Harmonica method.pdf

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Andreas Ch. Ntakas

Harmonica

Method

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%.0 &nported 'icense. (t is protected !) cop)ri*ht and+or other aprotected !) cop)ri*ht and+or other app'ica!'e 'aw. pp'ica!'e 'aw. An) use of the workAn) use of the work other than as authoried under this 'icense or cop)ri*ht 'aw is prohi!ited.

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-) eercisin* an) ri*hts to the work provided here, )ou accept and a*ree to !e !ound !) the terms -) eercisin* an) ri*hts to the work provided here, )ou accept and a*ree to !e !ound !) the terms of this 'icense. To the etent the 'icense ma) !e considered to !e a contract, the 'icensor *rants )ou of this 'icense. To the etent the 'icense ma) !e considered to !e a contract, the 'icensor *rants )ou the ri*hts contained in the 'icense in consideration of )our acceptance of such terms and conditions. the ri*hts contained in the 'icense in consideration of )our acceptance of such terms and conditions. /ou can find the 'icense fu'' tet in the $or'd $ide $e!, at

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T

Table of

able of Contents

9 Hun*arian #ance no  in 7 minor...in 7 minor... ....16....16 Chords... Chords...1>...1> ca'es... ca'es...20...20 C C MaEor...MaEor...20...20 7 7 MaEor...MaEor...20...20 @ @ MaEor...MaEor... 2020 # # MaEor...MaEor...20...20 -! -! MaEor...MaEor...2020 F! F! MaEor...MaEor...20....20 A A MaEor...MaEor...21...21 F F MaEor...MaEor...21....21 5entatonic

5entatonic ;-'ues ;-'ues ca'e=...ca'e=...21...21 5'a)in*

5'a)in* 5ositions...5ositions... 2121 9

9 3'd 3'd ?oe ?oe C'ark...C'ark...2222 %

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9 F' Choc'o...2%

Advanced TechniGues...2D Chokin*...2D The Train $hist'e...2D 9 The /e''ow #o* #ra*...2

i!rato... 2

'ide... 2

hake...2

9 Theme from Toreador...2

<)thmic Chords...24

&ncommon TechniGues...24

imu'taneous !'ow+draw chords...24

Circu'ar !reathin*... 24

ustain...24

3ther Non"popu'ar techniGues...24

Notes on Chromatic Harmonicas...24

Harmonica Tunin* and <epair...26

<eGuired Too's...26 3ptimiations...26 C'eanin*...2> <eed A'i*ment... 2> <eed AdEustment...2> Fm!ossin*...2> Tunin*...%0 <epairs...%0

A note does not p'a)...%0

A note p'a)s with a !u sound...%0

A note p'a)s with a hi*h pitch sGuea'... ....%0

A note takes too much air to p'a)...%0

(t takes too much air to p'a) the harmonica, and the notes sound weak...%0

A note sounds out of tune...%0

The reed sticks or does not p'a) as it shou'd...%1

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Introduction

The harmonica is a free"reed wind musica' instrument, p'a)ed !) !'owin* or drawin* air throu*h one or more ho'es. 3ther names for the harmonica are harp, !'ues harp, mouth harp, hand reed, Mississippi saophone, or pocket sa.

The first harmonica was created 162D at ienna from Anton <ein'ein and Anton Haeck'. (n 164 Matthias Hohner was the first to mass produce harmonicas, and create the Hohner Compan), the industr) 'eader in reed instruments to date. (n 1>2D Hohner created the chromatic harmonica. The harmonica !ecame popu'ar in the 1>0s, that it was introduced it in the !'ues music.

Toda) the harmonica is used most') in !'ues and fo'k music, !ut a'so sounds *reat for rock, c'assica', and tan*o music.

This method intends to he'p one 'earn to p'a) the harmonica without a teacher. &n'ike most harmonica methods, it does not tar*et to a specific music *enre.

8now'ed*e of !asic music theor) is reGuired to master this method. /et, this method uses the ta!'ature music notation s)stem, !ein* much easier for the !e*inner to read than modern notation. @or this method we wi'' use the 10"ho'e diatonic harmonica in C, the most common harmonica for harmonica 'earnin*. After comp'etin* the method )ou shou'd !e a!'e to p'a) an) harmonica. (t is recommented that )ou use the Hohner Marine -and harmonica in C, the most c'assic harmonica, with a ver) c'ear sound and a standard shape and sie, makin* it idea' for 'earnin* and ver) *ood for concert p'a)in*.

Harmonica Anatomy

The harmonica consists of three !asic parts, ho'd to*ether with screws or nai's

• The cover p'ates the covers that make sure

)ou cant reach the reeds whi'e p'a)in*, and protect the harmonica from eterna'

haards. 3pen !ack cover p'ates produce !ri*ht and c'ear sound. Additiona'') open

sides make the sound even !ri*hter. @u'' cover p'ates produce warm and fu'' sound, *ood for mississippi !'ues, !'ue*rass, Ea, and c'assica' music. Meta''ic p'ates produce !ri*ht sound. 5'astic p'ates produce soft p'astic sound. $ooden p'ates produce soft

c'ean sound.

• The reed p'ates the meta''ic ;common') copper= p'atters that serve as stands for the reeds.

The reeds are the thin meta''ic strips that *enerate sound !) vi!ratin* when )ou !'ow or draw air at the ho'es of the harmonica. The p'ates have sma'' ho'es in the sie of the reeds, ca''ed s'ots, that serve as *uides for the air that comes from the cham!ers. -roken reeds reGuire fu'' reed p'ate rep'acement.

• The com! the 'ar*est part of the harmonica, most common') wooden, serves as host for the

cham!ers throu*h wich air wi'' !e *uided to the reed p'ate s'ots, and fina'') to the

reeds.$ooden com!s produce more warm, c'ean and ori*ina' sound than other materia's, !ut swe'' with moisture and sa'iva. 5'astic com!s do not suffer moisture effects and are 'i*ht. 5'ei*'ass com!s a''ow )ou to see throu*h the harmonica, makin* it easier to know when

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)our harmonica reGuires c'eanin*. Meta' ;usua'') a'uminium= com!s sound 'ike p'astic !ut are more heav) and dura!'e.

ome harmonicas, most') chromatic ones, have va'ves ;a'so ca''ed windsavers= attached to their reed p'ates, that prevent air from trave''in* throu*h unused reed ho'es, providin* more air to the tar*et reed. These va'ves used to !e made of 'eather, !ut nowda)s are made of a thin p'astic strip, or pair of strips.

Harmonica Types

There are severa' harmonica t)pes, each with its own specia' sound and a!i'ities.

Diatonic

The diatonic harmonica is the most common harmonica t)pe. (t has two notes per ho'e one sounds when !'owin*, and one when drawin*. The common diatonic harmonica has 10 ho'es, and is tuned to one specific sca'e.

(n the diatonic st)'e, )ou wi'' a'so find picco'o harmonicas ;that is, sma'' harmonicas= that can fit easi') to )our sma''est pocket.

#iatonic harmonicas are most') used in rock, !'ues, Ea and *ospe' music.

Chromatic

Chromatic harmonicas have four notes per ho'e, and a side !utton. $hen the !utton is not pressed, each ho'e sounds one diatonic note when !'owin* and one when drawin*. $hen the !utton is pressed, the notes !ecome sharp. This a''ows )ou to p'a) the who'e chromatic sca'e.

