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Great Harmonica's Books Archive. . "60 Hot Licks for Harmonica" by Lonne Joe Howell · "A Sourcebook of Sonny Terry Licks for Blues Harmonica" by Tom Ball. Harmonica Gwendolyn Battle-Lavert, 1 book Open Library is an initiative of the Internet Archive, a (c)(3) non-profit, building a digital library of Internet. Artist Profile – Stevie Wonder. Apr 4, In his book, Outliers, the American intellectual and writer, Malcolm Gladwell, discusses the role of natural ability.

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C Diatonic Harmonica Book. IdentifierCDiatonicHarmonicaBook. Identifier-arkark://t75t78h1q. OcrABBYY FineReader The Complete hole Diatonic Harmonica Series C Harmonica Book By James Major Your Reference Guide to Available Notes Scales Modes Positions. Topics Methods, For harmonica, Scores featuring the harmonica, For 1 Source,_Andreas).

Click on the links to see the photos. New images are added on an on-going basis. Please feel free to contact me if you see errors or omissions or you wish to contribute images for posting. His s American-made harmonica, or something similar to a harmonica, is in the Museum of Fine Arts in Boston photo 1. Bazin will sell one of his harmonicas to the music store of John Ashton of Boston before

Cover Photo: James Major. No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher. Visit us on the Web at www. Without their help this series would not be possible. Introduction This book is written for beginning, intermediate and advanced players in an easy-to-use format for both music readers and non-readers.

Also included is information on the more elusive overblow and overdraw notes.

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The Complete 10 -hole Major Diatonic Harmonica Series will help you understand basic music fundamentals and the vast musical capabilities of this handy little instrument in every key. Beginning Players: Use the graphics to find any of the available chords, arpeggios, scales, modes or positions without reading music or bending a note.

Basic playing techniques are also shown. Intermediate Players: Bend your way through the available arpeggios, modes and scales. Learn how to play blues scales in seven different keys on your C harp. Advanced Players: Learn the chromatic capabilities of a C harp. Utilize bending and overbending to play major scales in every key and refer to the theory sections to construct other needed arpeggios and scales.

Music Readers: Leam how to apply your knowledge of written music to the harmonica. See how it all fits.

Non-reading Players: Relate your knowledge of the harmonica to the graphics and expand your musical foundation. Learn new positions and arpeggios. Use the bending chart to help find the intervals needed when mimicking string bending on an electric guitar.

Discover the location of the bend intervals that will allow you to emulate your favorite pedal steel or slide guitar riffs, violin glissando and pitch bends on woodwind or brass instruments. In the back of the book is a section on diatonic instruments that deviate from the standard hole harmonica design. These models are still diatonically organized, but each has its own unique features. Some are built for playing tremolo and others for playing octaves.

There are chromatic-style models that are diatonically tuned and extended-range harmonicas with additional treble and bass notes. There is also a model that allows you to bend to nearly twice as many notes as the standard diatonic harp. Players who use these models can use all of the mode, chord and arpeggio charts. This book acts as a musical reference guide for those models and more. One book at a time, the Complete hole Major Diatonic Harmonica Series exposes the functional capabilities of harmonicas based on the Richter system in all 12 keys.

Now, play through each of the examples at your own level and enjoy getting the most out of your C harp. Multi-instrumentalist James Major hails from suburban Detroit and started playing harmonica in Since then, he has written and produced several instructional music books. About the Author 3 The Origin of the Harmonica The harmonica is a member of the free reed family of musical instruments.

Free reed instruments produce a tone when air passes over a reed that is fixed at one end and causes the other, unattached end to vibrate freely. The pitch is determined by characteristics in the flow of air over the reed, the shape of the reed, its length, weight, thickness, width, and its material. The ancient Chinese design is said to have had a shape that was modeled after the mythical phoenix.

It has one hole in a main chamber to inhale and exhale through, and a single hole in each of the many individual bamboo pipes inserted into the main chamber.

The air is channeled past a reed inside the bamboo when one or more holes are covered. Melodies or chords can be played.

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The same note sounds when you inhale and exhale. They brought back many unique treasures, and in this way the free reed instrument was introduced to Europe. During the s, Pere Amiot, a Frenchman, experimented with free reed instruments by modifying the sheng in an attempt to create a new European version.

