Harmonica method.pdf
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Andreas Ch. Ntakas
Harmonica Method
© 2010, Andreas Ch. Ntakas This work is provided under the terms of the Creative Commons Attri!ution"No #erivative $orks %.0 &nported 'icense. (t is protected !) cop)ri*ht and+or other app'ica!'e a pp'ica!'e 'aw. An) use of the work other than as authoried under this 'icense or cop)ri*ht 'aw is prohi!ited. -) eercisin* an) ri*hts to the work provided here, )ou accept and a*ree to !e !ound !) the terms of this 'icense. To the etent 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. /ou can find the 'icense fu'' tet in the $or'd $ide $e!, at http++creativecommons.or*+'icenses+!)"nd+%.0+
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© 2010, Andreas Ch. Ntakas This work is provided under the terms of the Creative Commons Attri!ution"No #erivative $orks %.0 &nported 'icense. (t is protected !) cop)ri*ht and+or other app'ica!'e a pp'ica!'e 'aw. An) use of the work other than as authoried under this 'icense or cop)ri*ht 'aw is prohi!ited. -) eercisin* an) ri*hts to the work provided here, )ou accept and a*ree to !e !ound !) the terms of this 'icense. To the etent 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. /ou can find the 'icense fu'' tet in the $or'd $ide $e!, at http++creativecommons.or*+'icenses+!)"nd+%.0+
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Table of Contents (ntroduction....................................... (ntroduction.............................................................. .............................................. .............................................. ............................................ .............................. ......... Harmonica Anatom)....................................... Anatom).............................................................. .............................................. .............................................. ........................................ ................. Harmonica T)pes....................................... )pes.............................................................. .............................................. .............................................. ............................................. ...................... #iatonic......................................... #iatonic................................................................ .............................................. .............................................. .............................................. .............................. ....... Chromatic....................................... Chromatic.............................................................. .............................................. .............................................. .............................................. ............................. ...... Tremo'o......................... Tremo'o................................................ .............................................. .............................................. .............................................. .............................................. ....................... 3ctave........................................... 3ctave.................................................................. .............................................. .............................................. ..................................................... .............................. 3rchestra'................................................ 3rchestra'......................... .............................................. .............................................. .............................................. ........................................... .................... Harmonica Care............................................. Care.................................................................... .............................................. .............................................. .........................................4 ..................4 Ho'din* the Harmonica......................................... Harmonica................................................................ .............................................. ............................................... ........................ .........4 ......... 4 Note 5'a)in*.................................... 5'a)in*........................................................... .............................................. .............................................. ....................................................... ................................ 4 5reparin* a New Harmonica........................ Harmonica............................................... .............................................. ......................................................... .................................. ........6 ........ 6 7et to 8now )our Harmonica.............................................................. Harmonica.............................................................................................................. ................................................ 6 Music Notation with Ta!'ature......................... a!'ature................................................ .............................................. .............................................................6 ......................................6 9 7ood Ni*ht :adies ;Meri'') ;Meri'' ) we 9 3de to ?o) ;3de an die @reude=......................................................... @reude=................................................................................ ..............................................10 .......................10 9 3n Top of 3'd moke).................................... moke)........................................................... .............................................. .............................................. ..................................10 ...........10 9 3h M) #ar'in*, C'ementine...................... C'ementine............................................. .............................................. .............................................. ..................................... .................10 ...10 9 Happ) -irthda)......................................... -irthda)................................................................ .............................................. .............................................. .........................................1 ..................11 1 9 Au'd :an* )ne........................................ )ne............................................................... .............................................. ................................................................ ......................................... 11 9 Amain* 7race................................................ 7race....................................................................... .............................................. .................................................... ............................. .....11 9 Camptown 0s, 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 sie, 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 cant reach the reeds whi'e p'a)in*, and protect the harmonica from eterna' haards. 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. $ooden p'ates produce soft c'ean sound. The reed p'ates the meta''ic ;common') copper= p'atters that serve as stands for the reeds. The reeds are the thin meta''ic strips that *enerate sound !) vi!ratin* when )ou !'ow or draw air at the ho'es of the harmonica. The p'ates have sma'' ho'es in the sie of the reeds, ca''ed s'ots, that serve as *uides for the air that comes from the cham!ers. -roken reeds reGuire fu'' reed p'ate rep'acement. The com! the 'ar*est part of the harmonica, most common') wooden, serves as host for the cham!ers throu*h wich air wi'' !e *uided to the reed p'ate s'ots, and fina'') to the reeds.$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'ei*'ass com!s a''ow )ou to see throu*h the harmonica, makin* it easier to know when
)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 its 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 semitones in a row ;without !utton=. These harmonicas are most') usefu' in c'assic ensem!'es.