Chromatic harmonicas are most') used in c'assica' and tan*o music.

Tremolo

Tremo'o harmonicas have two rows of ho'es. Fach ho'e produces on') one note, eather when !'owin* or drawin*. $hen p'a)in*, )ou drive air throu*h !oth the upper and 'ower 'ine of ho'es.

-oth ho'es produce the same note, !ut one is s'i*ht') tuned awa) from the other, producin* a warm vi!ratin* effect.

Tremo'o harmonicas are most') used in fo'k ;ce'tic, irish, etc= music.

Octave

The octave harmonica 'ooks 'ike the tremo'o, !ut it has a !anana"'ike shape. The 'ower row is tuned an octave hi*her that the upper one, producin* a stron* sound.

Orchestral

3rchestra' harmonicas have a variet) of st)'es, specifica'') desi*ned for orchestra' p'a)in*. There are chord harmonicas desi*ned to p'a) chords, or chromatic harmonicas with a'' notes and

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Harmonica Care

(n order to keep )our harmonica in *ood condition, )ou need to fo''ow these ru'es

• Never epose )our harmonica to etreme heat or co'd.

• #ont chew *um or eat !efore p'a)in*. 8eep )our mouth c'ear, to keep )our harmonica a'so

c'ear for it to sound *ood.

• #ont put )our harmonica in )our pocket without its case. The case prevents f'uff to *et in

harmonicas ho'es.

• -efore p'a)in*, ho'd )our harmonica in )our hands or under )our arm to warm it. This wi''

!rin* the who'e harmonica smooth') to )our !od)s temperature, preventin* sudden chan*es of its parts sie, 'eadin* to 'oosenin* and !ad sound.

• After p'a)in* a piece, tap )our harmonica a*ainst )our hand with the ho'es down, to drop

moisture and sa'iva.

• Tr) to contro' ecess sa'iva, so that )our harmonica remains dr).

• -efore p'a)in* a va'ved harmonica, tr) heatin* the harmonica s'i*ht') a!ove !od)

temperature ;)ou can use a hair dr)er for this=. This prevents the va'ves to *et stuck.

Holding the Harmonica

The harmonica is ho'd in the 'eft hand, with its upper !od) touched !) the inde fin*er, its 'ower !od) ho'd

with the thum!, and its row of ho'es towards the

p'a)ers mouth. Ho'e num!er 1 ;the 'owest note= shou'd !e on the 'eft side. The ri*ht hand fo'ds the !ack of the

harmonica, formin* a cup with )our hands.

Note Playing

The first hard I )et most essentia' I thin* to do for ever) !e*inner harmonica p'a)er, is to !'ow in a sin*'e ho'e, thus p'a)in* a sin*'e note.

5'ace the harmonica a*ainst )our 'ips. C'ose )our 'ips, and make them 'ike )ou want to kiss the harmonica. Touch the harmonica with )our 'ips at ho'e D. Tr) !'owin* without openin* )our 'ips. The air must escape throu*h a ver) sma'' ho'e in the midd'e of )our 'ips, into ho'e D. #ont !'ow hard, !ut instead !'ow *ent') throu*h )our diaphra*m. Then tr) the same action, !ut instead of !'owin*, tr) drawin*. Tr) this techniGue on ho'es D throu*h 6. $hen )ou have mastered the

techniGue, )ou must !e a!'e to !'ow in a specific ho'e a'one. #ont continue to the net chapter !efore masterin* this techniGue.

This method of p'a)in* the harmonica is ca''ed sin*'e note pucker or simp') pucker. There is a'so another method where )ou use )our ton*ue to !'ock harmonicas ho'es, named ton*ue !'ock, and others 'ike the pucker"'ike 'ip !'ock ;turnin* the harmonica s'i*ht') upwards= and ton*ue" !'ock"'ike &"!'ock ;!'owin* with the ton*ue direct') in the ho'es=. Those methods are not

recommended, since the) are harder to use, 'ess f'ei!'e, and add more sa'iva and humidit) to the harmonica.

$hen )ou are reGuired to p'a) a chord, )ou wi'' need to open )our 'ips s'i*ht'), so that air *oes throu*h more than one ho'es. After masterin* the sin*'e note techniGue, chords wi'' !e no pro!'em.

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Preparing a New Harmonica

New harmonicas are not read) to p'a) 'ike o'd ones. Most of them are not perfect') tuned, !ut manua'') tunin* )our harmonica is not recommended for !e*inners. /et, there are more to work with.

$hen )our harmonica is new, the reeds are hard. As )ou p'a) the) soften, and !ecome more eas) to p'a) 'oud and !end ;!endin* is an advanced techniGue )ou wi'' 'earn 'ater on=. Then )our

harmonica wi'' !e read).

To prepare )our harmonica for p'a)in*, start p'a)in* in the midd'e notes ;ho'es D I 6=. Tr) not to !reathe with force throu*h )our harmonica. ?ust !reathe in it. -reathe from the diaphra*m. /ou

need to use the who'e vo'ume of )our 'un*s in order to make )our harmonica sound smooth. After )ou can fu'') contro' )our !reathin*, tr) p'a)in* in the upper notes, and then in the 'ower ones. The first music pieces on this !ook are arran*ed so that )ou first p'a) in the midd'e, then advance to the hi*h, and then to the 'ow ho'es of )our harmonica.

Get to Know your Harmonica

Fach harmonica has a 'etter written on it. The 'etter represents the ke) it is tuned to. Harmonica tunin* uses the richter tunin* s)stem, so that )ou can p'a) chords that sound correct on the sca'e )ou p'a).

The fo''owin* ta!'e descri!es the notes that 10"ho'e diatonic harmonicas wi'' sound at each ho'e, !ased on the ke) of )our harmonica ;positive num!ers are for !'owin*, ne*ative are for drawin*=.

Key Hole 1 -1 2 -2 3 -3 4 -4 5 -5 6 -6 7 -7 8 -8 9 -9 10 -10 C C # F 7 7 - C # F @ 7 A C - F # 7 @ C A Db #! F! @ A! A! C #! F! @ 7! A! -! #! C @ F! A! 7! #! -! D # F @J A A CJ # F @J 7 A - # CJ @J F A 7 # -Eb F! @ 7 -! -! # F! @ 7 A! -! C F! # 7 @ -! A! F! C E F @J 7J - - #J F @J 7J A - CJ F #J 7J @J - A F CJ F @ 7 A C C F @ 7 A -! C # F FJ A 7 C -! @ # F# @J 7J AJ CJ CJ FJ @J 7J AJ - CJ #J @J F AJ 7J CJ - @J #J G 7 A - # # @J 7 A - C # F 7 @J - A # C 7 F Ab A! -! C F! F! 7 A! -! C #! F! @ A! 7 C -! F! #! A! @ A A - CJ F F 7J A - CJ # F @J A 7J CJ - F # A @J Bb -! C # @ @ A -! C # F! @ 7 -! A # C @ F! -! 7 B - CJ #J @J @J AJ - CJ #J F @J 7J - AJ #J CJ @J F - 7J

Music Notation with Tablature

Ta!'ature is a music notation method for a specific instrument. There are man) ta!'ature s)stems for the harmonica. (n this !ook we wi'' use the fo''owin* si*n conventions

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• A positive num!er ;p.e.  or K= means )ou have to !'ow on that ho'e. • A ne*ative num!er ;p.e. "= means )ou have to draw on that ho'e.

