HarmonicaLessons.com presents
Vol.1: Beginners Start Here
[from the Beginning Diatonic Harmonica Book Series]
Published by:
AYM Music
By
HarmonicaLessons.com presents:
Vol. 1: Beginners Start Here
[from the Beginning Diatonic Harmonica Book Series] First Printing: June 2008
Published by AYM Music:
AYM Music / HarmonicaLessons.com P.O. Box 24097
Los Angeles, CA 90024
Copyright © 2008 AYM Music
All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.
Contact us online at:
http://www.harmonicalessons.com/contact.html
Visit our websites at:
http://harmonicalessons.com http://harmonicastore.com
(If you are connected to the Internet, click on above links to visit them.)
Table of Contents
Introduction...
Chapter 1: Getting Started...
Which Harmonica Do I Need?... Simple Technique Tips... General Playing Tips... Recommended Extras... Good to Know...
Chapter 2: General Overview...
Diatonic vs. Chromatic Harmonica... 1st & 2nd Position Overview... Positions Chart... Terms & Definitions...
Chapter 3: Playing Techniques...
Single Notes... Holding/Hand Effects... Bending... Breathing... Chapter 4: Songs... Major Scale... Mary Had a Little Lamb... Row, Row, Row Your Boat... Brahm’s Lullaby... Jingle Bells... Frere Jacques (Are You Sleeping)... Oh Susanna... Alouette... Joy To The World... Home on the Range... Amazing Grace... 1 3 3 6 7 8 10 11 11 13 15 17 21 22 24 26 30 35 37 38 39 40 41 42 43 44 45 46 47
(click on titles below to link to page)
Chapter 5: Jamming...
Jamming Overview... The "Almost Blues Scale"... ABS Riffs... "When In Doubt" (Improv Tips)...
Chapter 6: Lesson Plans...
Week 1... Week 2... Week 3... Week 4... Week 5... Week 6...
Chapter 7: Frequently Asked Questions...
Starting Out... Harmonica Purchases... Playing Technique... Theory and Jamming Questions... Advanced/Miscellaneous... Repairs and Maintenance...
Chapter 8: One Liner Tips...
Starting Out... General Tips... Technique... Becoming More Musical...
Chapter 9: *Free Audio/Video Examples for this Book...
Final Words...
About Dave Gage...
49 49 51 52 54 57 57 58 59 60 61 62 65 65 68 70 73 74 76 81 81 83 84 85 89 91 92
This page
intentionally
Introduction
Welcome to Volume One of the Beginning Diatonic Harmonica Book Series from
HarmonicaLessons.com! This book is a great introduction to begin playing a standard 10-hole diatonic harmonica. You DO NOT need prior harmonica or music experience to start learning today. Harmonica is not nearly as easy as most people would have you believe, but we've done our best to make learning to play it as simple and straight forward as possible. You'll begin with basic techniques, songs, the "Almost Blues Scale" and simple blues riffs. But, stick with it, and soon you will graduate to jamming blues, rock, country, bending notes, and sounding like the pros.
Although this book and the website are each stand-alone learning devices, the two compliment each other. Some sections of this book contain references to free additional information that is available at HarmonicaLessons.com, as well as free audio/video playing examples (see Chapter 9 for details). We encourage you to take advantage of it if you have a computer and access to the Internet. Tip: If you find a musical or harmonica-related word or phrase that you are unfamiliar with, look for it within the “Terms & Definition” section at the end of Chapter 2. We've tried to define any term that might be new for a beginner.
There are a few important points we make that are found in multiple sections of this book (i.e. what appears to be a "bad" hole 2 Draw is almost always a problem with playing technique and not the harmonica itself). This is not an error. Since we truly believe these to be important points, they are included wherever appropriate for the particular subject.
Before you get started, remember, have fun with your harmonica! That's why you picked it up in the first place. We hope you've just found yourself a new passion to last a lifetime.
Play on,
Dave Gage & Your friends at:
http://www.harmonicalessons.com http://www.harmonicastore.com http://www.davegage.com
*Special E-Book edition- This version contains features not found in the hard copy book and
includes: color photographs, linked page titles in the Table of Contents (click to go to the page or chapter), and if you are connected to the Internet, live links to our websites (see blue underlined links above).
Chapter 1 : Getting Started
Chapter Includes:
Which Harmonica Do I Need?
Simple Technique Tips
General Playing Tips
Recommended Extras
Good to Know
You will need a standard 10-hole diatonic harmonica in the key of "C" for much of the instruction in this book. Double-rowed harmonicas (sometimes 8, 10, or 12 sets of double holes) are called Tremolo harmonicas and they are not the proper type of harmonica for our instruction. Keep reading for an explanation of the differences between standard diatonic and chromatic harmonicas.
Key of "C" Diatonic (standard 10-hole) Harmonica- You'll need a good quality diatonic
type harmonica to learn and practice on with hole numbers imprinted above each hole. The standard 10-hole diatonic harmonica is used for most blues, folk, rock, and country styles. We like the Lee Oskar Major Diatonic and the Hohner Special 20 (both in the key of "C") best for players just starting out. The Lee Oskar has consistent volume, tone, and durability, and clearly states your 1st and 2nd Position keys (positions are explained in Chapter 2) on the ends.
Recommended harmonica:
Lee Oskar or Hohner Special 20 diatonic in the key of "C".
Welcome to Chapter 1—we're ready to get started. First of all, let's make sure you have the correct type of harmonica for the instruction in this book. Next, you'll find some quick
technique and general info tips to get you started playing right away. When you're ready to advance further, you will find more detailed information on these subjects in the following chapters, and within other volumes of our "Beginning Diatonic Harmonica Book Series".
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Getting Started
The Hohner Special 20 is also one of the best diatonics around for the money. They may not last as long as some other models, but like the Lee Oskar, they sound and play great. (Can't decide? Pick one, and try the other when you need to buy another key.)
Will my harmonica work with this book?- If your harmonica is not a standard 10-hole
diatonic as previously described, you should try to obtain one because other types of
harmonicas will not work well with this book. Tremolo harmonicas and chromatic harmonicas are not the proper type of harmonica for this book's instruction.
Stick with a basic 10-hole harmonica in the key of "C"- Diatonic harmonicas come in all
twelve keys ("G", "Ab", "A", "Bb", "B", "C", "Db", "D", "Eb", "E", "F", "F#"), but for beginners it's easier if you start with a basic 10-hole harmonica in the key of
"C". Generally speaking, the "G" harmonicas are very low and the "F" and "F#" harmonicas are very high pitch-wise, while the "C" is right in the middle. Key of "C" harmonicas are also the most common, and they also make understanding music theory much easier.