In the s, a tone from a single reed, from a set of reeds, was commonly used to tune pianos and organs. The then year-old is said to have secured a patent for it in The oldest documents about harmonica makers and sellers [in Vienna] are dated He created a system of notes incorporating both an extended major scale and several chords. There are references to brothers, Josef and Anton Richter in the harmonica industry in the late s, but to date, historians have been unable to find a direct link from these men to the Richter who invented the system.

Some assume it may have been their father. The Richter System Diatonic Harmonica The configuration of intervals illustrated below is the system that was developed by Richter. There are other harmonica models made with modified diatonic tunings, such as natural minor, harmonic minor and other variations.

In this book we will be exploring the musical capabilities and boundaries of a harmonica in the key of C, using the Richter system, commonly known as the hole C diatonic harmonica, or C harp. The relationship between the blow and draw notes changes in hole 7, after playing hole 6.

In holes 1 through 6, you must first blow, then draw, in each hole to continue an ascending note pattern. Then, in holes 7 through 10, you must first draw and then blow, in each hole, for the ascending pattern to continue. The white squares represent the holes. Draw to bend in holes 1 through 6. Blow to bend in holes 6 through See page The hole 5 draw F note can be bent — but not all the way down to a true E note.

I put it to the electronic test and the different tuners all showed that it will bend out of the F note range and into the E note range but never to a true E note. This is also the case with the hole 7 blow C note. There is a B draw note in the same hole. Overblow to Large Letters Above Graphic. You overblow in holes 1 through 6 and overdraw in holes 7 through Overbending is an advanced technique and requires fine-tuned breath control, practice and persistence to achieve.

Play only the notes represented by black letters. The example above shows a two octave C major scale. Because they are not part of the C major scale, the G b bend in hole 2 and the and EE bends in hole 3 do not appear under the graphic.

Only the F and A bends are shown. All the other bend and overbend notes not used in an example do not appear. The following symbol 8 va appears above notes that are played an octave higher than written. Quarter Notes. Ei g hth Notes and Slurs Quarter notes represent the reed names. Two or more notes sounded from a common reed are connected with a slur.

An overbend note that occurs with the primary reed note will also be connected with a slur when they are played in the same hole. Disregard the time value usually attributed to notes.

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Here notes are used to show the pitch of a reed or a note derived from a bend or overbend. Play each note as long as it takes to learn the skill shown in the example. In this book, the focus is on pitch, not rhythm. A reed note. A beam If there is more than one bend note in a single hole, they will be connected with a beam. A slur connecting two notes shows notes sounded from a common reed or an overbend and the primary reed note. Non-reading Musicians Blow and draw the appropriate black letters and leam how the corresponding written music looks on the staff above.

The root will have a bold 1 under it wherever it occurs. The example above shows an Em7 arpeggio in holes 2, 3 and 4. The notes appear on the staff above the graphic. The graphic shows the letter names of those notes. The number under a black letter identifies the degree of the arpeggio, or scale, for the note directly above.

In any example, the scale degree numbers under the! Holes 2 and 3 both have the same G note in them — a draw G in hole 2 and a blow G in hole 3. Sometimes they will both be highlighted as black letters in an example, but you need only play one of them.

Without overbending, this is the sole opportunity to catch your breath by either drawing or blowing the same note. Some call it the straw method, because you shape your lips the same way you do when you use a straw to sip a drink. Others call it lipping, or the pursed lip method, pursed meaning to pucker. Another way to describe this technique is that the shape of your mouth is similar to when you whistle. The object is to pucker your lips so you only play one note at a time.

Make sure there is an airtight seal between your mouth and the harmonica. This conserves air and gives you more control when bending notes. It also leaves your tongue free to finesse the direction and pressure of the air flow. Whistle D note — drawn. Ton g ue Blockin g This is a another popular method used by many players.

First, put your mouth over four holes as if you are going to play four notes at the same time. Then, with your tongue, block three holes and blow or draw a single note. You can also cover three holes with your mouth and block two of the holes with your tongue. Use the method that is more comfortable.