• A num!er that is 'ar*er than 10 is a chord. @or eamp'e, 12 is the chord of !'owin* in ho'es

1 and 2 simu'taneous'), "4 is a draw of ho'es ,  and 4, and so on. This method is for 10"ho'e diatonic harmonicas, so this notation is not a pro!'em. @or harmonicas ;most') chromatic= that have more than 10 ho'es, other notation s)stems are used.

• A num!er with a Guote ;p.e. = means )ou have to p'a) on that ho'e !) ha'f"!endin* the

note ;)ou wi'' 'earn this techniGue 'ater on=.

• A num!er with a dou!'e Guote ;p.e. = means )ou have to p'a) on that ho'e !) fu''"!endin*

the note ;)ou wi'' 'earn this techniGue 'ater on=.

• A num!er with a trip'e Guote ;p.e. = means )ou have to p'a) on that ho'e !) over"!endin*

the note ;)ou wi'' 'earn this techniGue 'ater on=. <ests wi'' !e noted as !'ow on ho'e ero ;0=.

The !i* pro!'em with ta!'atures is that note 'en*th and specia' techniGues are not noted.

(n this method we wi'' use an additiona' 'ine to show )ou the 'enth of the note. (n the timin* 'ine, 'en*th wi'' !e

+1 for a who'e note +2 for a ha'f note +D for a Guarter note

and so on

#otnote wi'' !e notated with a !acks'ash ;L= instead of a s'ash.

taccato ;momentar) p'a)in* a note, and then pausin* for the rest of its time va'ue= wi'' !e notated with a dot ;.= instead of a s'ash.

'ide ;a techniGue shown 'ater on= wi'' !e notated with an eGua' si*n ;= at the ta! 'ine. hake ;a techniGue shown 'ater on= wi'' !e notated with a cur' ;= at the ta! 'ine

A p'us si*n ;K= wi'' note the addition of two times. @or eamp'e, +2K+6 means )ou have to p'a) the note for ha'f a note, and without stoppin*, )ou shou'd continue to p'a) the note for an additiona' ei*hth note.

 Good Night !adies "Merilly we #oll Along$

!) Fdwin 5earce Christ)

TIME /2 /2 /4 \2 /2 /2 /4 \2 /2 /2 /4 /2 /4 \4 /8 /4 /4 \2 /4 TAB 5 4 3 4 5 4 -4 -4 5 4 -5 -5 -5 5 5 -4 -4 4 0 TIME \4 /8 /4 /4 /4 /4 /2 /4 /4 /2 /4 /4 /2 TAB 5 -4 4 -4 5 5 5 -4 -4 -4 5 5 5 TIME \4 /8 /4 /4 /4 /4 /2 \4 /8 /4 /4 \2 /4 TAB 5 -4 4 -4 5 5 5 -4 -4 5 -4 4 0 >

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 %de to &oy "Ode an die Freude$

from :udwi* van -eethovens )mphon) No. > in # minor, 3p. 12 Chora'

TIME /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 \4 /8 /2 /4 TAB 5 5 -5 6 6 -5 5 -4 4 4 -4 5 5 -4 -4 0 TIME /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 \4 /8 /2 /4 TAB 5 5 -5 6 6 -5 5 -4 4 4 -4 5 -4 4 4 0 TIME /4 /4 /4 /4 /4 /8 /8 /4 /4 /4 /8 /8 /4 /4 /4 /4 /4 TAB -4 -4 5 4 -4 5 -5 5 4 -4 5 -5 5 -4 4 -4 3 TIME /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 \4 /8 /4 TAB 5 5 -5 6 6 -5 5 -4 4 4 -4 5 -4 4 4

 %n Top of %ld 'mo(ey

American fo'k TIME /4 /4 /4 /4 \2 \2+/2 TAB 4 4 5 6 7 -6 TIME /4 /4 /4 /4 \2+\2+/2 TAB -5 -5 6 -6 6 TIME /4 /4 /4 /4 \2 \2+/2 TAB 4 4 5 6 6 -4 TIME /4 /4 /4 /4 \2+\2+/2 TAB 5 -5 5 -4 4

 %h My )arling* Clementine

American fo'k TIME /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /2 TAB 4 4 4 3 5 5 5 4 4 5 6 6 -5 5 -4 TIME /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /2 TAB -4 5 -5 -5 5 -4 5 4 4 5 -4 3 -3 -4 4 TIME /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /2 TAB 4 4 4 3 5 5 5 4 4 5 6 6 -5 5 -4 TIME /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /4 /4 /8 /16 /2 TAB -4 5 -5 -5 5 -4 5 4 4 5 -4 3 -3 -4 4

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 Happy +irthday

TIME \4 /8 /2 /2 /2 /1 TAB 6 6 -6 6 7 -7 TIME \4 /8 /2 /2 /2 /1 TAB 6 6 -6 6 -8 7 TIME \4 /8 /2 /2 /2 /2 /2 TAB 6 6 9 8 7 -7 -6 TIME \4 /8 /2 /2 /2 /2 TAB -9 -9 8 7 -8 7

 Auld !ang 'yne

American fo'k TIME /4 \4 /8 /4 /4 \4 /8 /4 /4 \4 /8 /4 /4 \2 TAB 6 7 7 7 8 -8 7 -8 8 7 7 8 9 -910 TIME /4 \4 /8 /4 /4 \4 /8 /4 /8 /8 \4 /8 /4 /4 \2 TAB -910 89 8 8 7 -8 7 -8 8 -8 7 -6 -6 6 7 TIME /4 \4 /8 /4 /4 \4 /8 /4 /4 \4 /8 /4 /4 \2 TAB -10 9 8 8 7 -8 7 -8 -10 9 8 8 9 -910 TIME /4 \4 /8 /4 /4 \4 /8 /4 /8 /8 \4 /8 /4 /4 \2 TAB -910 89 8 8 7 -8 7 -8 8 -8 7 -6 -6 6 567

 Ama,ing Grace

7ospe' son* TIME \8 /16 /2 \8 /16 /2 /4 /2 /4 /2 TAB 6 7 8 -8 7 8 -8 7 -6 6 TIME \8 /16 /2 \8 /16 /2 /4 /1 TAB 6 7 8 -8 7 8 -8 9 TIME \8 /16 /2 \8 /16 /2 /4 /2 /4 /2 TAB 8 9 8 -8 7 8 -8 7 -6 6 TIME \8 /16 /2 \8 /16 /2 /4 /1 TAB 6 7 8 -8 7 8 -8 7 11

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 Camptown #aces

!) tephen @oster TIME /4 /8 /8 /4 /4 /4 /4 /2 TAB 6 6 6 5 6 -6 6 5 TIME /4 \2 /4 \2 TAB 5 -4 5 -4 TIME /4 /8 /8 /4 /4 /4 /4 /2 TAB 6 6 6 5 6 -6 6 5 TIME /4 /4 /4 /4 /1 TAB -4 -4 5 -4 4 TIME /4 /4 /4 /4 /1 TAB 4 4 5 6 7 TIME /4 /4 /4 /4 /1 TAB -6 -6 7 -6 6 TIME /4 /8 /8 /4 /4 /4 /4 /2 TAB 6 6 6 5 6 -6 6 5 TIME /4 /4 /4 /4 /1 TAB -4 -4 5 -4 4