Should I buy other key diatonic harmonicas as well?-
As you improve and begin to play with others or start playing along with CDs, you will want to pick up some of the other key diatonics. The keys of "C", "A", "D", "F", and "G" are a good place to start—in roughly that order. The key of harmonica you need is determined by the key the song is in and the key of the song is usually set by the singer. If you are not playing along with other people or with CDs, all you need is a key of "C" for now.
Will a key other than "C" work with this book? - You should note that all keys of standard
10-hole diatonic harmonicas are laid out and played the same way. That is, if you already own a standard 10-hole diatonic in a key other than the key of "C" (like an "A" or "D" for instance), it will work for the instruction and songs in this book. But, make the key of "C" your next purchase.
A cheap harmonica is tough to learn on- Prices may vary, but it is best to buy one for
no less than $20, because a cheap harmonica can be extremely difficult to learn on. Poor construction of inexpensive harmonicas causes them to leak air and makes them hard to play and difficult to learn important techniques like bending notes.
Avoid these diatonics, and possibly "upgrade"- Avoid wooden combed harmonicas if
you are just starting out for the same air leak problems mentioned in the last bullet point. The harmonicas that are included in the "Book with CD and Harmonica" packages are not recommended either. These are very inexpensive harmonicas and are included in the package
for convenience, but are typically low quality instruments. If you have any serious intentions at all with the harmonica, you should plan on an "upgrade".
Should I buy a used one?- This is entirely up to you. But, we don't recommend it for
obvious health reasons, and the fact that a brand new pro quality diatonic is between $20 and $60. Also, harmonicas do wear out over time. It's best to start with one that you know is in good condition and plays in tune.
The Chromatic Harmonica is not appropriate for the instruction in this book-
Numerous techniques and theory are applicable for both diatonic and chromatic harmonicas, but this book is designed for diatonic. For chromatic harmonica instruction, songs, and information, visit the chromatic harmonica section within the Members Area at
HarmonicaLessons.com.
Tremolo and "odd" harmonicas are not appropriate for the instruction in this book-
As mentioned earlier, double-row harmonicas (sometimes 8, 10, 12, or more sets of double holes) are called Tremolo harmonicas and will not work well with the instruction in this book. This is not to say there is anything wrong with them, but they will not work with the song tablature, much of the theory, and the bending technique.
Pick up additional keys when you are ready to play with others and jam with CDs.
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Holding the Harmonica/Playing Single Notes- For now, merely hold the harmonica on the
ends with the numbers imprinted over the holes facing up—hole number "1" to your left and hole number "10" to the right (low notes are to the left like on a piano). When you blow and draw (exhale and inhale), with the harmonica placed in your mouth, the sound you make is called a chord (two or more notes played simultaneously). This is fine for getting started—you can play the songs from Chapter 4 with this "chord-y" sound for the first few weeks.
When you are ready to get serious with your first playing technique, you should start with the Single Note Technique (explained in Chapter 3) so that your songs and riffs will come out clear, distinct, and recognizable. After a few weeks of practice, when you've become fairly comfortable and consistent with the single notes, you can then work on the more sophisticated method of holding/hand effects (also in Chapter 3).
Breathing- There is no need at this point to be overly concerned with breathing technique.
Do avoid pushing and pulling (sucking) the air with your lips. Stay relaxed, and when you blow (exhale), try to focus the air through the harmonica and not just into it. On the draw notes (inhale), concentrate on bringing the air through the harmonica and through your mouth, deep into the bottom of your lungs, past your chest.
Problems with hole 2 Draw (and other draw notes)- It is normal for new players to have
problems with hole 2 draw, other low draw holes, and the high draw notes. In 99% of the cases, with a decent quality harmonica, it is the player's technique and not a bad harmonica at fault. After a few weeks or so, take a look at the Breathing technique section in Chapter 3 for more detailed information if you are still having problems. If you stick with songs that are played between holes 4 through 7 on your key of "C" diatonic, you should not experience too much trouble with the blow or draw notes. For now, ignore hole 2 Draw. If needed, you can substitute hole 3 Blow (which is the same pitch as hole 2 Draw) when hole 2 Draw is required.
Beginning method of holding -- low notes (hole number "1") to your left.
1. Good posture- When playing and practicing, stand erect with your head up, back straight, and body relaxed.
2. Knock out excess saliva- Get in the habit of frequently rapping the harmonica (mouthpiece side down) against your leg or palm to knock out the excess saliva and condensation from your breath that accumulates inside the harmonica.
3. Rinse your mouth after eating- Avoid allowing small food particles (or any small particles for that matter) to enter your harmonica. They tend to cause problems sooner or later.
4. Lick your lips and the mouthpiece- If you find your lips sticking to the harmonica when you slide or move from hole to hole, lick your lips and the mouthpiece part of the harmonica before playing. Saliva works best for this purpose, you do not need additional lubricants. If fact, they tend to cause more problems (in the long run) than they will solve. 5. Move the harmonica, keep head still- Attempt to move the harmonica and not your head when going from hole to hole. Use a mirror to view your actual movement.
6. Do you have the right harmonica for this book?- Don't try to learn to bend notes or play blues without the proper type of harmonica. See the first section of this chapter for more information.
7. Practice 2 or 3 times a day- 15 to 30 minutes of practice a day is a good amount of time if you can stick with it. You may find it easier to practice for 10 minutes 2 or 3 times a day and build up your endurance (it won't more than a couple of weeks). It is perfectly normal to get winded and feel muscle fatigue in your lips and hands for the first few months. Try not to "over do it" or "under do it".
8. Listen to harmonica playing- As your skill level continues to increase, try to copy or mimic the sounds and solos of your favorite harmonica players. Visit the "Recommended For Beginners" music CDs section of our HarmonicaStore.com for suggestions on players and CDs to listen to.
9. Maintenance and Repairs- At this point, you don't need to do much besides knocking out excess saliva, wiping your harmonica off, and placing it back in it's original case when finished, to keep it in good working order. The Repairs & Maintenance section in the Members Area of HarmonicaLessons.com has detailed information if you require it.
10. Ready for more quick tips?- For many more tips, take a look at the "One Liner Tips" in Chapter 8. Also, take a look at our "When In Doubt" section (in Chapter 5) for some general jamming tips.
Simple Song Playing vs. Basic Jamming (1st Position vs. 2nd Position)- For simple
song playing and melodies we play in what is called 1st Position (Straight Harp). By doing so, we will play songs on our key of "C" harmonica, in the key of "C", by mostly blowing in the middle part of the harmonica. Hole 4 Blow is a typical starting point and home base for 1st
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Position. You'll notice that the blow notes make a different sound than the draw notes do (as evidenced by the 1st position "Major Scale" in Chapter 4). For basic blues, rock, and country jamming, we play in what is called 2nd Position (Cross Harp). By doing so, we will play our key of "C" harmonica in the key of "G", by mostly drawing (inhaling) at the low end of the harmonica. Hole 3 Blow (or 2 Draw) is a good starting point and home base for 2nd Position blues jamming. More on 1st and 2nd Position can be found in Chapter 2.
