Harmonica Book BegV1

5/9/2018 Harmonica Book BegV1 - slidepdf.com

http://slidepdf.com/reader/full/harmonica-book-begv1 1/98

I



II

HarmonicaLessons.com presents

Vol.1: Beginners Start Here[from the Beginning Diatonic Harmonica Book Series]

Published by:

AYM Music

Copyright ©2008

By

Dave Gage



III

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.)

ISBN: 978-0-6152-3716-9


http://harmonicalessons.com/

http://harmonicastore.com/


http://harmonicalessons.com/




IV

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

1113

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)



V

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

6565

68

70

73

74

76

81

81

83

84

85

89

91

92



VI



VII

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).

1

http://www.harmonicalessons.com/

http://www.harmonicastore.com/

http://www.davegage.com/

http://www.davegage.com/

http://www.harmonicastore.com/

http://www.harmonicalessons.com/



3

Chapter 1 : Getting Started

Chapter Includes:

Which Harmonica Do I Need?

Simple Technique TipsGeneral 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".

1 G e t t i n g S t ar t e d

Getting Started

Which Harmonica Do I Need?



4

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



5

for convenience, but are typically low quality instruments. If you have any serious intentionsat 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, andinformation, 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.


Common Tremolo type harmonicas.



6

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 anddraw (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.

Simple Technique Tips



7

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 yourhead 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


General Playing Tips



8

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.

Recommended Extras



9

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) forsongs 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.




10

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 learnabout 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.

Good To Know





11

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

2 G en e

r al Ov er vi ew

Diatonic vs. Chromatic Harmonica

Overview



12

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 themeto "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.



13

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

2 G en e

r al Ov er vi ew



14

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

using 2nd Position.



15

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 PositionKey

(Straight Harp)

2nd Position Key

(Cross Harp)

3rd PositionKey 5th PositionKey

G

Ab

A

Bb

B

C

Db

D

Eb

E

F

F#

Positionstarts 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

2 G en e

r al Ov er vi ew



16

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.



17

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

2 G en e

r al Ov er vi ew



18

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.



19

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 positionyou 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

2 G en e

r al Ov er vi ew



20

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,

or in the Members Area at HarmonicaLessons.com.



21

Chapter 3: Basic Playing Techniques

Chapter Includes:

Single Notes

Holding/Hand Effects

Bending

Breathing

This 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 goodplayers 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

3

B a s i c P l a yi n gT e c h ni q u e s



22

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.

Single Notes



23

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.

3




24

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: SimpleTechnique 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

Correct left hand position without harmonica.



25

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 wayso 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.

3




26

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

Back View: Hands in half-open position.



27

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 step (two 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 wholestep 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.

3




28

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

Airflow Direction for Bent and Non-Bent Notes



29

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 achievingthe 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.

3




30

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


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 andlips, 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.



31

Correct breathing for the harmonica means N O T sucking and N O T blowing into the

harmonica- Sucking and blowing occurs with your lips and at the front of the mouth. This is

the most instinctive method of getting air through the harmonica, but it is not correct.

"Survival breathing" (for beginners)- It should be noted that the correct breathing on

harmonica is not to be confused with what we might refer to as "survival breathing." All

beginning harmonica players get winded and tired when they play for more than just a few

minutes. Time, and conditioning through repetition will solve this problem. Remember to stay

relaxed and try to breathe with, through, and around the harmonica. Don't force it.

Endurance will develop naturally the more you play the harmonica.

Why correct Single Note technique is important to your breathing- The act of dropping

your jaw and expanding your oral cavity helps create better tone and volume. At the same

time, creating a Vertical Slot for single notes, eliminates the ability to suck and blow with your

lips (the major cause of thin tone and slightly out-of-tune notes) by allowing the harmonica to

go further into your mouth and bypassing the "sucking mechanism", your lips. Both aspects,

dropping your jaw, and putting the harmonica further into your mouth help proper breathing

to occur naturally.