This method is more commonly used than the tongue right method. These are the most common. The diatonic harmonica is not. Harmonicas based on the Richter arrangement are all made up of the same sequence of intervals derived from a fixed combination of minor 2nds, major 2nds, minor 3rds, major 3rds and perfect 4ths.

On the C harp, in holes 2 and 3, the same G note appears in both — hole 2 draw and hole 3 blow. To play all 20 ascending notes continuously, blow then draw in holes 1 through 6, then change to draw then blow in holes 7 through The interval spacing will be the same on every hole major diatonic harmonica regardless of the key.

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Only the key and notes will be transposed. They vibrate as the air travels through the air channel, past the reed and out the back side of the harmonica.

They vibrate as the air travels into the back side of the harmonica, past the reed, through the air channel in the comb, and into your mouth. Playin g the C Diatonic Harp Chromatically: When you play the notes manufactured into this hole major diatonic harmonica combined with bending, overblowing and overdrawing, you can play over three full chromatic octaves — middle C to C Dt. When you bend a note, the shape of your mouth should be similar to the shape of your mouth when you whistle descending notes.

Try this: Notice the movement and position of your tongue. Practice the inhale whistle by imitating the sound of a WWII bomb dropping. Now try a bend. While drawing in hole 4, close off the air passage to your nose and do the same thing with your tongue that you do when The Bend Intervals Draw Bends Hole 1: Hole 2: Hole 3: Hole 4: Hole 5: Hole 6: Blow Bends Hole 6: Partial bend.

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This symbol is used. Hole 8: Hole 9: Hole It takes a little more control. You should hear it bend. Modify your tongue movement until you get a good, solid bend note. Therein lies the heart of the blues harp sound. For lower note bends, lower your jaw while simul- taneously moving your tongue back in your mouth in a way that channels and constricts the passage of air. This causes the primary reed to slow, which lowers its pitch.

That, in turn, initiates sympathetic vibration on the other non-primary reed in the hole. As more of the vibration transfers from the primary to the non- primary reed, it facilitates even further vibration of the non-primary reed and a lower pitch or bend note. When you play a draw bend, the non-primary blow reed may ultimately create the lower note. This technique allows you to produce, for example, a D? It can also provide the means needed to produce vibrato and tremolo effects so essential to producing a sweeter sounding note.

Bending the higher blow notes in holes 8, 9 and 10 requires modifying your technique. Your tongue should be more forward in your mouth, creating a smaller air chamber. The higher the blow bend note, the smaller the air chamber needs to be.

The lower the blow bend note, the larger the air chamber needs to be. Hitting a Note Pre-bent Scales and arpeggios in some positions require you to play a note or notes pre-bent.

He will be teaching the workshop called: Blues on the Chromatic Harmonica for Beginners.

This is mostly based on the easy and familiar third position as played on diatonic. We are going to learn how to play rhythms and chords effectively with great punch and timing in the 12 bar blues. We will also take a look at present-day masters such as Kim Wilson and Dennis Greunling. In addition, we will approach single note playing and improvising around the blues scale. Ben also confessed that he fully intends to provide written literature to go along with his course.

Though he did say he still has to research and write the book entitled Blues on the Chromatic Harmonica for Beginners. Adding to the point that Ben has a lot on his plate at present but will come through for his avid crowd of adoring fans. The workshop will run over a Wednesday — Saturday and include 14 teaching units of 75 minutes each. For full information head over to the website by clicking here.

SPAH - Society for the Preservation and Advancement of the Harmonica

Aug 27 news Friday Buddy is best known for his video that went viral. Months later, however, when my friend returned home clutching pages of A4 paper which contained guitar tab for dozens of songs, my interest was piqued. Maybe he was on to something after all. The problem now is more a case of locating the best resources for your needs — quality can be highly variable and Google is not always the best judge of this.

Which brings us to Harmonica. Established by JP Allen, the site offers a range of content, from harmonica reviews and lessons, through to blog articles and player profiles.

Each one is given a star rating and an accompanying video so that the viewer can get some idea of tone and volume. The reviews are extremely honest, and the reviewers are not afraid to point out any flaws in particular models. Probably the next most frequently asked harmonica questions are related to technique, and harmonica.

There are also free harmonica tabs featuring a range of artists and genres, including classical, rock and pop. In addition to the free resources, Harmonica. To summarise, then, Harmonica.

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