What else do you need besides a good harmonica to get started? Not much really, but here are some "Recommended Extras" and accessories. And lucky you, some you may already have.
Mirror- A mirror can be your best friend. It allows you to see if what you think you're doing
correctly, is actually what you are doing. This is the next best thing to the feedback a private teacher could give you by watching you play in person. Check in the mirror to monitor how relaxed you look, whether or not your head is in a normal position (not hanging down or tilted to one side), proper hand positions when holding, and whether you are moving the harmonica instead of moving your head when going between holes.
Recording Device (i.e. your computer or cassette recorder)- A recording device can
also be a good friend. It allows you to actually hear if what you think you're doing correctly is actually correct (especially important for learning to play single notes and bending). This is the next best thing to the feedback a private teacher could give you by listening to you in person. When you record yourself, give it a day or two before you listen back. This way you can listen to it a bit more objectively (we tend to either be too hard on ourselves or too easy).
Use a mirror for instant visual feedback.
Many computers come with basic recording software. You can also find and download freeware and shareware recording software on the Internet. Combine the computer software with a USB microphone, which are fairly inexpensive, and you will have a great set-up for simple
recordings.
CD Suggestions for Listening/Playing To- Visit the "Recommended For Beginners" music
CDs section of our HarmonicaStore.com for suggestions on harmonica players' CDs to listen and jam to. You will see "Recommended For Beginners" following a CD description in our online store when the CD contains at least a few songs on it that can be played along with on a standard key of "C" diatonic. A few examples would be: "Bob Dylan - Greatest Hits Volume 2", "Blues Masters Vol. 4 - Harmonica Classics", "Willie Dixon - I Am the Blues", "Little Walter - His Best", and "Muddy Waters - Fathers and Sons".
We also recommend certain CDs for beginners if the harmonica playing is good for "ear training", that is, simple enough that a new player can begin to copy some of the riffs, sounds, and techniques found on it. Be sure that the harmonica you are using is in the same key as what is being used on the particular CD track. The CDs: Song Keys section found in the Members Area at HarmonicaLessons.com, as well as Volume 3 of this Beginners Book Series will tell you which is the correct key of harmonica for many favorite albums.
Additional Songs & Tabs- Although this book has 10 songs to get you going, you may
have a thirst for more. Our website offers over 190 tabs (easy harmonica music notation) for songs and harmonica solos. If you desire complete piano music, or have a specific interest in a style of music or artist (i.e. Christmas, Blues, Fiddle tunes, Bob Dylan, Hymns & Gospel, Beatles, Little Walter, etc.) take an online trip to HarmonicaStore.com- Song & Tab Books section for third-party song and tab books.
Patience- Take your time. The harmonica is deceptively difficult. Try not to spend your time
worrying about how good you're becoming. As mentioned in this book's introduction, have fun with it! For example, if you had never picked up a tennis racket before, you couldn't expect to go out and win matches without some basic instruction, lots of practice, some passage of time for things to sink in. . . and lots more practice.
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Here's some additional information that is "Good to Know." For instance, we may not be able to get together with you in person for a private harmonica lesson, but
we can supply you with some tips to help you find a teacher in your area.
How can I find a Local Harmonica Instructor- Admittedly, harmonica can be a very tough
instrument to learn without the help of an instructor to give you one-on-one feedback.
Unfortunately, there aren't always qualified harmonica teachers available in every area of your country and throughout the world. Here's a few suggestions for trying to locate a teacher in your area:
1. Call the local music stores. Look in the yellow pages of your phone book for store listings. 2. Check for classes at the nearest community college(s).
3. When visiting local clubs to hear music, seek out any and all bands with a harmonica player and ask if he or she knows someone who teaches or if they might be willing to teach you.
4. Try a post at the HarmonicaLessons.com Discussion Forums. Occasionally, this question is asked and another member will know of a teacher in your area and respond. It's always worth a try.
5. Still can't find a local harmonica teacher? Fear not, that's why we're here. Follow along in our book series, or visit the website, and you'll do just fine.
What do "Position" and "Resolution" mean?- You'll be surprised how much you can learn
about the world of harmonica and music by just reading through a related glossary of terms. The harmonica and music terms and definitions specific to this book are found at the end of Chapter 2. A more extensive listing of harmonica and music terms is found in "Vol. 4: Theory for Harmonica Players" in this Beginning Diatonic Harmonica Book Series, or in the Members Area of HarmonicaLessons.com.
Use our HarmonicaStore.com for more detailed harmonica product info- If you're
wondering what a Natural Minor tuned harmonica is used for, visit HarmonicaStore.com and read through its product description. Without even making a purchase, you can gain information about specific harmonicas and harmonica products by just reading through the product descriptions.
Diatonic and Chromatic harmonicas are by far the most common and useful
harmonica types in the world. We compare these two to help you confirm that you have selected the correct type of harmonica for the style of music and kind of sound that interests you. One is not better than the other, in fact, many people go on to learn and play both. Although this book is designed for a standard 10-hole diatonic, much of the technique found here will apply to both types of harmonicas.
The diatonic is mostly used for blues, folk, rock- There are two main types of harmonicas
(sometimes referred to as "harps") the chromatic harmonica and diatonic harmonica.
Although the chromatic is extremely versatile, the harmonica which is predominantly used in blues, rock, country, folk, etc. is called the diatonic harmonica (blues harp type).
Bending gives you additional notes on the diatonic- The diatonic does not have easy
access to all the 12 different notes, or pitches, in Western Culture music (like the chromatic harmonica), but many of the notes that are not naturally found can be acquired by "bending" certain draw (inhale) and blow (exhale) notes. Also, it is this "bending sound" of the diatonic which is what attracts most people to it.
People who play the diatonic harmonica- Players associated with the diatonic would
include Bob Dylan, Neil Young, Bruce Springsteen, James Cotton, Sonny Boy Williamson, Mick Jagger (Rolling Stones), Little Walter, Paul Butterfield, Mickey Raphael (Willie Nelson Band), John Popper, Charlie Musselwhite, Huey Lewis, John Lennon, Jimmy Reed, Sonny Terry,
Chapter Includes:
Diatonic vs. Chromatic Harmonica
1st & 2nd Position
Positions Chart
Terms & Definitions
Here's some important "big picture" information to read through before you get too far. Be sure to take a minute to read through the 1st and 2nd Position section. A basic understanding of these 2 playing positions will allow you to jam with friends almost immediately.