 %h- 'u,ana

!) tephen @oster TIME /8 /8 /4 /4 /2 /8 /4 /4 /2 /8 /4 /4 /4 /4 \2 TAB 4 -4 5 6 6 -6 6 5 4 -4 5 5 -4 4 -4 TIME /8 /8 /4 /4 /2 /8 /4 /4 /2 /8 /4 /4 /4 /4 \2 TAB 4 -4 5 6 6 -6 6 5 4 -4 5 5 -4 -4 4 TIME /2 /2 /4 \2 /4 /4 /4 /4 /4 \2 TAB -5 -5 -6 -6 -6 6 6 5 4 -4 TIME /8 /8 /4 /4 /2 /8 /4 /4 /2 /8 /4 /4 /4 /4 \2 TAB 4 -4 5 6 6 -6 6 5 4 -4 5 5 -4 -4 4

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 'wing !ow* 'weet Chariot

7ospe' son* TIME /4 \2 /4 /2 /8 /8 /2 TAB -7 6 -7 6 6 5 -4 TIME /8 /8 /8 /8 /8 /8 /4 \2 TAB 6 6 6 6 -7 -8 -8 -8 TIME /4 /8 /8 \2 /4 /4 /8 /8 /2 TAB 0 8 -8 -7 -8 6 6 5 -4 TIME /8 /8 /8 /8 /8 /8 /4 \2 TAB 6 6 6 6 -7 -7 -6 6

 +lowin. in the /ind

!) -o! #)'an TIME /2 /4 /4 /2 /4 /4 /2 /4 /4 /2 /2 TAB 6 6 6 -6 6 -5 6 5 -4 4 0 TIME /4 \2 /4 /2 /4 /4 /1 \2 TAB 5 6 6 -6 6 -5 6 0 TIME /4 /4 /2 /4 /4 /2 /4 /4 /2 /4 /4 /2 /2 TAB 5 -5 6 6 6 -6 6 -5 6 5 -4 4 0 TIME /4 \2 /4 /2 /4 /4 /1 \2 TAB 5 6 5 -5 -5 5 -4 0 TIME /4 /4 /2 /4 /4 /2 /4 /4 /2 /8 /4 /4 /2 /2 TAB 5 -5 6 6 6 -6 6 -5 6 6 5 -4 4 0 TIME /4 \2 /4 /2 /4 /4 /1 \2 TAB 5 6 6 -6 6 -5 6 0 TIME /4 /2 /4 /4 \2 /4 /4 /4 /4 /4 \2 TAB 5 -5 -5 5 -4 -4 5 5 5 -4 4 TIME /4 /2 /4 /4 /4 /4 /4 /4 /1 \2 TAB 5 -5 -5 5 -4 -4 4 -4 4 0 1%

(15)

 'he.ll +e Comin. .#ound the Mountain

Chi'dren son* TIME /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /1 TAB 6 -6 7 7 7 7 -6 6 5 6 7 TIME /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /1 TAB 7 -8 8 8 8 8 9 8 -8 7 -8 TIME /4 /4 /4 /4 /4 /4 /4 \2 /4 /4 /4 /4 /4 \2 TAB 9 -9 8 8 8 8 -8 7 7 7 -6 7 7 7 TIME /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /4 /1 TAB -8 7 -7 -6 6 7 7 7 8 -8 7 -6 7

 Tha mi sgith

cottish Air TIME /4 /4 /2 /4 /4 /2 \4 /8 /4 /4 /4 /4 /4 /4 TAB -4 -4 -8 7 -6 7 -6 6 5 -4 4 -4 5 4 TIME /4 /4 /2 /4 /4 /2 \4 /8 /4 /4 /2 /2 TAB -4 -4 -8 7 -6 7 -6 6 5 -6 -4 -4 TIME \4 /8 /4 /4 /4 /4 /4 /4 \4 /8 /4 /4 /2 /2 TAB -6 6 5 -4 4 -4 5 4 -6 6 5 -4 5 7 TIME \4 /8 /4 /4 /4 /4 /4 /4 \4 /8 /4 /4 /2 /2 TAB -6 6 5 -4 4 -4 5 4 -6 6 5 -6 -4 -4

 Perhaps* Perhaps* Perhaps

!) Cake TIME /8 /8 /8 /8 /8 /8 /4 /2 TAB 4 -4 5 -5 5 -5 -4 0 TIME /8 /2+/8 /8 /8 /8 /8 /8 /8 /2 TAB -4 6 5 6 5 -5 -4 0 0 TIME /8 /2+/8 /8 /8 /8 /8 /8 /8 /2 TAB -4 6 5 6 5 -6 -5 0 0 TIME /8 /8 /4 /8 /8 /4 /8 /8 /4 TAB -4 -5 0 -4 5 0 4 -4 0 TIME /8 /8 /8 /8 /8 /8 /4 \4

(16)

TIME /4 /4 /8 /2 /4 /4 /4 \4 TAB 7 -7 -5 0 -7 -6 5 TIME /8 /8 /8 /8 /8 /8 /4 \4 TAB 6 7 7 7 7 -7 -5 0 TIME /8 /8 /4 /8 /2 /8 /8 /4 /4 \4 TAB 7 7 -7 -5 0 -7 -7 -6 6 0 TIME /8 /8 /8 /8 /8 /8 /4 /2 TAB 4 -4 5 -5 5 -5 -4 0 TIME /8 /2 /8 /8 /8 /8 /8 /8 /8 /2 TAB -4 6 0 5 6 5 -5 -4 0 0 TIME /8 /2 /8 /8 /8 /8 /8 /8 /8 /2 TAB -4 6 0 5 6 5 -6 -5 0 0 TIME /8 /8 /4 /8 /8 /4 /8 /8 /4 TAB -4 -5 0 -4 5 0 4 -4 0

+ending

-endin* is the method used to produce a 'ower pitch note than the one that whou'd sound when p'a)in* norma'') on a specific ho'e. -endin* is achieved !) drivin* the air down throu*h )our

mouth.

#raw on ho'e 2 of )our harmonica. As )ou are drawin*, move Guick') )our ton*ue in the !ack of )our mouth, at the !ottom of )our Eaw. /ou'' hear the note chan*in* its pitch. This is !endin*. -etter !endin* can !e achieved if )ou ti*hen )our 'ips and Eaw whi'e !endin*.

$hen !endin*, )ou can produce three different sounds s'i*ht') chan*in* the pitch is ca''ed ha'f !end, chan*in* the pich a semitone is ca''ed fu'' !end, and chan*in* the pitch a who'e tone is ca''ed

over!'ow ;or overdraw, !ased on the direction of the air=.

Notes on ho'es 1 to  can !e !ent !) drawin* and over!ent !) !'owin*, whi'e notes on ho'es 4 to 10 can !e !ent !) !'owin* and over!ent !) drawin*.

The fo''owin* ta!'e disp'a)s a'' the notes, inc'udin* !ends, on a C diatonic harmonica.

