

The next challenge is to learn to improvise.

Listen and play along.

Listening to the recordings of harmonica players and then playing along with them, is an effective way to learn.

You need to be using the same key harmonica as the player on the recording.

( use the Artist Song Listing – Harmonica Masterclass internet resource )

Listen for the various techniques being used, try to work out the runs being played, count through the bars to

understand the structure of the tune.

Positions

Choosing the key harmonica to use to accompany another instrument involves the theory of Harmonica Positions.

The positions commonly used are 1st , 2

nd and 3

rd although there are a total of 12.

One guide to positions involves the Descending Circle of 5 ths. Another method involves counting intervals on the

chromatic scale. Refer to chart Diatonic Harmonica Positions.

Track 23

Guitar Only Play Along Track.

Play along with this swinging 12 bar blues performed by the talented guitarist, Dave Brewer.

Track 24

Harmonica and Guitar duo.

A swinging 12 bar blues shuffle.

Tracks 25 - 28

These tracks are Track 21 slowed down at various play speeds to assist with playing along.

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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TRACK 21 HARMONICA and GUITAR DUO - PLAYING TECHNIQUES CD

Key of Music = G Harmonica = C in 2nd position 12 Bar Blues Instrumental with 6 verses

G Major Scale G A B C D E F# G

Degrees of Scale 1 2 3 4 5 6 7 8

Chords of Scale I IV V

I = Tonic = G = 2 draw IV = Subdominant = C = 4 blow V = Dominant = 4 draw & 1draw

Verse 1 @ 0.04 minutes

2dd 3d 4b 2d

2b 2dd 3b 3d 4b 2d

4d-5d trill 4d-5d trill

4b-5b trill

2dd 3d 4b 2d

5d 4d 4b 4d 3d 2d

2b 2dd 3b 3d 4b 2d

Verse 2 @ 0.28 minutes

5b 6bb

5d 4d 4b 3d-4d trill

4d

3b 3d 4d 2d

3b 3d 4d 3d 4d 3d 4d 3d 2d 2b

3b 3d 4d 5b 3d 4d 5b

2dd

Verse 3 @ 0.53 minutes

4d wah wah 4d wah wah 4d wah wah 4d wah wah 4d wah wah

5b 6b wah

4d 5d wah

1-2-3 puck puck 1-2-3 puck puck 1-2-3 puck puck 1-2-3 puck puck

2b 2d 2b 2d 2b 2d 2b 2d 2b 2d 2b 1dd

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

19.

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Verse 4 @ 1.18 minutes

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2b 3b 3d

2dd 2bb 1dd 2b 3b 3d

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

3dd 4bb 4dd 5bb

6bb 5bb 4dd 3dd

2dd 3dd 4bb

4d 3d 2d 2d// 1d

Verse 5 @ 1.42 minutes

4b 4d 4b 3d 4b 4d 4b 3d

4b 4d 4b 3d 4b 4d 4b 3d 2dd

1d-4d octave 2b-5b octave 3b-6b octave

1d-4d octave 1d-4d octave 2b-5b octave

1d-4d octave 1d-4d octave 2b-5b octave

1d-4d octave 1d-4d octave 2b-5b octave

1d-4d octave 1d-4d octave 2b-5b octave 1d-4d octave

4b 4d/ 4d 4d/ 4d 4d/ 4d 4d/ 4d

4d/ 4d 4d/ 4d 4d/ 4d

4d 3d 2d

2d 2b 2dd 2b 2d 2d// 1dd

Verse 6 @ 2.07 minutes

3b 3d 4d 5b 6b

3b 3d 4d 5b 6b

3b 3d 4d 5b 6b

3b 3d 4d 5b 6b

3b 3d 4d 5b 6b

3b 3d 4d 5b 6b

3b 3d 4d 5b 6bb

5dd 4dd 4bb 3dd 2d 2d// 1dd

2bb 2dd 3dd 4bb

4d

4d 4d 4d 4d 3d 2d

6bb 5d 4d 4b 3d 2d 2b 1-2-3d chord 1-2-3d chord

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

20.

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

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BENDING DIAGRAMS 22.

Refer to Note Layout Chart to see which holes are available for bending.

Tip – 1st hole bends 1 semitone, 2

nd hole bends 2 semitones, 3

rd hole bends 3 semitones, 4

th hole same as 1

st.

Practice on the 1 draw hole first, then move onto the other draw bend holes.

Develop bending proficiency on holes 1, 2, 3, 4, 5 and 6 hole draw. Blow bend holes 8, 9 and 10.

Bending technique varies across the holes of each harmonica and across the selection of harmonicas.