Chapter 2 : General Overview
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Diatonic vs. Chromatic Harmonica
Steven Tyler (Aerosmith), and many, many more.
What is a chromatic harmonica?- The chromatic harmonica has a button on the right
side which when NOT pressed in, allows you to play a standard major scale in the key of the chromatic (typically, the key of "C"). With the button depressed, gives you all the half-steps or notes in between. This creates a 12-note chromatic scale (all the notes possible in Western Culture music—like the white and black keys of the piano) and allows you to play any type of scale (Major, Minor, Blues, etc.,) in all 12 keys of music. But, it's downside for some people is that it doesn't bend notes very well, so you don't get the same "bluesy" sound as found on the diatonic.
The Chromatic Harmonica is not appropriate for the instruction in this book- As
mentioned earlier, numerous techniques and theory are applicable for both diatonic and chromatic harmonicas, but this book is designed for diatonic.
Reading music and song tab for the chromatic- The chromatic harmonica hole layout
(sometimes referred to as "Solo" tuning) is similar to the diatonic hole layout (referred to as "Richter" tuning), but not the same, so song tablature is different. Many accomplished chromatic players are able to read standard music notation which eliminates the need for song tab. Reading standard music notation makes more sense and is more easily done on the chromatic harmonica than on the diatonic.
The chromatic is mostly used for jazz, classical, and pop music- The chromatic
harmonica is typically used in jazz, classical, pop, and music where the melodies require more than a 7-note scale (like the one on a standard diatonic). A classic example of where a
chromatic would be required was on the theme song to "Midnight Cowboy". The original theme to "Sesame Street" was also played on a chromatic.
People who play the chromatic harmonica- Stevie Wonder, Toots Thielemans, and Larry
Adler are three of the best known players of this instrument. The 40's and 50's were the heyday of the harmonica bands (like the "Harmonicats" and "Harmonica Rascals") and were usually led by a chromatic harmonica player. Numerous players, primarily known for their diatonic playing, may also use the chromatic from time to time (i.e. Little Walter, Norton Buffalo, Charlie McCoy, James Cotton, and others).
How to play chromatic harmonica- For chromatic harmonica instruction, tips, songs,
scales, and more, visit the Chromatic Harmonica section within the Members Area at our website.
Although there are other positions (or keys) that may be played on standard diatonic harmonicas, 1st and 2nd Position are far and away the most common and useful positions. A basic understanding of these 2 playing positions will allow you to jam with friends almost immediately.
1st Position (or Straight Harp):
1st Position or "Straight Harp"- These two terms mean precisely the same thing. We tend
to use the more modern term "1st Position" here, but both are correct and interchangeable. Most beginners will start with simple songs played in the 1st Position.
"C" Harmonica blows a "C" chord- You'll notice if you blow anywhere on a key of "C"
Major harmonica you will get a C Major chord (C, E, and G notes). Other key diatonic harmonicas are laid out exactly the same, so if you blow into a key of "A" harmonica you will get an A chord (A, C#, and E notes).
1st Position puts you in the natural key of the harmonica- When you play mostly blow
notes on your key of "C" harmonica you will be in the key of "C". If you have a diatonic harmonica in the key of "A" and did the same, your playing would then be in the key of "A". This style of playing is called 1st Position or "Straight Harp".
Simple melodies and folk rock style - 1st Position is typically used for simple melodies like
"Oh Susanna" or "Mary Had a Little Lamb" and widely used in a folk-rock context, a la Bob Dylan, Neil Young, Bruce Springsteen (and many other singer-songwriters).
"1st Position" jamming, emphasize blow notes- If you take any song in a major key and
use the same keyed major diatonic harmonica (i.e. key of "C" for both), you can instantly jam along with the song if you stay in the middle of the harmonica and primarily, but not exclusively, stick to the blow notes. (Bob Dylan songs, with or without harmonica, are a great place to try this out.) Resolution (meaning the sound comes to rest), to the key of the music, can be found on holes 4 and 7 Blow. Remember, chose the diatonic harmonica that is in the same key as the key of the song, or it just won't sound right. If you play only by yourself, the key of harmonica is not important.
2nd Position (or Cross Harp):
2nd Position or "Cross Harp"- These two terms mean precisely the same thing. We tend
1st & 2nd Position Overview
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to use the more modern term "2nd Position" here, but both are correct and interchangeable. Most beginners will start with simple blues riffs played in the 2nd Position.
Players who primarily use 2nd Position- include James Cotton, Sonny Boy Williamson
(both I and II), Mick Jagger (Rolling Stones), Little Walter, Paul Butterfield, Mickey Raphael (Willie Nelson Band), John Popper, Charlie Musselwhite, Huey Lewis, Sonny Terry, Norton Buffalo, Steven Tyler (Aerosmith), Magic Dick (J. Geils Band), and many others.
For blues, use 2nd Position- If you want to play to blues, rock, or country based music,
your first choice would not be the 1st Position (or "Straight Harp") style of playing. You will want to use the 2nd Position style of playing.
2nd Position emphasizes draw notes at the low end- If you want to jam to a song while
playing 2nd Position, you must primarily, but not exclusively, play the draw (inhale) notes at the low end of the harmonica (holes 1 through 5 draw). Resolution (meaning the sound comes to rest), to the key of the music, can be found at hole 3 blow (and later on, also at holes 2 draw and 6 blow).
The big advantage to 2nd Position is the bending- The advantage of the 2nd Position
style of playing over 1st Position is that all these low draw notes can be bent down for effect and with practice will ultimately give you all the missing notes used in the blues and country scales.
2nd Position is in a different key- When you play in the 2nd Position, you are no longer in
the key of the harmonica, but actually in a key which is a perfect 5th (seven half-steps) up from the key of the harmonica.
You're playing your "C" harmonica in the key of "G"- If you play in 2nd Position on a key
of "C" harmonica you will now be in the key of "G". This is the way most modern blues, rock, and country players will use the diatonic harmonica. Use the table in the next section to find the 2nd Position key for the 12 different keys of diatonics.
An easy shortcut to find the 2nd Position key- If your thumb is the key of the harmonica
(which is the same as the 1st Position key), count through the alphabet and stop at your "little finger" for the 2nd Position key. For example, your thumb is "C" and your little finger would be "G" (key of 2nd Position on the "C" harmonica). Try it with a key of "D" harmonica, counting from thumb to little finger you should get the key of "A" for 2nd Position. Please note, in music, "A" follows "G". There is no "H" note (C-D-E-F-G-A-B-C-D-E-F-G-A-B, etc.).