Practice your breathing technique while standing- Whenever possible, be in a standing

position if you are practicing or playing. Especially when you are working on your breathing

technique, stand erect with your head up, back straight, and body relaxed so that you have a

fighting chance of getting the airflow to originate from deep in your lungs and not from your

mouth.

Correct breathing is done from the diaphragm- Although we breathe correctly andrelaxed when we are sleeping, most of us don't do it much in our waking hours. If you have

ever heard that when taking a deep breathe you need to fill up your chest, then you may

have the wrong idea of what deep breathing is really about. The truly deep breathing is done

from the stomach area/bottom of your lungs (diaphragm). Filling your upper chest with air is

referred to as "shallow breathing".

Try a "cough" to feel the diaphragmatic movement- To simulate the experience of the

force of air originating from your diaphragm, try a few quick loud coughs from your throat.

Now put a hand on your stomach and try it again. You should be able to feel your stomach

move a split second before you hear the cough sound. Now try to get the same stomachmovement without adding the cough. This is how correct breathing is initiated on all blow

notes.

Now with the harmonica between your teeth- Keep one hand on your stomach to

monitor it's movement, and place the harmonica deep in your mouth between your teeth. Grip

the harmonica with your teeth and take your hand away. With the harmonica this far into your

3




32

mouth you will be playing a big chord (3-5 notes—the bigger the better). Now, relax, breathe

naturally, and try to initiate the air movement from your diaphragm (stomach area).

"Follow through" with the airflow- To get better tone, increased volume, and more

accurate intonation when you play, focus your airflow through the hole of the harmonica and

not just into it. Think of the air going to the back of the hole, and out 3 inches beyond the

harmonica and running parallel to the reed itself (airflow straight in and airflow straight out).

This concept is exactly the same as "follow through," as found in virtually all sports and in

martial arts.

Angled airflow is why 2 and 3 Draw (and 7, 8, and 9 Draw) may not sound good-

Angled airflow is why so many beginners cannot get a good sound out of 2 and 3 Draw. If

there is any angle to your airflow, then you will be unintentionally bending every note you

play and some of the high draw or blow notes like holes 7, 8, and 9 (along with holes 2 and 3

draw), may not come out at all. This leads many beginners to the conclusion that they have a

bad harmonica. The airflow should be parallel to the reeds or the hole itself. (See the "Airflow

Direction" diagram in the preceding Bending section.)

Additional Info and Photos for Breathing- More details on this technique, plus numerous


of this Beginning Diatonic Harmonica Book Series or found in the Techniques section within the

Members Area at our website.

Put the harmonica all the way into your mouth, clamp down with

your teeth, and let go with your hands. This is breathing withoutsucking! Try to suck with your lips—you’ll find it’s not possible.



33

Additional details on the 4 Basic Techniques, plus other playing and jamming

techniques like Tonguing (articulation), Using Chords, Warbles, Slides, Tongue

Blocking, Throat Vibrato, Blow Bends, and others 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. 3




34



35

Chapter 4 : Songs

Chapter Includes:

Major Scale

Mary Had a LittleLamb

Row, Row, Row

Your Boat

Brahm’s Lullaby

Jingle Bells

Frere Jacques

Oh SusannaAlouette

Joy to the World

Home on the Range

Amazing Grace

Here’s some fun, simple songs that anyone can play on diatonic harmonica—you don't need

perfect single notes or other techniques to get started. If you desire additional songs or songs

at a higher playing level, pick up "Vol. 5: Songs & Riffs" of this Beginning Diatonic Harmonica

Book Series or visit the Tabs section within the Members Area at our website.

"Tabs" (or Tablature) defined- Tabs are a simplified way to notate harmonica solos,

harmonica parts, melodies and songs, without having to formally read music. Directly below

is an example of the HarmonicaLessons.com Text Tab system.

Start with the "Major Scale" or "Mary Had a Little Lamb"- Pick one of the first few

beginning level songs (or better yet, the "Major Scale") and slowly read and play through it

3-5 times to get a feel for the melody. We’re not striving for perfection or concentrating on

techniques yet, we just want the melody to be recognizable.