"' F! A! C F! @J -! -! " F! @J -+ C F 7 C F 7 C F 7 C hole 1 2 3 4 5 6 7 8 9 10 - # 7 - # @ A - # @ A ' CJ @J -! CJ A! " @ A "' A! CJ @ A! CJ 1

(17)

 Por una cabe,a

!) Car'os 7arde' TIME /8 /8 /8 /8 /8 /8 /4 /8 /8 /8 /8 /8 /8 /4 TAB 4 -4 -4' 5 -5 5 0 -4' 5 -5 6 -7 -6 0 TIME /8 /8 /8 /8 /8 /8 /8 /8 \4 /8 /8 \4 TAB 7 -8 -7 7 6 -7 6 -6 6 5 -4 0 TIME /8 /8 /8 /8 /8 \4 /8 /8 /8 /8 /8 \4 TAB -8 7 8 -8 -7 0 -7 -6 7 -7 6 0 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 \4 TAB 6 -6 -6 -7 7 -7 6 -5 5 6 5 -4 4 0 TIME /8 /8 /8 /8 /8 /8 /4 /8 /8 /8 /8 /8 /8 /4 TAB 4 -4 -4' 5 -5 5 0 -4' 5 -5 6 -7 -6 0 TIME /8 /8 /8 /8 /8 /8 /8 /8 \4 /8 /8 \4 TAB -6 -7 7 -6 -7 -6 -7 7 -7 -6 -5 0 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /8 /8 /8 /8 /4 TAB -7 -6 -5 -4 4 -3 4 -4 5 -5 -6 6 -5 -6 5 0 TIME /8 /8 /8 /8 /4 /4 /8 /8 /8 /8 /8 /1 TAB -6 -7 7 -6 -7 -5 6 -6 -7 6 -6 0 TIME /4 /8 /4 /8 /2 /2 /4 /4 /8 /4 /8 /2 /2 /4 TAB 7 7 -8 8 8 -7 0 -6 -6 -7 7 7 6 0 TIME /4 /8 /4 /8 /2 /8 /8 /8 /8 /2 /8 /8 /8 /8 /2 /2 /4 TAB -5 -5 6 -6 -6 -6 -7 7 -6 -7 -6 -7 7 -6 7 -7 0 TIME /4 /8 /4 /8 /2 /2 /4 /4 /8 /4 /8 /2 /2 /4 TAB 7 7 -8 8 8 -7 0 -6 -6 -7 7 7 6 0 TIME /4 /8 /4 /8 /2 /8 /8 /8 /8 /2 /8 /8 /8 /8 /1 /4 TAB -5 -5 6 -6 -6 -6 -7 7 -6 -7 -6' -6 -7 -6' -6 0

(18)

 Theme from )anube /a0es

!) ?oseph (vanovici TIME /4 /4 /1 /4 /4 /1 /4 /4 /1 /4 /4 /1 TAB 0 5 5 -6' -6 -7 -6' 5 7 -7 -6 8 TIME /4 /4 /1 /4 /4 /1 /4 /4 /1 /4 /4 /1 TAB 0 8 -9 8 -8 8 -8 7 -7 5 7 -6

 Theme from &esu* &oy %f Man.s )esiring

-$ 1D4 !) ?ohann e!astian -ach

TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 TAB -2 -3" -3 -4 4 4 5 -4 -4 6 5"' 6 -4 -3 -2 -3" -3 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 TAB 4 -4 5 -4 4 -3 -3" -3 -2 -2' -2 -3" -4 5"' -6 7 -7 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 TAB -6 7 -2 -3" -3 -4 4 4 5 -4 -4 6 5"' 6 -4 -3 -2 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 TAB -3" -3 2 -4 4 -3 -3" -2 -1 -2 -2' -2 -3 -4 6 -4 -3 TIME /8 /8 /8 /1 TAB 6 -3 -4 -47

 Habanera

from 7eor*es -iet Carmen uite

TIME /4 /4 /8 /8 /8 /8 /4 /4 /4 /8 /8 TAB -4 -4' 4 4 0 4 -3 -3' -3" -3" -3" TIME /4 /4 /16 /8 /8 /8 /8 /4 /4 /2 TAB -3"' -2 -2" -2 -2" 2 -2" -2 -2" 2 TIME /4 /4 /8 /8 /8 /8 /4 /4 /4 /8 /8 TAB -4 -4' 4 4 0 4 -3 -3' -3" -3" 0 TIME /4 /4 /4 /16 /8 /8 /8 /8 /4 /4 /2 TAB -3" -2 -2" 2 -2" 2 -1 2 -2" 2 -1 14

(19)

TIME /8 /4 /4 \4 /8 /4 /4 \4 TAB -3" -1 2 -2' -3" -2' 2 -1 TIME /8 /4 /4 /8 /8 /8 /8 /4 /4 /4 TAB 2 -2' -2 -3" -3" -3" -3" -3 -3" -2 TIME /8 /4 /4 \4 /8 /4 /4 \4 TAB -3 2 -2' -2 -3 -2 -2' 2 TIME /8 /4 /4 /8 /8 /8 /8 /4 /4 /4 TAB -2' -2 -3" -3 -3 -3 -3 -4' -3 -3" TIME /8 /4 /4 \4 /8 /4 /4 \4 TAB -6 -8 8 9' -3" -2' 2 -1 TIME /8 /4 /4 /8 /8 /8 /8 /4 /4 /4 TAB 2 -2' -2 -3" -3" -3" -3" -4 -4' -3" TIME /8 /4 /4 \4 /8 /4 /4 \4 TAB -7 8 9' 9 -3 -2 -2' 2 TIME /8 /4 /4 /4 /4 /8 /8 /16 /16 /8 /8 /1 TAB -2' -2 -3" -4' -3 -3" -2 -3" -2 -2' 2 -1

 Hungarian )ance no 1 in G minor

!) ?ohann -rahms TIME \2 /4 \2 /4 \2 /8 /8 /1 \2 /8 /8 /1 /4 /4 \4 /8 /1 TAB -3" -4 -5 -4 -4' -4 5 -4 -3' 4 -4 -3" -2 -2" 2 -3" -1 TIME \2 /8 /8 \2 /4 \2 /8 /8 /1 TAB -3" -4 -5 -6 -5 5 -5 6 -5 TIME /8 /8 /4 /8 /8 /4 \2 /4 /4 /4 \4 /8 /2 /4 /4 TAB -3' 4 -4 -3" -3' 4 -2 -2" -2 -2" 2 -3" -1 -1 0 TIME /2 /2 \2 /4 /4 /2 /8 /8 /8 /8 /8 /8 /8 \4 TAB -6 -6 -6"' -6 0 6 5"' 6 -6 6 5"' -6 6 0 TIME /2 /2 \2 /4 /4 /2 /8 /8 /8 /8 /8 /8 /8 \4 TAB 6 6 -6 6 0 -5 5 -5 6 -5 5 6 -5 0 TIME /2 /2 /4 /2 /2 /2 /8 /8 /8 /8 /8 /8 /4 /4 TAB 5 5 6 -5 5 -4 -4' -4 5 -4 -4' 5 -4 0 TIME /4 /2+8 /8 /2 /2 /4 /2 /8 /8 /8 /8 /8 /8 /4 /4 TAB -6 0 -3" -3 -4' -4 -4 -4' -4 5 -4 -4' 5 -4 0

(20)

Chords

Most diatonic harmonicas are tuned in the richter s)stem, a''owin* )ou to p'a) specific chords easi'). (n *enera', on a'' diatonic harmonicas )ou can p'a) the fo''owin* chords

!) p'a)in* trai*ht harp

( maE a'' on !'ows ho'es 1"%, D", 4"> (( min on draw ho'e D"

 maE+maE"4th _{on draw ho'e 2" ;2"D for maEor=}

!) p'a)in* Cross harp ;ep'ained at the 5'a)in* 5ositions chapter= ( maE+maE"4th _{on draw ho'e 2" ;2"D for maEor=}

( maE a'' on !'ows ho'es 1"%, D", 4">  min on draw ho'e D"

!) p'a)in* Third position ;ep'ained at the 5'a)in* 5ositions chapter= ( maE on draw ho'e D"

( maE on draw ho'e 2"D

pecifica''), on a C diatonic harmonica )ou can p'a) the fo''owin* chords

N!e b

C An) !'ow on three or more ho'es C %D, 4, >10

#m "D, "6>10 #msusD th _"2%D

#m th _{"%D, "%D4, "D4, "D46, "46, "46>, "46>, "46>10, "46>10}

@! "4

/ou can a'so p'a) some chords with missin* notes.