Harmonica Care (n order to keep )our harmonica in *ood condition, )ou need to fo''ow these ru'es •
•
•
•
•
•
•
Never epose )our harmonica to etreme heat or co'd. #ont 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. #ont put )our harmonica in )our pocket without its case. The case prevents f'uff to *et in harmonicas 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 its parts sie, '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' ecess 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 its upper !od) touched !) the inde fin*er, its 'ower !od) ho'd with the thum!, and its row of ho'es towards the p'a)ers 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. #ont !'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. #ont continue to the net 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 harmonicas 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'ei!'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.
4
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
@J 7J -
-
#J F
@J 7J A
F
@
7
C
F
7
F#
@J 7J AJ CJ CJ FJ @J 7J AJ -
CJ #J @J F
G
7
#
Ab
A! -! C
A
A
Bb
-! C
B
-
-
-
C
#
#
F! @
@
@J 7
F! F! 7
A
-
A! -! C
CJ F
F
7J A
#
@
A
@
A
7
-
-! C
CJ #J @J @J AJ -
-8
9
10 -10
@
C
#
7! A! -! #! C
@
F! A! 7! #! -!
A
-
A! -! C -
-! C
C
F! @
CJ #J F
CJ @J F
F! #
7
@
A
7
#
#J 7J @J -
A
#
FJ A
-! @
F
F
7
@J A 7
@J 7J -
C
A
#
-
#
C
F
CJ #
@J #J 7
F
-! F! #! A! @
7J CJ -
-! A
C
AJ 7J CJ -
@J -
A! 7
7
A
-! A! F! C
CJ F
#! F! @ F
#
7
-9
F
CJ # #
8
-
@J 7
C
-7
F
-! -! #
F
A
7
E
CJ #
7
-6
F! @
#! F! @
@
6
Eb
A
F
-5
#
@J A
#
5
D
A! A! C
C
-4
#! F! @
A
-
4
Db
7
7
-3
C
A
7
3
C
F
F
-2
C
F
#
@
F! -! 7
AJ #J CJ @J F
A
-
@J
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
6
•
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 eamp'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=.
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
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
10
5
-4
3 -3 -4
4
3
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 TAB
6
TIME /4 TAB
7
7
8 -8
7 -8
8
7
8
7 -8
7 -8
8 -8
9
8
8
7 -8
7 -8 -10 9
8
7 -8
7 -8
8 -8
7ospe' son*
TIME \8 /16 /2 \8 /16 /2 /4 /2 /4 /2 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
TIME \8 /16 /2 \8 /16 /2 /4 /1 TAB
6
9 -910
7 -6 -6
\2
6
8
8
7
9 -910
\4 /8 /4 /4 \4 /8 /4 /8 /8 \4 /8 /4 /4
-910 89 8
6
8
\4 /8 /4 /4 \4 /8 /4 /4 \4 /8 /4 /4 \2
Ama,ing Grace
TAB
7
\4 /8 /4 /4 \4 /8 /4 /8 /8 \4 /8 /4 /4
-10
TIME /4 TAB
7
-910 89 8
TIME /4 TAB
\4 /8 /4 /4 \4 /8 /4 /4 \4 /8 /4 /4 \2
7
8 -8
7
8 -8
7
11
6
7 -6 -6
6
\2 567
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
12
5
5 -4 -4
4
'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
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
TIME /4 /2 /4 /4 /4 /4 /4 /4 /1 \2 TAB
5 -5 -5
5 -4 -4
4 -4
4
0
1%
4
4
0
'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
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 TAB
6
7
7
7
7 -7 -5
0 1D
5 -6 -4 -4
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* its pitch. This is !endin*. -etter !endin* can !e achieved if )ou ti*hen )our 'ips and Eaw whi'e !endin*. $hen !endin*, )ou can produce three different sounds s'i*ht') chan*in* the pitch is ca''ed ha'f !end, chan*in* the pich a semitone is ca''ed fu'' !end, and chan*in* the pitch a who'e tone is ca''ed over!'ow ;or overdraw, !ased on the direction of the air=. Notes on ho'es 1 to can !e !ent !) drawin* and over!ent !) !'owin*, whi'e notes on ho'es 4 to 10 can !e !ent !) !'owin* and over!ent !) drawin*. The fo''owin* ta!'e disp'a)s a'' the notes, inc'udin* !ends, on a C diatonic harmonica. "'
F!