Commit it to memory- Once you’ve played a song enough and made it recognizable, lookaway from the song and then try to do it purely from memory. When you have committed it

to memory, slow down and focus on your basic techniques. Play it correctly as many times as

you can before moving on.

Playing problems for songs with high notes- If you have problems with the high blow

and draw notes found on holes 7-10 (or problems with holes 1, 2, and 3 draw), review the

4B = hole 4 Blow 5D = hole 5 Draw

4 S on g s

Songs

The 10-hole diatonic Text Tab system



36

Breathing section in Chapter 3 for info on how to correct the problem. Generally speaking,

songs with a lot of high notes will sound better on lower keyed diatonic harmonicas like the

keys of "G" and "A".

Timing- The timing for the song tabs is not included, but is important. Focus first on the

songs that you already know well. If you don’t know a song melody well, the notes may be

in the correct order, but without including the proper timing, the song may be difficult for

your listeners to recognize.

Complete Sheet Music- If you would like complete sheet music for piano (or guitar) with

chords and timing included, visit a local music store or HarmonicaStore.com for song, tab,

and "fake" books that include numerous artists and styles of music.

Free audio song examples- Many of these songs can be heard at HarmonicaLessons.com.

See Chapter 9 for details on how to gain access to the free audio/video files. Play along with

the sound file or listen to the timing.



37

4 S on g s

"Major Scale"

Diatonic harmonica, played in 1st Position

Ascending:4B 4D 5B 5D 6B 6D 7D 7B

Descending:

7B 7D 6D 6B 5D 5B 4D 4B

"The Major Scale"- Before you play your first song melody, spend some time on

the Major Scale. The best place to practice clean single notes is on the Major Scale

(your basic "do-re-mi-fa-sol-la-ti-do"). Be sure to move the harmonica and not

your head when you move from hole to hole (watch yourself in a mirror to check).

If you’re still struggling with the single notes, re-read the single note section in

Chapter 3. For most people, it makes sense to take a step back and practice onlyon hole 4 blow and draw for consistency of single notes before doing the complete

scale.

The above "Major Scale" will be in the key of "C" on a key of "C" diatonic, in the

key of "G" on a key of "G" diatonic, in the key of "A" on a key of "A" diatonic, in the

key of "Bb" on a key of "Bb" diatonic, etc.

"Ascending" in musical terms refers to an upward movement, and of course,

"descending" refers to a downward movement.

Text Tab System:




38

"Mary Had a Little Lamb" - [Beginning level]


5B 4D 4B 4D 5B 5B 5B

4D 4D 4D 5B 6B 6B

5B 4D 4B 4D 5B 5B 5B

4D 4D 5B 4D 4B

"Mary Had a Little Lamb"- If you are able to achieve single notes on the Major

Scale 50% to 80% of the time, you can start playing simple melodies. This song only

utilizes three different holes (holes 4-6), and thus makes it a perfect first song.

Ma - ry had a lit - tle lamb

lit - tle lamb lit - tle lamb

Fleece was white as snow.

Text Tab System:


Ma - ry had a lit - tle lamb



39

4 S on g s

"Row, Row, Row Your Boat" - [Beginning level]


4B 4B 4B 4D 5B

5B 4D 5B 5D 6B

7B 7B 7B 6B 6B 6B

5B 5B 5B 4B 4B 4B

6B 5D 5B 4D 4B

"Row, Row, Row Your Boat"- This is a fun song that can be played in rounds.

If you have a friend that also has a diatonic harmonica in the key of "C", have

them play from the beginning of the song and when they start to play the

"Merrily, Merrily" section (starting at hole 7B), you can begin the song at 4B.

Text Tab System:


Row row row your boat

gent - ly down the stream.

Mer - ri - ly mer - ri - ly

Life is but a dream.

