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. Then try the 2 hole draw. 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.
Play the ascending scale starting on 4b. Play the descending scale starting on 7b. Combine them. Track 7 Mary Had a LittleLamb. Track 9 Twinkle Twinkle Little Star. 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.
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The 4 techniques are demonstrated using the 4d note. This technique is useful when holding a microphone in the hands for amplified playing. 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. Track 13 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. 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. 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. 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. There are 4 beats per bar with accents on the 2nd and 4th beats. Try tapping your foot 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.
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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. 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. As you draw the note, move the tongue down and back in the mouth.
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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. Once this is mastered, the next step is to play the unflattened and flattened notes directly with no sound between the selected 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. 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.
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 electricians 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. It is achieved by various techniques : the movement of the hands using the finger flutter technique. Try the techniques on the 4d and 4b notes. 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. Positions Choosing the key harmonica to use to accompany another instrument involves the theory of Harmonica Positions. The positions commonly used are 1st , 2nd and 3rd although there are a total of 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. 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. Verse 1 0. Verse 2 0. Verse 3 0.
Verse 4 1. Verse 5 1. Verse 6 2. Tip 1st hole bends 1 semitone, 2nd hole bends 2 semitones, 3rd hole bends 3 semitones, 4th hole same as 1st. 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 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. This is a framework for a swinging 12 bar walking blues. You can also walk the blues with each footstep equivalent to a beat. You can play along using the 2nd and 4th holes of your diatonic harmonica in second position cross harp.
Bar 9 count play 4dd. Bar 10 count play 4bb Bar 7 count play 2dd. Bar 11 count play 2dd Bar 12 count play 1dd. 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 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. Read Free For 30 Days.
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