A!
C
F!
@J
-!
-!
"
F!
@J
-
+
C
F
7
C
F
7
C
F
7
C
hole
1
2
3
4
5
6
7
8
9
10
-
#
7
-
#
@
A
-
#
@
A
'
CJ
@J
-!
CJ
@
A CJ
@
A!
CJ
" "'
A!
A!
1
Por una cabe,a !) Car'os 7arde'
TIME /8 /8 /8 TAB
4 -4 -4'
/8 /8 /8 /4 /8 5 -5
5
/8 /8 /8 /8 /8 /4
0 -4'
5 -5
6 -7 -6
0
TIME /8 /8 /8 /8 /8 /8 /8 /8 \4 /8 /8 \4 TAB
7 -8 -7
7
6 -7
6 -6
6
5 -4
0
TIME /8 /8 /8 /8 /8 \4 /8 /8 /8 /8 /8 \4 TAB
-8
7
8 -8 -7
0 -7 -6
7 -7
6
0
TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 /8 \4 TAB
6 -6 -6 -7
TIME /8 /8 /8 TAB
4 -4 -4'
7 -7
6 -5
5
/8 /8 /8 /4 /8 5 -5
5
6
5 -4
4
0
/8 /8 /8 /8 /8 /4
0 -4'
5 -5
6 -7 -6
0
TIME /8 /8 /8 /8 /8 /8 /8 /8 \4 /8 /8 \4 TAB
-6 -7
7 -6 -7 -6 -7
7 -7 -6 -5
0
TIME /8 /8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /8 /8 /8 /8 /4 TAB
-7 -6 -5 -4
4 -3
4 -4
5 -5
-6
6 -5 -6
5
0
TIME /8 /8 /8 /8 /4 /4 /8 /8 /8 /8 /8 /1 TAB
-6 -7
7 -6 -7 -5
6 -6 -7
6 -6
0
TIME /4 /8 /4 /8 /2 /2 /4 /4 /8 /4 /8 /2 /2 /4 TAB
7
7 -8
8
8 -7
0 -6 -6 -7
7
7
6
0
TIME /4 /8 /4 /8 /2 /8 /8 /8 /8 /2 /8 /8 /8 /8 /2 /2 /4 TAB
-5 -5
6 -6 -6 -6 -7
7 -6 -7 -6 -7
7 -6
7 -7
0
TIME /4 /8 /4 /8 /2 /2 /4 /4 /8 /4 /8 /2 /2 /4 TAB
7
7 -8
8
8 -7
0 -6 -6 -7
7
TIME /4 /8 /4 /8 /2 /8 /8 /8 /8 /2 /8 TAB
-5 -5
6 -6 -6 -6 -7
7
6
0
/8 /8 /8
/1 /4
7 -6 -7 -6' -6 -7 -6' -6
1
0
Theme from )anube /a0es !) ?oseph (vanovici
TIME /4 /4 /1 /4 TAB
0
5
/4 /1 /4 /4 /1 /4 /4 /1
5 -6' -6 -7 -6' 5
7 -7 -6
8
TIME /4 /4 /1 /4 /4 /1 /4 /4 /1 /4 /4 /1 TAB
0
8 -9
8 -8
8 -8
7 -7
5
7 -6
Theme from &esu* &oy %f Man.s )esiring -$ 1D4 !) ?ohann e!astian -ach
TIME /8 /8 TAB
/8 /8 /8 /8 /8 /8 /8 /8
-2 -3" -3 -4
4
4
5 -4 -4
TIME /8 /8 /8 /8 /8 /8 /8 TAB
4 -4
5 -4
-6
TIME /8 TAB
/8 /8 /8
5"' /8 /8
4
/8 /8 /8 /8 /8 /8 2 -4
4
5 -4 -4
6
/8 /8 /8 /8
6 -3 -4
-47
from 7eor*es -iet Carmen uite
TAB
-4 -4'
TIME /4 TAB
0
-4 -4'
/8 /8
/4 /4
-3" -2 -2"
4
0
/8
/4 /4 /4
/2 2
/8 /8
4 -3 -3' -3" -3" 0
/16 /8 2
/8
2 -2" -2 -2"
/8 /8 /8 /8 /4 /4 4
/4
4 -3 -3' -3" -3" -3"
-3"' -2 -2" -2 -2"
TIME /4 TAB
4
/4 /16 /8 /8
TIME /4 /4 TAB
/8 /8 /8 /8 /4 /4 4
5"'
-2"
/8 /8 /8 /4 /4 /2 2 -1