Mer - ri - ly mer - ri - ly



40

"Brahm’s Lullaby" - [Beginning level]


5B 5B 6B 5B 5B 6B5B 6B 7B 7D 6D 6D 6B

4D 5B 5D 4D 4D 5B 5D

4D 5D 7D 6D 6B 7D 7B

4B 4B 7B 6D 5D 6B

5B 4B 5D 6B 6D 6B

4B 4B 7B 6D 5D 6B

5B 4B 5D 5B 4D 4B

"Brahm’s Lullaby"- Who says you can’t play classical melodies on harmonica? If

you have problems with the jump from hole 5D to hole 7D in the 2nd section or with

the jump from hole 4B to hole 7B in the 3rd section, isolate the move and practice it

a number of times before trying the song again.

Text Tab System:




41

4 S on g s

"Jingle Bells" - [Beginning level]


5B 5B 5B 5B 5B 5B 5B 6B 4B 4D 5B

5D 5D 5D 5D 5D 5B 5B

5B 5B 5B 4D 4D 5B 4D 6B

5B 5B 5B 5B 5B 5B

5B 6B 4B 4D 5B

5D 5D 5D 5D 5D 5B 5B

5B 5B 6B 6B 5D 4D 4B

"Jingle Bells"- A fun, easy holiday favorite. If you have problems determining whether you are

starting on the hole 5, place the tips of your index fingers over holes 4 and 6 and then hold a

long blow note. Listen carefully to the sound, and when you think you can remember it,

remove your fingers and try to find the same note while playing your Vertical Slot single notes.

Text Tab System:


Jin - gle bells jin - gle bells

Jin - gle all the way.

Oh what fun it is to ride

On a one horse o - pen sleigh_______.

Jin - gle bells jin - gle bells

Jin - gle all the way.

Oh what fun it is to ride

On a one horse o - pen sleigh.



42

"Frere Jacques (Are You Sleeping?)" - [Beginning level]


4B 4D 5B 4B 4B 4D 5B 4B

5B 5D 6B 5B 5D 6B

6B 6D 6B 5D 5B 4B

6B 6D 6B 5D 5B 4B

4B 3B 4B 4B 3B 4B

"Frere Jacques"- When you play the last line of this song and move back and forth

between holes 4B and 3B, use the same breath without breaking between the notes.

This will make a smooth transition between the two blow notes. In music, a smooth

connection between notes is referred to as "legato".

Text Tab System:


Are you sleep - ing? Are you sleep - ing?

Bro - ther John Bro - ther John.

Morn - ing bells are ring - ing

Morn - ing bells are ring - ing

Ding ding dong ding ding dong.



43

4 S on g s

"Oh Susanna" - [Beginning level]


4B 4D 5B 6B 6B 6D 6B 5B 4B

4D 5B 5B 4D 4B 4D

4B 4D 5B 6B 6B 6D 6B 5B 4B

4D 5B 5B 4D 4D 4B

5D 5D 6D 6D

6D 6B 6B 5B 4B 4D

4B 4D 5B 6B 6B 6D 6B 5B 4B

4D 5B 5B 4D 4D 4B

"Oh Susanna"- A classic campfire song that most people know. Again, take your time and

go as slow as needed to play clean single notes. You can make the long held single notes

more interesting with hand tremolo effects (explained in Chapter 3).

Text Tab System:


Oh I've come from Al - a - ba - ma with

my ban - jo on my knee.

And I'm goin' to Louis - i - an________ - a

my true love for to see.

Oh Su - san - na

Now don't you cry for me.

Oh I've come from Al - a - ba - ma with

my ban - jo on my knee.



44

"Alouette" - [Beginning level]


4B 4D 5B 5B 4D 4B4D 5B 4B 3B

4B 4D 5B 5B 4D 4B4D 5B 4B

4B 4B 4B 5B 6B 6B 6B6B 6D 6B 5D 5B 4D 4B6B 6B 6B 3B 3B 3B

6B 6B 6B 3B 3B 3B

6B 5D 5B 4D ... (back to top)

"Alouette"- If you have problems with the jump from hole 6B to hole 3B in the

3rd section, isolate the move and practice it a number of times before trying the

song again.

