howard levy

8/4/2019 Howard Levy

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Dear Friends,I am very proud to present this video to you, Here is everything I know thatwill enable you to play the harp as a fully chromatic instrument -- anything in anykey. I explain the bends, overbluws and overdraws; how the "positions" relate to

Greek modes and the Circle of Fifths; demonstrate playing blues in all 12 keys;show how to tune and adjust the action of your harp; play examples of modaltunes along the seven Greek modal scales and explain in great detail myapproach to jazz as Iplay several jazz standards.You'll notice that I didn't provide all the harmonica notation for all themelodies. Using your ear, thinking notes and reading music will get you a lotfurther on the harp than looking at. numbers and arrows (but I did leave room foryou to write them in).The material on this video cassette should provide you with enougharrununition to go into the world of jazz standards and beyond. Stylistically, Ithink the harmonica can fit into any type of music. The only limit is yourimagination.I look forward to hearing from you. Any questions or comments shouJd be ...sent to me through Homespun. I look forward to meeting many of you all. mytravels, I wish you good luck and perseverance. It's not easy, but it sure is worththe work, The harmonica really is a little miracle -- we're lucky we play it.

Best wishes to you all and Peace,

~J}~JrHoward Levy Up .8. There are two slips of the tongue that I should correct. In the section inwhich I discuss "Sweet Georgia Brown," I refer to playing the F. harmonica - it is

actually a Bb. I also state that the relative minor is found by playing cross harp,when I should have said 3rd position. I hope this is clear,Special Thanks to Dr. Henry P. Bahnsen, University of Pittsburgh Hospital

Transcribed by HOWARD LEVYInecnbed by CHARYLU ROBERTS


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KEYOFC. , . . . ( 1 ) " " " ". . . .C G E G C E G Cm I Z l I1 l I1 l l ID lID [Z ] lI D l I D Il]J

Dn.w(j)

D G A D FBENDS') " 1/2 step bend l= whole step bend ~= step and 1/2

lit! C O (D'I G pi! (0') B ' " (A~) A A' WI D C' lDj.)~ d>u ;::tGu ::::ib iL~ I .~. (,Bl I e f' *0-) III ) 21 ) 131 1:l . 41G ' (A') 81M-- (D-) . . , . (N)E E' G (G~) C

I ~ ~u 11- ) !,.. u ~.bu) -e- , < > - ~)" . , I61 e t 9 t lOt 1OVERBLOWS and OVERDRAWSI OD = overblow OD "overdraw I

C E. (D~)

It lOB 41 40B 51 50B 61 60B 71 70D 91 900


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THE CHROMATIC SCALE

~ o c ~ ' , - m- ~) # u ~ -I lOB 2 21 2 ) 2 3;). 31 3) 3 4I d . I I I I J . j d . j 1 , j Ic D D ' E F G A B C~= 4a # 0 h ~I-

4) 4 4 5 6 6) 6 6d . I OB OB I d . I OBD D' F ' G A M-----._----------_. --------------------

h $ . - # 0 h ~' 07 8 8) .. 9) 9 9 10 10). 10) 10OD j I h I OD j I I Icl D D ' G G ' A A' B CANOTHER VIEW OF THE NOTESc 8 \0 1 __ ,0 A G " " A" "17 I. I - I:;1tf:g

10 1 4 2).5 2.,,3 6 :1).6 10I I j I I I I I I I j

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CIRCLE OF 5THSHarmonica "Positions" and Actual Keys

lstposltlon12th pos. F C -----.... 2nd pos.

11th poe. g. D 3edpos.

lOth pos. Eb A 4th pos,

E 5th pos.

8th pos. Db ~ B 6th pos

7thpos. ~~ F# 7th poa.6th pas. C O C# 8th pee.

Flats (b) Sharps (#)Go up 1 1 5th. add a sharp to key ssqnature.Go down II 5 rh . add aflat to key signature.

SOME SCALES and ARPEGGIOSTry playing major scales and arpeggIOsIn all J2 keys. Here arejlue keys .

.n. ....

U H9 II

212 3l 4I I I t. . . .1 2t t


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G -I~ # e 0 ~..o.. ___ _O_ 0 ..o_..o_=;; 2 I I e2 3) 3 5 6 6 9) 9I I I OB 1 I I ID -e--_U_~~ 1 i ~ c ' : ' : I II ~ # I I ~ e @ e ~ w-tte?e1 2) 2 313 4) 4 5 6 7 7 8 2) 314 5I 1 1 I I I 1 DB I 1 OD I I 1 1 DB

F ~.ft~~~~ .o_$if W e 0 - e - - ~ = =II O J] I..313) 4 6 "6 8 8 2131. 5 "6 7 9I 1 1 I 1 1 DB " ' 1 " I , 1 - , , " I 1.-{D)4 4I DB 6 61 DB

GREEK MODAL SCALES/D to D)Dorian - minor wJth major 6th

(croG)Ionian - Major

lk ..--~o o(White Keys)

(FtoF)Lydian - Major with #4

/EtoE)Phrygian - minor with 1 . 2

I~

" I o D

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(GtoG)Mixolydian - Major with ~ "'loA)Aeolian - minor

(BtaBJLocriaD - minor with ~2. ~5. (dJm1n:ished)- . . . .