2 -2" 2 -1
14
/8 /8
5"' -6
7
/8 /8 /8 /8 6 -4 -3 -2
4 -3 -3" -2 -1 -2 -2' -2 -3 -4
Habanera TIME /4 /4
/8 /8
/8 /8 /8 /8 /8 /8
TIME /8 /8 /8 /1 TAB
/8
6 -4 -3 -2 -3" -3
/8 /8 /8 /8 /8 /8 /8 /8 /8
7 -2 -3" -3 -4
-3" -3
6
/8 /8 /8 /8 /8
4 -3 -3" -3 -2 -2' -2 -3" -4
TIME /8 /8 /8 /8 TAB
/8
6 -4 -3
/8 -7
TIME /8 TAB
/4 /4 \4
-3" -1
TIME /8 /4 TAB
/4 /8
/8
-3
/4 /4
/8 /8
/8
/4 /4
/4
\4 2
/8 /8 /4
-2' -2 -3" -3 -3 -3 -3 -6 -8
8
TAB
-2' -2
2
/4
TIME /8 /4 /4 -7
TIME /8
8
/4
/4 \4
/8
/8
2 -1
/8
/8
/4 /4
/4
-3" -3" -3" -3" -4 -4' -3"
\4
/8
/4
/4 \4
9
-3
-2
-2' 2
9'
/4
/8
/4 /4
-4' -3 -3"
9' -3" -2'
/4
TAB
/8
2 -2' -2 -3 -2 -2'
TIME /8
TAB
2 -1
\4 /8 /4 /4
TIME /8 /4 /4 \4 TAB
/4 \4
2 -2' -2 -3" -3" -3" -3" -3 -3" -2
TIME /8 TAB
/4
2 -2' -3" -2'
TIME /8 /4 /4 TAB
/8
/4 /4
/4 /8
/8 /16 /16 /8
-2' -2 -3" -4' -3 -3" -2 -3" -2
/8 /1
-2'
2 -1
Hungarian )ance no 1 in G minor !) ?ohann -rahms
TIME \2 TAB
-3'
/8 /4 /8
5 -4 -3'
5 -5
/8
4 -4 -3" -3'
TIME /2 /2 \2 TAB
/8 /8 /1
/4
4 -4 -3"
/4
-2 -2"
\4 /8
6 -5
/4 \2 /4
0
\4 /8
4 -2 -2" -2 -2"
/4 /4 /2 /8
-6 -6 -6"' -6
/4 /4
6
5"'
/8 /8 /8 /8 6 -6
/2 /4 /4
2 -3" -1 -1
6
0
/8 /8 \4
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
TIME /2 /2 /4 /2 /2 /2 /8 TAB
5
5
6 -5
TIME /4 /2+8 /8 TAB
-6
0
5
6 -5
/8 /8 /8 /8
5 -4 -4' -4 /2 /2
6 -5
5 -4 -4'
/4 /2 /8
0
/8 /4 /4 5 -4
/8 /8 /8 /8
-3" -3 -4' -4 -4 -4' -4
16
5 -4 -4'
0 /8 /4 /4 5 -4
/1
2 -3" -1
/8 /8 \2 /4 \2 /8 /8 /1
-3" -4 -5 -6 -5
TIME /8 TAB
/8 /8 /1 \2
-3" -4 -5 -4 -4' -4
TIME \2 TAB
/4 \2 /4 \2
0
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 ;ep'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 ;ep'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, "%D4, "D4, "D46, "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>
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 on F! diatonic 4 -4 5 -5 6 -6 -7 7
20
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 eamp'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 2 nd 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 ye
*le $( C h.