Text Tab System:




45

4 S on g s

"Joy to the World" - [Beginning level]


7B 7D 6D 6B 5D 5B 4D 4B

6B 6D 6D 7D 7D 7B

7B 7B 7D 6D 6B 6B 5D 5B

7B 7B 7D 6D 6B 6B 5D 5B

5B 5B 5B 5B 5B 5D 6B

5D 5B 4D 4D 4D 4D 5B 5D

5B 4D 4B 7B 6D 6B 5D 5B

5D 5B 4D 4B

"Joy to the World"- A very recognizable holiday melody. Take your time and go as slowly as

needed to play clean single notes. Once you have the song memorized, try to add some hand

tremolo on the longer held notes at the end of phrases. If you look closely, you will notice that

the first eight notes of the song are merely the descending Major Scale (played from high to

low). This is a great example of how important timing is to songs is to create a melody.

Text Tab System:


Joy to the world, the Lord is come!

Let earth re - ceive her King.

Let ev_________ 'ry_________ heart_______________

pre - pare________ him________ room_______________

And heav - en and na - ture sing.

And________ hea - ven and na - ture sing.

And________ hea - ven and heaven_____________

and na - ture sing.



46

"Home on the Range" - [Beg.-Int. level]


6B 6B 7B 8D 8B7B 7D 6D 9D 9D 9D 8B 9D 9B7B 7B 7B 7D 7B 8D

6B 6B 7B 8D 8B7B 7D 6D 9D 9D 9D9D 9D 8B 8D 7B 8D7B 8D 7B

9B 9D 8B 8D 8B6B 6B 7B 7B 7B 7B7D 7B 8D

6B 6B 7B 8D 8B7B 7D 6D 9D 9D 9D9D 9D 8B 8D 7B 8D7B 8D 7B

"Home on the Range"- This song is more difficult for most folks than the previous songs

because of the high notes in the melody. If you have problems with the high blow and draw

notes found on holes 7-10 (or problems with holes 1, 2, and 3 Draw), review the Breathingsection in Chapter 3 for info on how to correct the problem. Generally speaking, songs with

a lot of high notes will sound better on lower keyed diatonic harmonicas like the keys of "G"

and "A".

Text Tab System:




47

4 S on g s

"Amazing Grace" - [Beg-Int. level]


6B 7B 8B 7B 8B 8D 7B 6D 6B 6B 7B 8B 8D 8B 8D 9B

8B 9B 8B 9B 8B 7B

6B 6D 7B 6D 6B

6B 7B 8B 8D 8B 8D 7B

"Amazing Grace"- Another classic melody, but more difficult than the many of previous

songs because of the high notes you need to play. If you have problems with the high blow

and draw notes found on holes 7-10 (or problems with holes 1, 2, and 3 Draw), review the

Breathing section in Chapter 3 for info on how to correct the problem. Generally speaking,

songs with a lot of high notes will sound better on lower keyed diatonic harmonicas like the

keys of "G" and "A".

Text Tab System:


A - maz - ing________ grace! How sweet the sound

That saved a_________ wretch like me.

I_________ once was_______ lost

But________ now am found.

Was blind, but________ now I see.



48



49

Chapter 5: Jamming

Chapter Includes:

Jamming Overview

The "Almost" Blues Scale

ABS Riffs

"When In Doubt" (Improv Tips)

What is "Jamming?" Jamming is basically the same as improv, which is short for improvisation.

(We use these terms interchangeably throughout our books and website.) Instead of playing

pre-written music to a song, you are making it up as you go. Jamming is not only a lot of fun, but

it is much easier to do than many people would imagine. Free sound file examples for the riffs in

this chapter are available on our website. See Chapter 9 for details on how to gain access.

It's easier than it looks- Improv and jamming are based on using riffs (a short melodic

phrase) and scales that you already know well (they've been ingrained by countless

repetitions which creates muscle memory). The real "improv" of it is that you can change

the order and amount of repetition of your memorized patterns and combine them in new

and different ways. The more you do this, the better you get, and the more fun it becomes.