N!e $%% b C  12, D, 46 Fm  2%, , 6> 7  "2% Aadd> %, "4 #susD  "12 #susD th _ _{"12%, "2%D, "12%D} 1>

(21)

N!e $%% b #msusD th _ _"2%D # th _%, _{"%D, "46} # th _% _"46 @  "

'cales

Here are 'isted some common sca'es p'a)ed on the harmonica, a'on* with the music *enres that those sca'es are most common in.

C Major

Common in fo'k, rock

on C diatonic 4 -4 5 -5 6 -6 -7 7

G Major

Common in !'ues, fo'k, rock

on 7 diatonic 4 -4 5 -5 6 -6 -7 7

F Major

Common in horn+!rass music

on @ diatonic 4 -4 5 -5 6 -6 -7 7

on C diatonic -5 6 -6 -7' 7 -8 8 -9

D Major

Common in fo'k

on # diatonic 4 -4 5 -5 6 -6 -7 7

Bb Major

Common in !'ues, horn+!rass music

on -! diatonic 4 -4 5 -5 6 -6 -7 7

Eb Major

Common in horn+!rass music

(22)

A Major

Common in !'ues, fo'k, rock

on A diatonic 4 -4 5 -5 6 -6 -7 7

E Major

Common in !'ues, rock

on F diatonic 4 -4 5 -5 6 -6 -7 7

Pentatonic (Blues Scale

Common in !'ues

on C diatonic 3 -3' 4 -4' -4 -5 6 -7 -7' 7 -8' -8 -9 9

Playing Positions

ome times )ou can p'a) a piece in a different sca'e than the ke) of the harmonica )ou use. Then we sa) that )ou p'a) in a different position. @or eamp'e, if )ou have a harmonica in the ke) of C and )ou are p'a)in* a piece in the ke) of 7, then )ou are p'a)in* in 2nd_{position, ;aka cross harp=.}

This techniGue is ver) common in !'ues music, in order to !end I instead of p'a) norma') I specific notes.

The positions in harmonica are

&o%$$o( o)e *le ye *le $( C h.

o($ Noe% /%$ ye 1st 5osition +

trai*ht Harp

(onian MaEor C 1, D, 4 and 10 fo'k and pop

2nd 5osition + Cross Harp

Mio')dian MaEor 7 2 + K%,  and > !'ues and Ea

%rd 5osition + 'ant Harp

#orian Minor # "1, "D, and "6 minor"ke) fo'k and !'ues Dth 5osition Aeo'ian Minor Am "%, "%, "4, and

"11

fo'k !a''ads th 5osition 5hr)*ian Minor F 2, 2, , 10

th 5osition :ocrian Minor - "D, "D, "6, and "12

12th 5osition :)dian MaEor @ "2, "2, ", and "10

(23)

The sca'es and the harmonicas )ou have to use to !e a!'e to p'a) those sca'es !) !endin*, are /%$ *le H. *le C @ CJ or #! @J # 7 F! A! F A @ -! @J or 7! -7 C A! CJ or #! A # -! F! - F

 %ld &oe Clar(

TIME \8 /16 /4 /4 \8 /16 /4 /8 \4 TAB -4 -4 5 -5 5 5 -4 4 -3 TIME /4 /4 /4 /8 \4 TAB -4 5 -5 5 -4 TIME \8 /16 /4 /4 /4 /4 /8 \4 TAB -4 -4 -4 -5 5 -4 4 -3 TIME /4 /4 /4 /8 \4 TAB 3 -3 -3" -3" 3 TIME /4 /4 /2 /4 /8 \4 TAB 3 3 3 -4 4 -3 TIME /4 /4 /4 /8 \4 TAB 3 3 3 -3 -3" TIME /4 /4 /2 /4 /8 \4 TAB 3 3 3 -4 4 -3 TIME /4 /4 /4 /8 \4 TAB 3 -3" -3" -3" 3

(24)

 2l Choclo

!) An*e' 7. i''o'do ;3ri*ina'') in # minor, transcri!ed in F! maEor to p'a) it easi') on a C harp.=

TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /4 /8 TAB 5 5 -5 -5 5 5 -6 -6 7 7 -9 -9 9 -9 8 8 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /4 /8 TAB 8 8 -10 -10 8 8 7 7 -8 -8 7 7 -8 7 -7 -7 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 \4 TAB 5 5 -5 -5 5 5 -6' -6' -7 -7 -9 -9 9 -9 8 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /4 /8 TAB 8 8" 8 10' -9"' -9"' 8 8 -8 -8 7 -7 7 -7 -6 -6 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /4 /8 TAB 5 5 -5 -5 5 5 -6 -6 7 7 -9 -9 9 -9 8 8 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /4 /8 TAB 8 8 -10 -10 8 8 -7"' -7"' 8 8 9 9 -10 9 -9 -9 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /8 TAB -5 -5 -9 -9 8 8 -8 -8 7 7 -7 -7 7 -7 -6 TIME /8 /8 /8 /8 /8 /8 /16 /16 /8 TAB -6 -6 7 -7 -6 -6 -7 -6 -6' TIME /8 /8 /8 /8 /8 /4 \4 TAB -7 -7 -8 7 -7 -6 0 TIME /8 /8 /8 /8 /4 TAB 5 4"' 5 -987 -987 TIME /8 /8 /8 /8 /8 /8 /4 TAB -987 9 -9 8 8" -9 8 TIME /8 /8 /8 /8 /8 /4 TAB -7 -8 7 -6 7 -7 TIME /8 /8 /8 /8 /8 /4 /4 /8 TAB -5 -7 -6 6 5"' -6 65 0 TIME /8 /8 /8 /8 /4 TAB 5 4"' 5 -876' -876' TIME /8 /8 /8 /8 /8 /4 /2 TAB -876' 8 -8 7 -7 -8 75 TIME /8 /16 /16 /8 /8 /8 /8 /8 /8 /8 /8 /4 \4 TAB 7 -8 7 -7 -6 -6' -6 -7 7 -8 8" 8 0 2%

(25)

TIME /8 /8 /8 /8 /8 /8 TAB 5 8 -7"' -6 5 0 TIME /8 /8 /8 /8 /8 /8 /16 /16 \4 TAB -7"' -6 5 -6 -7"' -8 8 -8 -7 TIME /8 /8 /8 /8 /8 /8 TAB 5 -8 -7 -6' 5 0 TIME /8 /8 /8 /8 /8 /8 /16 /16 \4 TAB -6' 5 -6' -7 -8 -7"' -8 -7"' -6 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 \4 TAB 5 -7"' -7 6"' 5"' -5 5"' -6' 6"' -7 -7"' 8 9' 8 -8 TIME /8 /8 /8 /8 /16 /16 \4 \ TAB -7 6"' -7 -7"' -8 -7"' -7 |_ 1st time TIME /8 /8 /8 /8 /16 /16 \4 | TAB -6 -7 -6 -6 -7 -6 -6' / TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /4 \ TAB 5"' -8 -7"' -7"' -7 6"' -7 5"' -6 -6' -7 -6 |_ 2n time TIME /8 /16 /16 /8 | TAB 5 5"' -6' -6 /

Ad0anced Techni3ues

These techniGues are used to add co'or to )our p'a)in*.