As a general rule, low pitched notes require more tongue movement than high pitched notes.

down and up down and stop start at the bottom bottom to top to bottom

one breath and go to the top one breath

no stops no stops

top then bottom then top straight to the bottom and repeat

nothing in between one breath

one breath

double notes double notes

top to bottom straight to bottom and repeat

nothing in between one breath

one breath

top to bottom bottom to top top to in between top to in between

but pause in between but pause in between in between to bottom in between to top

one breath one breath one breath one breath

Created by

Gary Collinson, 98 Essex Street, Wembley 6014,

Western Australia. Tel. 08 – 93873030. ( tuition, performance, recording )

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12 BAR BLUES

This is a framework for a swinging 12 bar walking blues. There are 4 beats per bar with accents on the 2nd

and 4th

beats.

Try tapping your foot 1234 for each of the 4 beats per bar. Continue evenly for all of the 12 bars then repeat.

You can also walk the blues with each footstep equivalent to a beat. Try snapping your fingers on the accented 2nd

and 4th

beats.

You can play along using the 2nd

and 4th

holes of your diatonic harmonica in second position (cross harp).

Schematic diagram of a 12 bar blues

D

C C C

12 BAR BLUES in KEY G = G G G G G G G

D

DIATONIC HARMONICA in 2ND

POSITION in KEY C = 2dd 2dd 2dd 2dd 4bb 4bb 2dd 2dd 4dd 4bb 2dd 1dd

G G G G C C G G D C G D

Check your notation chart for diatonic harmonica C major.

When listening to blues music, try to work out the structure of the song by counting and observing the chord changes.

The 12 Bar Blues usually uses just three Chords. These Chords will always have the same relationship to each other:

They will be Chords formed on degrees I, IV, and V of a Major scale ( also referred to as the TONIC Chord, SUBDOMINANT Chord, and DOMINANT Chord ).

These three Chords can be either Major, Minor, or 7th Chords depending on the type of character you want your music to have.

Other blues forms include 8 bar,16 bar and 32 bar blues.

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

Bar 1

count

1234

play

2dd

Bar 8

count

1234

play

2dd

Bar 7

count

1234

play

2dd

Bar 5

count

1234

play

4bb

Bar 6

count

1234

play

4bb

Bar 2

count

1234

play

2dd

Bar 3

count

1234

play

2dd

Bar 4

count

1234

play

2dd

Bar 9

count

1234

play

4dd

Bar 10

count

1234

play

4bb

Bar 11

count

1234

play

2dd

Bar 12

count

1234

play

1dd

23.

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KEYBOARD ILLUSTRATION OF THE CHROMATIC SCALE.

Ascending chromatic scale commencing on C

C C# D D# E F F# G G# A A# B C

C Db D Eb E F Gb G Ab A Bb B C

Descending chromatic scale commencing on C

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

24.

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NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 26.

overblow A D F# A C E

bend 2 semitones E

bend 1 semitone A C F

Blow F# A# C# F# A# C# F# A# C# F#

F# harmonica 1 2 3 4 5 6 7 8 9 10

Draw G# C# E# G# B D# E# G# B D#

bend 1 semitone G C E G D

bend 2 semitones B D#

bend 3 semitones D

overdraw G B D G

F# major scale F# G# A# B C# D# E# F#

overblow Ab Db F Ab B Eb

bend 2 semitones Eb

bend 1 semitone Ab B E

Blow F A C F A C F A C F

F harmonica 1 2 3 4 5 6 7 8 9 10

Draw G C E G Bb D E G Bb D

bend 1 semitone Gb B Eb Gb Db

bend 2 semitones Bb D

bend 3 semitones Db

overdraw Gb Bb Db Gb

F major scale F G A Bb C D E F

overblow G C E G A# D

bend 2 semitones D

bend 1 semitone G A# D#

Blow E G# B E G# B E G# B E

E harmonica 1 2 3 4 5 6 7 8 9 10

Draw F# B D# F# A C# D# F# A C#

bend 1 semitone F A# D F C

bend 2 semitones A C#

bend 3 semitones C

overdraw F A C F

E major scale E F# G# A B C# D# E

overblow Gb B Eb Gb A Db

bend 2 semitones Db

bend 1 semitone Gb A D

Blow Eb G Bb Eb G Bb Eb G Bb Eb

Eb harmonica 1 2 3 4 5 6 7 8 9 10

Draw F Bb D F Ab C D F Ab C

bend 1 semitone E A Db E B

bend 2 semitones Ab C

bend 3 semitones B

overdraw E Ab B E

Eb major scale Eb F G Ab Bb C D Eb Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 27.