Harmonica Positions are actually MODALMODES: Major - 1st position l st posJUon - Major

Dorian - 3rd position 2nd position - MIxOlydianPhrygian - 5th position 3rd position - DorianLydian - 12th or Ist~ 4th positron - AeolianMlXolyd1aJl- 2nd or cross harp 5th position - PhrygianAeolian - 4th poenron 6th postnon - LocnanLocrtan - 6th position 7th/ I I th posltlon- Not modal

12th IlstbJ - Lydian

MINUET IN G (InC)Bach

MaJor. ht positioD

4 4 5t i t etc.

E : : F E1 I F F fg I F F I I r5


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I~ F un IFI~ r t F r; I r ~ 1F t F ~ I r ~

SCARBOROUGH FAIRTraditional

Dorian - 3rd. position

I~ i j ~ I~ I r ~~ I~ I~ ~4 6 5 5 4 etc.I I I t I

r t f f I f t r ~. I f f I~ gL~ f r f IU~ r IF r IF fZEpr 0 I a 2 = = = n

35 24 14I I IBlock 4 Block 3 Block 2 & 3Phrygian - Middle Eastern improvisation in 4/4 time


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Lydian - 12th poliitiOD list ~)~ (3+4+4+41I , W J ~ i r

DANCING LIGHTSOH. Levy

-- 4 _J-----_3 .J 1 . . . 4 .J 1 . . . 4

I~ J Ji1G312 2 21 etc.! I !

2:1. 4 3I I j

J > I I I

3:1.2 2:1. 2 1 2:1.j j j II Iif F1

...--.....--..iF (Ii ~if :1 iEH-=j

RED-HAIRED BOYMIxolydian - 2nd position

~n iIElFFFrFTraditional

3 4I I 3 213 2I ! I II 2 313 4 4 5 4 3 4I I j I I j I I j IU I f unl

~ nm - 1 J 1 3 J . II~JEtB Ud.31.211 2 21 2 1 2 etc.I I j I I I j I


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, 1 , - " 1fJJ] 1 F J ] J J 0 1 J J J . f ' . : : : l

~fl lJ;~IEW" E f e u I[ir~C~V ITtt f c tW t i t t a 1 F J ; g : : ; : 1 1~ r r c 18


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SAKURAJapanese Folk SongAeollaD.Mode - 4th positionI~~~J~F~~~~~~II JapaneseS-Note&ale

313I I

~ r If f t If t f t If t;r5 7 6 5 etct I I I

I~ r If IJ FA IJ n , JLocrian Mode - 6th positionc':I'I:!&:Locr'tan mode IS ac'hlal1y-a'dfmlntshed-modeand goes with a chord called the haif-dlmlrtlshedor minor 7th.flat 5.

B dlmlnlshed B" thalt-dmuntshedlr o / 1 l --I t-_..BmmAUTUMN LEAVESChord Chart

NOTE: Since] encourage harp players to think as 1 f they are playing a Charp, Iwrote outthe "Autumn Leaves"solo inits real key (Gm)on a B' harp and in Am on a Charp.~ Real key:

Harp In C:

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Rcal key,Harp in C:

AUTUMN LEAVESPIckup 10 2nd chorus 6 ~ Om7

~#hO ttB IEf F f f f t r IIE r E IUfUI07

~ .10Cmaj" Pma]?

V IEffffrI trd tJBmWiI~ rr (1

0i~tffT E i L J10


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Cmaj1 Fmaj7 Bmm

I~ilj 1 , 1 J J J J J 100 aD I' f ttfig

[il)

~~; 1) E', ;fo# H wHMM

Fmaj? Bmm E7

f 4 t r r b e EiB I - E r r a GtlJ t ;EjJ tIr [ J I~3~11


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Am"""-- - - - - - - - - - - - - - - - - - - - - - - - ,Om? C7 Bmm e7 Am]

I . E " aUn' E tit f tritc'umiAUTUMN LEAVES

(Solo)

Dmaj1 Am7S D' r-3 -,~ roTE Fr r r I r rJEjj . d 3 JJ~; J J_.,., f1 Bl-maj1 E~maj7

I'~If n U iJ I~jhJ J J J d 3 I JIIi3=l>~12


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P I

em ' F'It!!'lP J ' w t f g ( l E f lLEUJ I d @ i f3 l'--3 j

Cm' fW l C 3 1 F F F F/1 "" Fm' }}'r1 _ ' - . lEU I

Am7SI~l D'tJ If Om't tfitFtl ~13


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HOMESPUN TAPES P.O. BOX 340 WOODSTOCK, NY 124981-800-33- TAPES or 845-246-2550www.homespuntapes.com

I1967, Happy Traum began to produce tapes for his students to study whilehe was away on tour. Happy and co-founder Jane Traum gradually developedHomespun Tapes as a business to respond to growing numbers of requests forthese tapes.

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