Cho!in"

Tr) wisperin* the word duck in the harmonica. /ou wi'' notice that the ck sound produces a chockin* sound.

The Train #histle

Tr) wisperin* the word too"wee in the harmonica, whi'e !endin*. /ou shou'd *et a sound simi'ar to the train whist'e. This effect is most') used in rai'road music.

(26)

 The 4ellow )og )rag

!) <on Manus and teven Manus

(n this piece, p'a) a'' !ends usin* the train whist'e effect, and a'' other notes usin* the chockin* effect.

TIME /1 TAB -45"

!#$ times% ste&i( in)$e&sin* see, TIME /4 /4 /4 /4 TAB -12 -12 -12 -12 t$ee times, TIME \8 .16 \8 .16 \8 .16 \8 .16 TAB -34 -34 45 45 -34 -34 45 45 n)e, TIME \8 .16 \8 .16 \8 .16 \8 .16 TAB -34 -34 45 45 -45 -45 45 45 ti)e, TIME \8 .16 \8 .16 \8 .16 \8 .16 TAB 56 56 -56 -56 56 56 -56 -56 n)e, TIME \8 .16 \8 .16 \8 .16 \8 .16 \8 .16 \8 .16 \8 .16 \8 .16 TAB -34 -34 45 45 -34 -34 45 45 -34 -34 45 45 -45 -45 45 45 TIME /1 .4 \2 TAB -4" 4 4 TIME \8 .16 \8 .16 \8 .16 \8 .16 \8 .16 \8 .16 \8 t & TAB -34 -34 45 45 -34 -34 45 45 -34 -34 45 45 -34 TIME /2 /4 /4 TAB -45" -45 -45 TIME /8 /8+\2 TAB -45" -34 TIME /2 /4 /4 TAB -45" -45 -45

TIME /8 /8+\2 .. & & TAB -45" -34

(27)

&

#$ times% ste&i( sin* n, TIME /4 /4 /4 /4 TAB -12 -12 -12 -12 n)e, TIME /1 TAB -45"

$ibrato

i!rato is the effect produced !) continuous') openin* and c'osin* the !ack of )our harmonica usin* )our ri*ht hand. (t sounds 'ike a vi!ratin* note, hence the name.

/ou can produce a more su!t'e vi!rato !) p'acin* )our ri*ht hand more horionta'') at the !ack of )our harmonica, a'most p'acin* )ou midd'e fin*er a*ainst the !ack of )our harmonica. Now )ou can produce the vi!rato !) movin* on') )our midd'e fin*er. This is ca''ed fin*er vi!rato.

/ou can produce a more epressive vi!rato !) usin* )our mouth. hape )our mouth 'ike sa)in* ioioioioio. This is ca''ed mouth vi!rato.

Tr) addin* vi!rato to the pieces )ou a'read) 'earned, in order to make them more sound"rich.

Slide

'ide is produced !) s'idin* the harmonica on )our mouth.

Sha!e

The shake is produced when )ou s'ide the harmonica on )our mouth whi'e )ou keep !'owin*, s'idin* from the first note to the second, and !ack to the first, and so on.

 Theme from Toreador

from 7eor*es -iet Carmen uite

TIME \4 /8 \4 /8 /8 /8 /8 /8 \4 TAB 58 8" 8 8" 8 -8 7 -7 7 TIME /8 /8 /8 /8 /8 \4 /8 /8 /8 /8 /8 \4 TAB -7 7 -7 -6 -6' -6 6 -5 5 -5 5 -4 TIME \4 /8 /4 /8 /16 /16 /8 TAB -4-9 -9 -9 -9 8 -8 7 TIME /8 /8 /8 /4 /8 /16 /16 /8 TAB 6 7 -8 -8 -8 7 -7 -6 TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 \16 \16 \16 /8 TAB 5 -6 6"' -5 -4 -5 6"' 7 -8 8 -9 0 8 8" 8 -10

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#ythmic Chords

3pen )our mouth so that )ou can !'ow on three ho'es. Cover the two of them with )our ton*ue. Now !'ow, re'ease )our ton*ue from the ho'es, and !'ock a*ain the two ho'es with )our ton*ue. The

two ho'es serve as the accopaniament chord. &se this techniGue to add accopaniament chords to )our p'a)in*.

5ncommon Techni3ues

Most of these techniGues are credited to 5at Missin ;www.patmissin.com=, and can sometimes !e usefu'' to etend )our harmonica p'a)in* a!i'ities !e)ond the common harmonica p'a)er.

Simultaneous blo%&dra% chords

&se )our hands to perfect') sea' the !ack of )our harmonica. -'ow hard in the 'ower ho'es. The air driven throu*h the !'ow reeds wi'' return in the s'ots and activate the draw reeds. $ith practice )ou wi'' !e a!'e to use this techniGue on a'' the ho'es of )our harmonica.

Circular breathin"

This techniGue a''ows )ou to p'a) ve') 'on* notes.

@i'' )our mouth with water. Now, s'ow') push the water out of )our mouth !) usin* )our ton*ue as a piston, whi'e at the same time )ou !reathe norma'). Now, use the same techniGue with )our harmonica -'ow in the th_{ho'e, as soon as )ou run out of air, use )our ton*ue to drive air throu*h}

)our harmonica, whi'e )ou inha'e air. Now )ou are read) to !'ow norma'') into )our harmonica once a*ain.

/ou can use the same techniGue for draw notes.

Sustain

ustain ;or #rone= is a note that is continous') p'a)ed a'on* with the actua' me'od). ustain notes are ver) common in -)antine, cottish, (rish, Ce'tic, and -a'can music.

/ou can p'a) sustained notes !) usin* )our ton*ue to !'ock the ho'es !etween the note sustained and the note p'a)in* the me'od) ;the air is driven throu*h the sides of )our ton*ue=.

(n the harmonica )ou can on') sustain draw notes a*ainst the draw notes of the me'od), and !'ow notes a*ainst the !'ow notes of the me'od). /ou can a'so take advanta*e of the fact that the 2nd_draw

and %rd_{!'ow reeds are the same note.}

Other 'on)o)ular techni*ues

There are a'so man) other not"so"poppu'ar techniGues that can !e app'ied to the harmonica, that can !e uti'ied whi'e )ou *et epertise on the harmonica. These techniGues fa'' in the fie'd of harmonica

improvisation, can !e used to make )our harmonicas sound ritcher, and are not officia'') used in harmonica scores.