o($ Noe%
/%$ ye
1st 5osition + trai*ht Harp
(onian
MaEor
C
1, D, 4 and 10
2nd 5osition + Cross Harp
Mio')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
21
fo'k and pop
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
TIME /4 /4 /4 TAB
5 -4
/8
4 -3
\4
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
TIME /4 /4 TAB
3 -4 /4
4 -3
/8
3 -3" -3" -3"
\4 3
22
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
TIME /8 /8 /8 TAB
8
5
/8
5 -6 -6
5
8 -10 -10 5 -5 -5
TIME /8 /8 TAB
8
8
5
/8 /8
8"
7 -9 -9
9
-9
8
8
/8 /8 /8 /8 /8 /8 /8 /8 /16 /16 /4 /8 8
7
TIME /8 /8 /8 /8 /8 /8 /8 TAB
7
7 -8 -8
/8
7
7 -8
/8
-7 -7
/8 /8 /8 /8 /16 /16 \4
5 -6' -6' -7 -7 -9 -9
/8
7
9
-9
8
/8 /8 /8 /8 /8 /8 /16 /16 /4 /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
TIME /8 /8 /8 TAB
8
5
/8
5 -6 -6
/8 /8 /8
8 -10 -10
8
7
7 -9 -9
/8
9
-9
8
/8 /8 /8 /8 /16 /16 /4 /8
8 -7"' -7"'
8
8
9
9 -10
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
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
TIME /8 /8 TAB
5 4"'
TIME /8 TAB
/8 /8
-987
0
/4
5 -987 -987
/8 /8 /8 /8 9 -9
8
/8 /4
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
TIME /8 /8 TAB
5 4"'
TIME /8 TAB
/8 /8
-876'
5 -876' -876'
/8 /8 /8 /8 /4 /2 -8
TIME /8 /16 /16 /8 /8 /8 TAB
7 -8
0
/4
8 -8 7 -7 7
75 /8 /8 /8 /8 /8 /4 \4
-7 -6 -6' -6 -7
8
7 -8
2%
8" 8
0
-6
9
-9 -9
TIME /8 /8 /8 TAB
5
TIME /8 TAB
/8 /8 /8
8 -7"' -6
-7"' -6
TAB
-6'
/8 /8
-8
5
0 /16 /16
/8 /8
/8
6"'
/8 /8
/8 /8
5"' -5
/16 /16
-7 6"' -7 -7"' -8 -6 -7 -6 -6 -7
TIME /8 TAB
/8 /8
/8
5"' -6'
-6
5
-6'
/8 /8
/8
/8 /8
6"' -7 -7"'
/8 /16 /16 \4 8
9'
8
-8
\4 \
-7"' -7
5"' -8 -7"' -7"' -7
TIME /8 /16 TAB
/8
\4
-7"' -6
|_ 1st time
TIME /8 /8 /8 /8 /16 /16 \4 TAB
-7
/8 /8
/8 /8 /8
5 -7"' -7
TIME /8 /8 TAB
8
5 -6' -7 -8 -7"' -8
TIME /8 /8 TAB
/8 /16 /16 \4
5 -6 -7"' -8
5 -8 -7 -6'
TIME /8
0
/8 /8 /8 /8
TIME /8 /8 /8 /8 TAB
5
| / /8 /8
6"' -7
/8 /8
/8 /4
5"' -6 -6' -7 -6
/16 /8
\ |_ 2n time |
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.
2D
The 4ellow )og )rag !)
">
10
"10 11
"11 12
"12
3ut
C
#
F
@
7
A
C
-
C
#
F
@
7
A
C
-
C
#
F
@
A
-
(n
#! F! FJ 7! A! -! #! -J #! F! FJ 7! A! -! #! -J #! F! FJ 7! A! -! #! -J
7
C
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