Learn the 2nd Position "Almost Blues Scale"- See Chapter 5 for some tips on how to jam
Chart of Harmonica Keys & Positions
Here is a basic chart for determining the 1st Position and 2nd Position key of any standard 10-hole major diatonic (as well the 3rd and 5th Position keys). A position on the harmonica (i.e. 1st, 2nd, or 3rd Position) refers to the emphasis of your note selections, especially starting and ending points, which in turn determines what key you are actually playing the harmonica in. For additional charts, information on positions, and harmonica theory, pick up Vol. 4: "Theory for Harmonica Players" in this Beginning Diatonic Harmonica Book Series or visit the Theory section within the Members Area at our website.
Key of Harmonicas & Positions
Key of
Harmonica
1st Position
Key
(Straight Harp)
2nd Position
Key
(Cross Harp)
3rd Position
Key
5th Position
Key
G
Ab
A
Bb
B
C
Db
D
Eb
E
F
F#
Position
starts on:
G
Ab
A
Bb
B
C
Db
D
Eb
E
F
F#
D
Eb
E
F
F#
G
Ab
A
Bb
B
C
Db
Am
Bbm
Bm
Cm
C#m
Dm
Ebm
Em
Fm
F#m
Gm
Abm
Bm
Cm
C#m
Dm
D#m
Em
Fm
F#m
Gm
G#m
Am
Bbm
4 Blow
3 Blow
(or 2 Draw)
4 Draw
2 Blow
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The harmonica, the position, the background music- For different positions to work
properly, you would also need the background music (CD, guitar, piano, bass, etc.) to be in the same key as the position you are playing in.
Chart use: 1st Position- If you would like to play a melody or play along with a song using
the 1st Position, chose the diatonic harmonica that is in the same key as the key of the song. (See columns one and two of the chart.)
Chart use: 2nd Position- If you would like to play to a blues, rock, or country song in the
2nd Position; using the chart, follow these steps:
1. Use the "2nd Position Key" gray column first- Locate the key of the song you want to play to in the gray column called "2nd Position Key (Cross Harp)."
2. Use the "Key of Harmonica" column next- Then, find the key of harmonica you will need to use from the bolded "Key of Harmonica" column to the left.
3. For example- If a blues song is played in the key of "F", locate the "2nd Position Key (Cross Harp)" column and go down to the fourth row where it indicates "F". Two columns to the left of it shows "Bb" (B flat) in the "Key of Harmonica" column. You would now choose your "Bb" diatonic and play it in 2nd position for the blues song in the key of "F".
Explanation of the 3rd position and the 5th position- These positions can be used by
slightly more advanced diatonic players for songs in minor keys. Pick up Volume 4: "Theory for Harmonica Players" in this Beginning Diatonic Harmonica Book Series or visit the Theory section within the Members Area at our website, HarmonicaLessons.com.
Terms & Definitions
Here are some common terms and concepts found in music and the world of harmonica playing that used throughout this book. A more extensive listing of harmonica and music terms is found in Vol. 4: "Theory for Harmonica Players" in this Beginning Diatonic Harmonica Book Series, or in the Members Area at our website.
1st Position (Straight Harp)- When you play mostly blow notes (usually in the middle
portion of the harmonica) on your key of "C" harmonica you will be in the key of "C". This style of playing is called Straight Harp or 1st Position. This is used often for simple melodies like "Oh Susanna" and widely used in a folk context, á la Bob Dylan. See Chapter 2 for more information.
2nd Position (Cross Harp)- When you play predominately draw notes at the low end of the
harmonica (holes 1 through 5 draw), you are no longer in the key of the harmonica, but actually in a key which is a perfect 5th (or seven half-steps) up from the key of the harmonica. If you play 2nd Position ("Cross Harp") on a key of "C" harmonica you will now be in the key of "G". This is the way most blues, rock, and country players will use the diatonic harmonica. See Chapter 2 for more information.
Bending- A technique which allows you to change the actual pitch of a note. Standard diatonic
harmonica bending technique will lower the note. Although bending is done primarily on the draw notes at the low end of the harmonica, there are four types of bending found on a diatonic harmonica. Bending of notes is not exclusive to the harmonica. This changing of pitch can be done on guitar, saxes, other string instruments, electronic keyboards, and more.
Blow Note-A sound created by exhaling through the harmonica.
Chord- Three or more notes played simultaneously. If you took a chord and played the notes
one at a time, you would be playing an arpeggio. Chords are typically designated in music by using upper case Roman numerals for major chords (i.e. I, IV, and V, which are the first, fourth, and fifth chords in a key), and by using lower case Roman numerals for minor chords (i.e. ii, iii, and vi, which are the minor second, minor third, and minor sixth chords in a key). A chord of only two notes may be referred to as a partial chord.
Chromatic Harmonica- The chromatic harmonica has a button on the side which when NOT
pressed in, allows you to play a normal major scale, and with the button depressed, gives you all the half-steps or notes in between. It is typically used in jazz and classical music, but is
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found in all styles of music. Bending doesn't work nearly as well on the chromatic as it does on the diatonic harmonica. See Chapter 2 for more information.
Cross Harp (2nd Position) - See the definition for "2nd Position".
Diatonic Harmonica- The diatonic harmonica does not normally have a complete selection
of notes like the chromatic harmonica, but many of the notes that are not naturally found on the diatonic, can be acquired by "bending" particular draw (inhale) and blow (exhale) notes. Most professionals are predominantly diatonic players. This harmonica is typically used in blues, rock, country, and folk, but can be found in all styles of music. Sometimes referred to as a "blues harp", "harp", "short harp", "standard 10-hole" or just "diatonic".
Draw Note- A sound created by inhaling through the harmonica.
Harp (blues harp)- Slang term for a 10-hole diatonic harmonica. But, since a strummed
stringed instrument already exists that is officially named the harp, we stick with the term harmonica in this book to avoid confusion for people just starting out.
Improv- Short for improvisation. You literally make up a melody as you play. This is not as
magical or esoteric as some musicians might like you to believe. Improv and "jamming" are based on putting together riffs and scales that you already know through previous practice and repetition. The real "improv" of it is that you can change the order and amount of repetition of your memorized patterns.
Jam (jamming)- Many times jamming is used synonymously with "improv" (see above
definition). Jamming can also refer to a group of two or more people playing together— sometimes rehearsed, sometimes not.
Key- A tonal center for a portion of music or a complete song. The key is the first note
(also referred to as the tonic) of the scale that is being used for the song melody or for improvising. The key can also be determined by the key signature of the sheet music. (Also see "resolution.")