overblow F A# D F G# C

bend 2 semitones C

bend 1 semitone F G# C#

Blow D F# A D F# A D F# A D

D harmonica 1 2 3 4 5 6 7 8 9 10

Draw E A C# E G B C# E G B

bend 1 semitone D# G# C D# A#

bend 2 semitones G B

bend 3 semitones A#

overdraw D# G A# D#

D major scale D E F# G A B C# D

overblow E A Db E G B

bend 2 semitones B

bend 1 semitone E G C

Blow Db F Ab Db F Ab Db F Ab Db

Db harmonica 1 2 3 4 5 6 7 8 9 10

Draw Eb Ab C Eb Gb Bb C Eb Gb Bb

bend 1 semitone D G B D A

bend 2 semitones Gb Bb

bend 3 semitones A

overdraw D Gb A D

Db major scale Db Eb F Gb Ab Bb C Db

overblow Eb Ab C Eb Gb Bb

bend 2 semitones Bb

bend 1 semitone Eb Gb B

Blow C E G C E G C E G C

C harmonica 1 2 3 4 5 6 7 8 9 10

Draw D G B D F A B D F A

bend 1 semitone Db Gb Bb Db Ab

bend 2 semitones F A

bend 3 semitones Ab

overdraw Db F Ab Db

C major scale C D E F G A B C

overblow D G B D F A

bend 2 semitones A

bend 1 semitone D F A#

Blow B D# F# B D# F# B D# F# B

B harmonica 1 2 3 4 5 6 7 8 9 10

Draw C# F# A# C# E G# A# C# E G#

bend 1 semitone C F A C G

bend 2 semitones E G#

bend 3 semitones G

overdraw C E G C

B major scale B C# D# E F# G# A# B Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 28.

overblow Db Gb Bb Db E Ab

bend 2 semitones Ab

bend 1 semitone Db E A

Blow Bb D F Bb D F Bb D F Bb

Bb harmonica 1 2 3 4 5 6 7 8 9 10

Draw C F A C Eb G A C Eb G

bend 1 semitone B E Ab B Gb

bend 2 semitones Eb G

bend 3 semitones Gb

overdraw B Eb Gb B

Bb major scale Bb C D Eb F G A Bb

overblow C F A C D# G

bend 2 semitones G

bend 1 semitone C D# G#

Blow A C# E A C# E A C# E A

A harmonica 1 2 3 4 5 6 7 8 9 10

Draw B E G# B D F# G# B D F#

bend 1 semitone A# D# G A# F

bend 2 semitones D F#

bend 3 semitones F

overdraw A# D F A#

A major scale A B C# D E F# G# A

overblow B E Ab B D Gb

bend 2 semitones Gb

bend 1 semitone B D G

Blow Ab C Eb Ab C Eb Ab C Eb Ab

Ab harmonica 1 2 3 4 5 6 7 8 9 10

Draw Bb Eb G Bb Db F G Bb Db F

bend 1 semitone A D Gb A E

bend 2 semitones Db F

bend 3 semitones E

overdraw A Db E A

Ab major scale Ab Bb C Db Eb F G Ab

overblow A# D# G A# C# F

bend 2 semitones F

bend 1 semitone A# C# F#

Blow G B D G B D G B D G

G harmonica 1 2 3 4 5 6 7 8 9 10

Draw A D F# A C E F# A C E

bend 1 semitone G# C# F G# D#

bend 2 semitones C E

bend 3 semitones D#

overdraw G# C D# G#

G major scale G A B C D E F# G Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 – 93873030 ( tuition, performance, recording )

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NOTE LAYOUT CHART for C CHROMATIC HARMONICAS - 12 Hole & 16 Hole

Created by Gary Collinson

Blow slide in C# F G# C# C# F G# C# C# F G# C#

Blow slide out C E G C C E G C C E G C

C Chromatic 1 2 3 4 5 6 7 8 9 10 11 12

Draw slide out D F A B D F A B D F A B

Draw slide in D# F# A# C D# F# A# C D# F# A# D

Blow slide in C# F G# C# C# F G# C# C# F G# C# C# F G# C#

Blow slide out C E G C C E G C C E G C C E G C

C Chromatic 1. 2. 3. 4. 1 2 3 4 5 6 7 8 9 10 11 12

Draw slide out D F A B D F A B D F A B D F A B

Draw slide in D# F# A# C D# F# A# C D# F# A# C D# F# A# D

Blow slide in C# F G# C# C# F G# C# C# F G# C# C# F G# C#

Blow slide out C E G C C E G C C E G C C E G C

C Chromatic 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Draw slide out D F A B D F A B D F A B D F A B

Draw slide in D# F# A# C D# F# A# C D# F# A# C D# F# A# D

29.