Notes on Chromatic Harmonicas

Chromatic harmonicas differ from diatonic ones !) a !utton on the ri*ht side of the harmonica. This !utton a''ows )ou to increase the pitch of ever) note !) a semitone. Chromatic harmonicas are

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most') used in c'assica' and tan*o music, since these *enres make etensive use of various chromatic notes.

$hen !u)in* a chromatic harmonica, )ou shou'd check that )our harmonica has at 'east three fu'' octaves ;12 ho'es=. The Hohner Chrometta 12 is a c'assic, !ut Hohner now produces man)

chromatic harmonica mode's for amateur or professiona' use. /ou shou'd a'so check that )our harmonica is tuned in the ke) of C.

The fo''owin* ta!'e descri!es the notes for the 12"ho'e chromatic harmonica in C.

B/o( Hole

1 "1 2 "2 % "% D "D  "  " 4 "4 6 "6 > "> 10 "10 11 "11 12 "12

3ut C # F @ 7 A C - C # F @ 7 A C - C # F @ 7 A C

-(n #! F! FJ 7! A! -! #! -J #! F! FJ 7! A! -! #! -J #! F! FJ 7! A! -! #! -J

<emem!er to heat )our chromatic harmonica s'i*ht') a!ove !od) temperature !efore p'a)in*, !) usin* a hair dr)er or a simi'ar device. This prevents the va'ves from *ettin* stuck. $ith stickin* va'ves )ou wont !e a!'e to p'a) the harmonica.

tart p'a)in* the chromatic as 'earnin* a new instrument. The chromatic differs from the diatonic Eust as the e'ectronic ke)!oard differs from piano. Tr) p'a)in* a'' the pieces )ou 'earned in this !ook with )our chromatic, !) rep'acin* !ends with the !utton press, to produce the tar*et semitone

sound. <emem!er that chormatic and diatonic ho'es do not produce the same note ;check the note ta!'e a!ove=.

Harmonica Tuning and #epair

$A<N(N7B (f )ou are wi''in* to use the techniGues descri!ed in this chapter, )ou are hi*h') recommented to eperiment on cheap harmonicas !efore proceedin* on tunin* and repairin* an epensive harmonica. (f )ou dont want to eperiment on these techniGues, there are trained professiona's who can do modifications and tunin* to )our harmonica.

+e*uired Tools

• 1 sma'' strai*ht screwdriver

• 1 sma'' cross ;phi'ips= screwdriver • 1 stee' meta' p'ate up to 0.2 mm thick • toothpicks

• 1 sandin* detai'er

• 1 em!ossin* too' ;!a'' ended too'= • 1 sharp !'ade ;prefera!') !rass= • 1 tuner

O)timi,ations

(f )our harmonica uses screws, disassem!'e and reassem!'e )our harmonica to make it more airti*ht.

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$hen )ou have 'earned to p'a) the harmonica, its !etter to 'ower the reeds so the) are c'oser to the s'ot. This makes them more responsive. <ead the <eed AdEustment para*raph on how to do this. (f )our harmonica has sharp ed*es, )ou can use a sandpaper to smoothen them, to prevent 'ip and hand cuts whi'e p'a)in*. tart with 160 to 2D0 *rit sandpaper, and finish with %20 to 00.

Cleanin"

Take the harmonica apart.

<emove *ent') an) non"harmonica o!Eect that ma) have stuck in it, such as hair, 'int, food partic'es, or even !urr.

Make sure )ou dont modif) an) of the reeds confi*uration.

+eed Ali"ment

:ook at the reed srai*ht throu*h the 'i*ht, to ensure the reed is misa'i*ned !efore proceedin*. &sin* a toothpick, push the reed at its side to rea'i*n it, whi'e 'ookin* at the reed throu*h the 'i*ht, to ensure correct movement.

+eed Adjustment

(dea''), each reeds !ase and 'ower ha'f shou'd !e as c'ose to the reedp'ate as possi!'e, a'wa)s in para''e' with the reedp'ate,whi'e its upper ha'f

shou'd !e *ent') curved upwards. :on*er reeds shou'd !e more curved, whi'e shorter shou'd !e 'itt'e or not at a''. The reed must never 'ean towards its s'ot or touch the reedp'ate, as in the ima*e. A'wa)s start !) adEustin* the !ase of the reed, and end !) adEustin* its tip.

To increase a reeds response, *end') press the reed at its !ase usin* )our thum!, towards its s'ot. Then, increase the reeds curve as needed.

To curve the reeds who'e upper ha'f, use )our fin*er to ho'd the 'ower ha'f in p'ace,

whi'e usin* a toothpick to pu'' the upper ha'f out of the s'ot, as in the ima*e.

To curve a specific area of the reed, p'ace a meta' p'ate under the reed ;!etween the reed and the reedp'ate=, and use a toothpick to press the reed at the ri*ht p'ace to achieve the desired curvin*.

Embossin"

Fm!ossin* is the proccess of reducin* the width of a s'ot, thus makin* the s'ot more airti*ht. @or the upper ha'f of the reed, use a !a''"ended too' to press the ed*e of the reed inside its s'ot, resu'tin* in pressure at the s'ots wa''s.

@or the 'ower ha'f of the reed, use a sharp !'ade.

At a'' times, make sure the reed does not touch the em!ossed sides whi'e vi!ratin*.

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Tunin"

$A<N(N7B <epair and optimiation actions on the harmonica ma) chan*e the reeds tunin*. A'wa)s tune )our harmonica after repairs, em!ossin* and optimiations. A'wa)s warm )our harmonica !efore tunin* it ;warm reeds produce 'ower pitches, and when )ou p'a) the harmonica *ets warm, so )ou want the ri*ht pitch on a warm harmonica=.

To tune a reed

• upport the reed, !) p'acin* a sheet of paper under it.

• &sin* the sandin* detai'er, remove meta' from the reed. A'wa)s remove meta' from a sma''

area a'on* the 'en*th of the reed. #ont press hard, !ecause )ou ma) chan*e the reed curve. To increase pitch, remove meta' near the tip, and to decrease remove near the !ase of the reed.

• &se the tuner to test the tunin* ever) a coup'e of strokes.

+e)airs

A note does not play

There are severa' reasons that make a note not to p'a)

• omethin* is !'ockin* the reed. #isassem!'e the harmonica and c'ean it.

• The reedp'ates are p'aced incorrect'). #isassem!'e the harmonica and reassem!'e it

correct').

• The reed is adEusted incorrect'). <eadEust the reed. • The reed is !roken. <ep'ace the reedp'ate.

A note plays with a bu,, sound

Father there is somethin* !'ockin* the free movement of the reed and )ou need to c'ean )our harmonica, or the reed is misa'i*ned and )ou need to rea'i*n it.

A note plays with a high pitch s3ueal

Father )ou are p'a)in* incorrect'), or the reed has pro!'ems. To correct reed pro!'ems, app') some nai' po'ish in the corners at the !ase of the reed.

A note ta(es too much air to play

Father the harmonica is not airti*ht, or the reed is misa'i*ned. #isassem!'e and reassem!'e the harmonica. (f the pro!'em persists, rea'i*n the reed.

It ta(es too much air to play the harmonica* and the notes sound wea(

The harmonica is not airti*ht. #isassem!'e and reassem!'e the harmonica.

A note sounds out of tune