"Keyed"- When you take a particular song or CD track and determine the key it is played in,
it is considered "keyed". This will allow the player to choose the correct key of diatonic
harmonica or play the correct scale on a chromatic harmonica when playing along with a song.
Major Scale- The major scale is the most common of diatonic scales (seven different notes).
If you start on any "C" key on a piano and play only the white keys until you reach the next "C" key (an octave up), you will have played a "C" major scale. Other diatonic scales include: the harmonic minor scale, the natural minor scale, and the melodic minor scale.
A major scale is differentiated from the other scales by the relationship of whole-steps and half-steps between it's scale degrees. A major scale can be sung as "do-re-mi-fa-sol-la-ti-do". Numerically, we sometimes look at the notes of the major scale as 1-2-3-4-5-6-7-8.
All scale related music theory is derived from the major scale.
MIDI file- A computer document that contains the performance of a musical piece only in
terms of the pitches of the notes played and the timing of these notes. The actual sounds to make the music will come from the computer's operating system. Additional software sound modules can be purchased separately if you desired better quality sounds. Any of the HarmonicaLessons.com MIDI files (or found elsewhere for that matter) can be played by your computer and you will not need any special equipment or software to do so.
Minor- A type of scale, mode, or chord that has a dark, somber characteristic to it. The most
important musical difference between a minor scale and a standard major scale is that the 3rd note of the minor scale is one half-step flatter in relation to the 3rd note of the major scale.
Pitch- The actual sound of a note. Sometimes expressed in vibrations per second as in
"A"=440hz. You can change the pitch of some notes on the harmonica with the bending technique.
Positions- A position on the harmonica (i.e. 1st, 2nd, or 3rd Position) refers to the emphasis
of your note selection (and starting and ending points). This in turn determines what key you are actually playing the harmonica in. For instance, by emphasizing the lower draw holes, especially the hole 2 Draw, you would now be playing in the key of "G" on your key "C" harmonica. This is called 2nd Position. For different positions to work properly, you would also need the background music (guitar, piano, bass, etc.) to be in the same key as the position you are playing in. There are ultimately 12 different positions that can be played on a diatonic harmonica, but only the first few are commonly used.
Resolution- Whenever you return to the "key note", that is, the note which is the same as
the key of the song, we call it resolving or resolution. This typically tends to happen at the end of a verse or chorus and almost always at the end of the song. Basically, resolution lets the listener know that you've finished.
Riff- A slang term for a short musical phrase that is usually repeated or repeatable. In
classical music, it is sometimes referred to as a "motif". Another slang term used for riff is "lick".
Scale- A linear collection of notes that has a different letter name for each pitch (note). A "C"
major scale would be "C", "D", "E", "F", "G", "A", "B", "C". All scales start and end on the same note. To ease communication, regardless of what key you are playing in, the first note may be referred to as "1", the second note referred to as "2", etc. Please note that this particular
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numbering system refers to the notes in a scale (which are applicable to any instrument) and should not be confused with the numbered holes on your harmonica.
Single Notes- Playing only one note at a time is referred to as a "single note". Two or more
notes played simultaneously is called a chord. See Chapter 3 for more information.
Straight Harp (1st Position)- See the definition for "1st Position".
Tabs (Tablature)- Tablature, or "tab", is a simplified way to notate music without having to
formally read music. We use the "text" tab system (explained in Chapter 4) for notating songs and riffs. Guitar (and many other instruments), as well as different teaching methods, may choose to have their own system of tablature.
Tongue Blocking (not covered in this book)- A slightly more advanced technique that is
used to play single notes and create special effects. This is done by putting your mouth over 3 or 4 holes and covering all but one hole with the tip of your tongue. Typically, your tongue is on the left side and the single note is played out of the right side.
Vertical Slot Method- (also referred to as "corner blocking"). A single note technique which is
the advanced, admittedly more difficult, but preferred version of the "whistle method" (whistle method is also referred to as "lipping" or "pucker" method). Instead of involving your tongue to achieve single notes, as in Tongue Blocking, the Vertical Slot method creates the single note by dropping the jaw down and slightly back and then using the corners of the mouth to block the surrounding holes. This is in contrast to the whistle-type methods where you play a single note with tight, pursed lips. See Chapter 3 for more information.
A more extensive listing of harmonica and music terms is found in Vol. 4:
"Theory for Harmonica Players" in this Beginning Diatonic Harmonica Book Series,
Chapter 3: Basic Playing Techniques
Chapter Includes:
Single Notes Holding/Hand Effects Bending BreathingThis chapter contains the information and instruction you need to get started correctly with the 4 most basic and important techniques for playing harmonica. Perfection of these
techniques is rarely possible the first time around, but by taking your time with them initially, you can achieve a firm foundation which will continue to grow and improve as you continue to play.
Before getting "technical"- If you haven't already done so, play through and learn a song
or two without any concern for techniques. A "chord-y" sound instead of Single Notes on songs is fine for the first few weeks.
Single Notes and Holding/Hand Effects- The two most common techniques for playing
virtually any type of harmonica (in any musical style) are Single Notes and Holding/Hand Effects. Give these two some time before adding other techniques.
Bending and Breathing- Be sure that you are fairly comfortable with the more basic
techniques of Single Notes and Holding/Hand Effects before spending a lot of time on bending and breathing. A few weeks to a month of fairly accurate single noting is a good indicator of when to begin work on these two techniques. Also, a well practiced Vertical Slot single note technique will make the bending and breathing techniques much, much easier (not necessarily easy, but easier) when you move on to them.
Why the 4 Basic Techniques are so important- Tone and timing are what make good
players sound good. Good tone comes primarily from proper breathing technique, but without good single note technique, it is much more difficult to breathe correctly. In addition, holding the harmonica correctly facilitates better single note technique. Successful bending is more easily accomplished with correct breathing accompanied with good single note technique.
Basic Playing Techniques
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Staying Relaxed (the missing 5th Basic Technique)- This applies to every technique
at every level. Try to stay as relaxed as you can at all times and especially when working to improve your techniques. Bending and breathing are very difficult to do correctly with excess tension. Concentrate on relaxing your mouth, your lips (without losing the single notes), your eyes, your forehead, your whole face in general, your neck, your shoulders; basically,
everything. Watch yourself in the mirror to be sure.
Free technique sound file examples- Examples of these techniques can be heard at
HarmonicaLessons.com. See Chapter 9 for details on how to gain access to the free audio/ video files.
Playing only one note at a time is referred to as a "single note" (like hitting one key of a piano). Two or more notes played simultaneously is called a chord. The two most common and useful ways to achieve a single note are by either the "Vertical Slot" method (advanced version of pucker, lipping, and whistle methods) or Tongue Blocking (Tongue Blocking is covered in Vol.2 of this series, or on our website).
What a Single Note Should Sound Like (using your fingers)- To get the sound of a clean
single note in your head, pick a hole to play a clean single note on, let's say 4 Blow. Place your index fingers tightly over holes 3 and 5 and cram the whole thing into your mouth. If your fingers are still tightly covering holes 3 and 5 then you should be hearing a nice clean single note out of hole 4. Do this over and over and over again until you've memorized the sound. If the fingers just aren't working for you, try putting tape over the holes surrounding hole 4. Whenever in doubt, come back to this drill.
"Vertical Slot" method of single notes- The Vertical Slot method is our recommended
sin-gle note technique, especially good for beginners who would also like to learn to bend notes. It is the advanced, admittedly more difficult, but preferred version of the "whistle", "lipping", "lip purse", or "pucker" methods. Instead of involving your tongue to achieve single notes, as in other single-noting methods, the Vertical Slot method creates the single note by dropping the jaw down and slightly back and then using the corners of the mouth to block the surrounding holes. This is in contrast to the simpler "whistle", "pucker", or "lipping" method where you play a single note with tight, pursed lips. Vertical Slot method is also known as corner blocking.
Your lips should literally create a vertical slot- You have probably noticed that most
mouths come in a fairly horizontal arrangement. This "natural" position of the lips is not good for playing single notes. What we want to do is reconfigure our lips so that they create more of a vertical slot. Try this in front of a mirror.
Try a "fish face" in front of a mirror- Have you ever made a "fish face" where you suck in
your cheeks? This "fish face" is the idea we want to use to bring in the corners of our lips to create a small vertical slot in which to play a clean single note. If it helps, hold the harmonica with one hand and use the other hand to squeeze in the corners of your lips to maintain the single note and "vertical slot". Work with this in front of the mirror (first without the harmonica) for a few minutes. Play with this for a week or so until your mouth begins to understand what it needs to do.
Block the surrounding holes with the corners of your mouth and not with tight lips-
The is a key point and is what separates the vertical slot method from the other lip-based single note techniques. You DO NOT use your lips to create a small hole for the single note. Instead, you block out surrounding holes with the corners of your mouth.
Do the best you can to get the harmonica further into your mouth, but not at the expense of playing single notes- If this is your first experience with obtaining single notes,
don't fret if you can't match what your hear and see in the instruction. If you need to use your lips a bit more than shown to obtain single notes, then that is fine. Remember, the Vertical Slot method is the advanced version of the other lip-based single note techniques. It is reasonable that you may have to work up to the full-blown Vertical Slot technique over time.
Additional Info and Photos for Single Notes- More details on this technique, plus numerous
other playing and jamming techniques are available in Vol. 2: "Playing & Jamming Techniques" of this Beginning Diatonic Harmonica Book Series or found in the Techniques section within the Members Area at our website.
Our recommended method of obtaining single notes, the Vertical Slot. The tongue is not involved.
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Properly holding the harmonica is an important part of getting a full sound and creating hand effects. If you are new and still getting acquainted with the harmonica, you may want to hold the harmonica by it's ends (see photo in Chapter 1: Simple Technique Tips) a while longer before concerning yourself with hand effects.
Overview of Holding/Hand Tremolo- Your goal in properly holding the harmonica, is to
hold it in such a way, that you can create the largest and most airtight cup possible, based on the size of your hands, and then trap the sound within them while leaving plenty of room to get the harmonica into your mouth. The larger and more airtight you can make this cup surrounding the back of the harmonica, the better the hand effects will be.
Hold the harmonica in your left hand- To hold the harmonica properly for hand effects, it
works best to hold it in your left hand (regardless of being left-handed or right-handed). This is because the biggest part of the cup you form around the harmonica will be around the low notes. As you advance, you will play more and more at the low end in 2nd Position for
blues-Holding/Hand Effects
styled playing, and the best hand effect sound comes from the biggest part of the cup (this is assuming that you are holding the harmonica with the numbers facing up, with the low notes to the left, like a piano).
Harmonica sits on the "web like" flap of skin- Hold the harmonica with your left thumb
and forefinger as far back on the harmonica as possible, preferably against the slightly upturned ridges of the bottom and top cover plates. The left end of the harmonica should rest on top of the flap of "web like" skin between your thumb and forefinger instead of being inserted between your thumb and forefinger. This will seem awkward at first, but it gets easier and more comfortable after a week or so of practice. You will see how quickly your thumb and forefinger gain strength and endurance.
The right hand is flat with the fingers together- The left hand is basically done. The right
hand should be flat with the fingers together and the thumb out. Avoid wrapping the fingers of the right hand around your left hand. This creates a tendency to move the fingers of the right hand instead of opening the right hand itself. If you do not open the right hand, you will not achieve a change of sound. Check in the mirror to see that you have created a large, airtight cup with your hands.
The "tremolo" effect is a change of volume- We specifically hold the harmonica in a way
so that we can change the sound of a note or chord by opening and closing our hands. The technique is commonly referred to as "Hand Tremolo".
Open with the right hand- To create your hand effects, you will open the right hand by
bending it back while keeping the heels of both palms together and the bottom hand flat. Watch yourself in the mirror so that you can see the back view where your hand opens.
Harmonica sits on the "web like" flap of skin and notice the flat right hand.
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Keep your hands together and look for any gaps, especially at the back of the harmonica, to insure it is reasonably airtight and effective. Make it a point to open your right hand and then have it return to the same spot.
Tremolo is used on long held notes- A tremolo effect creates a wavering sound that is
usually applied to long held notes or long held chords (which typically occur at the ends of phrases). The perceived change that occurs is not a change of pitch (this is usually referred to as "vibrato") but instead, it is a change of volume.
Additional Info and Photos for Holding/Hand Effects- More details on this technique,
plus numerous other playing and jamming techniques are available in Vol. 2: "Playing & Jamming Techniques" of this Beginning Diatonic Harmonica Book Series or found in the Techniques section within the Members Area at our website.
Bending is a technique used on the harmonica which allows you to change the actual pitch of a note (typically by lowering it). The bending of notes is not exclusive to the harmonica. This changing of pitch is also possible on guitar, saxes, other string instruments, electronic keyboards, and more. With bending, you can create a wailing, crying type sound. The bending technique also allows us to play some of the notes that appear to be missing on the diatonic harmonica.
Beginner's Shortcut: Tilting the harmonica to bend- A quick, easy way to begin bending
notes is to hold the harmonica by the ends and tilt the back of the harmonica up towards your
Bending
nose (you should have it far enough into your mouth, with single notes, that it won't pop out). Listen for the note to go lower in pitch. This trick of physically tilting the harmonica up will create the same change of angle that we will strive to do internally. Make sure your single notes are strong and clear before attempting to bend.
Bending can be one of the more difficult techniques- Bending, along with the Breathing
technique tends to be the most difficult techniques to master on the harmonica. If you find it difficult and slow-to-come, welcome to the club. Be patient—take your time, it will come.
The most common and useful bends are found on the 2, 3, and 4 Draw holes- Draw
bends can be done on holes 1-6 draw on a standard diatonic. But, the most common and most useful bends for blues, rock, and country are the bends on 2 Draw, 3 Draw, and 4 Draw. Although hole 5 draw technically can be bent, you should avoid doing so. Bending this note will not give you any new notes like the other holes do, but instead, has a tendency to ruin the 5 draw reed prematurely.
Different holes bend different amounts- The holes 1, 4, and 6 Draw will each bend a
half-step down in pitch. Hole 2 Draw will bend down a complete whole half-step (two half-half-steps) and hole 3 Draw will actually bend down a step and a half (three half-steps).
On a standard key of "C" diatonic, hole 1 Draw will bend from the note "D" down to "Db" (which is the same as "C#"). Hole 2 Draw will bend from the note "G" down a complete whole step to "F". Hole 3 Draw will bend from the note "B" down 3 half-steps to "Ab" ("Ab" is the same as "G#"). Hole 4 Draw (the same pitch as hole 1 Draw, but up a complete octave) will bend from the note "D" down to "Db" (which is the same as "C#"). And hole 6 Draw will bend from the note "A" down to "Ab" (or "G#").
Harmonica tilted up to bend draw note.
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Bending consists of only two basic components:
1. Good Breathing Technique- That is, not sucking and blowing from the front of your
mouth (lips). The more you suck the air in, instead of pulling the air through the harmonica and through your mouth, the harder it will be to bend a note.
2. Shifting (changing the angle of the airflow)- "Shifting" means that you are changing
the angle of the airflow to cause a note to bend. Normally, for clean single notes, the flow of air is parallel to the cover plates and to the reed (the reed is a thin piece of brass inside the harmonica which creates sound when air passes over and causes it to vibrate). When you change the angle of airflow, you put additional pressure on the reed which causes it to vibrate more slowly, thus lowering in pitch. So in essence, you are pulling the air from the harmonica at an angle to the upper pallet inside your mouth (see graphic below).
"Shifting" is a tough one to learn- It is extremely difficult to teach/learn this technique.
Many books and instructors try to create a shortcut to bending by getting the student to say certain syllable and vowel combinations, ("wee-ou-wee" in the following tips) or have them move their tongue or jaw up or down, or back or forward. None of these tricks work for every-one every time. The bottom line is that you must change the angle of the airflow for the note to change pitch. Do whatever it takes inside your mouth to make that happen. Don't think too much about this, it probably won't help. Picture the concept and let your body figure it out.
Stay with the hole you have success with- Try to bend on hole 4 Draw. If it seems to be
working, stay on it and repeat it over and over again to establish the muscle memory. If it doesn't seem to work, try the same thing on hole 1 Draw. If this one seems to be bending, stay on it and repeat it over and over again to establish the muscle memory. If you don't have any luck with either of those, try to bend hole 2 or 3 Draw.
Bending Tips
Normal 4 draw/bent 4 draw/normal 4 draw (i.e. "wee-ou-wee")- A trick that helps
some players get a feel for bending is to use different vowel and consonant combinations in an attempt to get your tongue and mouth in the correct positions. Try a normal 4 draw/bent 4 draw/normal 4 draw by saying "wee-ou-wee" or "wah-ou-wah" when you inhale. The "ou" part would be the bent note. Hear the sounds in your head while you try to make the sounds with your mouth.
Combine the "wee-ou-wee" with the tilting trick- Still no luck, try simultaneously
using the "wee-ou-wee" with the tilting trick at the top of the Bending section. The "ou" sound should coincide with the tilted up position. Do this slowly enough so that you can focus on both tips at the same time.
Get the sounds in your head first- Your odds of success with bending go up about 1000%
if you are able to hear the "un-bent and bent" sounds in your head. Memorize the sound file examples (see next bullet point) so that you can sing, hum, or whistle the un-bent and bent notes. "Hear" the bending sounds in your head while you try to match the same sounds with the harmonica.
Free audio bending examples- Bending examples can be heard at HarmonicaLessons.com.
See Chapter 9 for details on how to gain access to the free audio/video files. Listen to the sounds repeatedly (see bullet point above).
Use a chromatic tuner- A great way to check to see if you are actually bending your chosen
draw note to the pitch it should be bent to (see above bullet point— "Different holes bend different amounts"), is to use an automatic Chromatic Tuner which will follow your pitch change progress. The tuner will let you know if you are accurately and completely achieving the bend. Chromatic tuners can be purchased at a local music store or by visiting the HarmonicaStore.com: Misc. Harmonica Products: Tuners section.
Top 2 reasons beginners can't get bending- Reason No. 1 is that they are still struggling
with single notes and are trying to think about two things at once (Solution: work on your Use a chromatic tuning device to see how the note
is actually bending and by how much.
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single notes a few more weeks and then come back to bending). Reason No. 2 is that they cannot accurately hear in their head what bending should sound like. This confusion leads many to believe they are bending notes when in fact they are just changing the tone of the note slightly by some other means. Solution: listen repeatedly to the sound files—see bullet point "Free audio bending examples". In many cases, Reason No. 1 is the cause of Reason No. 2.
Additional Info and Photos for Bending- More details on this technique, plus numerous
other playing and jamming techniques are available in Vol. 2: "Playing & Jamming Techniques" of this Beginning Diatonic Harmonica Book Series or found in the Techniques section within the Members Area at our website.
Proper breathing technique corrects the problems of a 'thin' weak sound and also fixes trouble draw notes like holes 2, 3, 7, 8, 9, that don't seem to play well, play in tune, or at all (nope, it's not a bad harmonica). Be sure you are fairly comfortable with the more basic techniques of Single Notes and Holding/Hand Effects before spending too much time on your breathing.
Put the harmonica as far into your mouth while maintaining single notes as you can- The easiest way to breath correctly with the harmonica is to play your Vertical Slot single
notes with the harmonica as far into your mouth as possible. The further you put the harmonica into your mouth without losing the single note (see Single Note section in this chapter), the better. This will allow you to bypass the "sucking mechanism", the front of your mouth and lips, and force you to breath correctly from the bottom of your lungs. Try making a "ha" sound for every exhale (blow note) and every inhale (draw note) that you play.
Breathing
Airflow should always be parallel to the harmonica, reed plate, and reed itself unless trying to bend.