Folk, rock, country, reggae, hip-hop, etc.- Although the main improv tab in this chapter

is called the "Almost Blues Scale," the collection of notes will work with many of the types of

popular music you would like to jam to. The average person that picks up harmonica does so

because of an interest in blues and blues harmonica, but the information in this chapter will

allow you to jam to all sorts of music like folk, rock, country, reggae, dance, hip-hop, heavy

metal, grunge, and so forth. But, because blues has a simple repetitive structure, (in most

cases it uses the "12-Bar Blues" chord progression), it is a great place to learn to jam

regardless of which musical styles you ultimately want to play.

Playing in the 2nd Position- The "Almost Blues Scale" is played in 2nd Position. For more

information on 2nd Position, see Chapter 2, the section on 2nd Position.

Commit it to memory- Once you've played a riff or scale enough times to feel comfortable,

look away from the book and then try to do it purely from memory. When you have committed it

Jamming

Jamming Overview

5 J ammi n g



50

to memory, slow down and focus on your basic techniques (i.e. single notes and hand effects).

Play it correctly as many times as you can before moving on. Always memorize your riffs and

scales before jamming. You will able to impart more "feel" than if you are reading

the music or tab.

Using Hole 3B or Hole 2D?- Hole 3 Blow and hole 2 Draw are the same note ("G" on a key

of "C" diatonic). We use the hole 3B (3 Blow) in this book because it is much easier for

beginners to play than the hole 2D (2 Draw). If you don't have a problem playing the hole 2D,

it is to your advantage to play it instead of hole 3B. The reason is that the hole 2 Draw

is bendable, whereas the hole 3 Blow is not. See Chapter 3 for information on bending notes.

Free "Jam-To" Blues MIDI file- If you would like a quick, easy background song to begin

jamming to, you can use the free downloadable "Jam-To" MIDI File in "G" from our website

that will play on your computer. See Chapter 9 for details on how to gain access to this MIDI

file.

CDs "keyed" to jam to- The CDs: Song Keys section found in the Members Area at

HarmonicaLessons.com, as well as Volume 3 of this Beginning Book Series will tell you which

is the correct key of harmonica for many favorite albums. Be sure that the harmonica you are

using is in the same key as what is being used on the particular CD track.

"Tabs" (or Tablature) defined- Tabs are a simplified way to notate harmonica solos,

harmonica parts, melodies and songs, without having to formally read music. Directly below

is an example of the HarmonicaLessons.com Text Tab system. The "Almost Blues Scale" is

displayed in this tab style:

For additional information on jamming- If you crave more information and different

approaches to jamming, pick up "Vol. 3: Basic Blues Improv" of this Beginning Diatonic

Harmonica Book Series or visit the Basic Blues Improv section within the Members Area

at our website.


The 10-hole diatonic Text Tab system



51

The "Almost Blues Scale"

Diatonic harmonica, played in 2nd Position

3B 3D 4B 4D 5D 6B

5D 4D 4B 3D 3B

Text Tab System:


The "Almost Blues Scale"

The "Almost Blues Scale" is a blues scale without any bending. It is not a true blues

scale, so we call it the "Almost" Blues Scale. This scale works great for beginners

who haven't yet mastered bending, but who are ready to jump into jamming. The"real" blues scale (for advanced beginners and up who are accomplished at bending)

is covered in "Vol. 3: Basic Blues Improv" or in the Members Area at our website.

Blues Riffs- A riff is a slang term for a short musical phrase that is usually repeated or

repeatable. Simple blues riffs are perhaps the most common way for one to begin improvising

on the harmonica. Use repetition of a single riff, and pauses between these riffs, to create a

more melodic feeling to your playing.

Almost Blues Scale

5 J ammi n g



52

Here's some examples of riffs from the "Almost Blues Scale":

(ABS Riff = Almost Blues Scale Riff).

ABS Riff #1

3B 3D 4B 4D 4B 3D 3B

ABS Riff #2

4D 5D 4D 5D 6B

ABS Riff #3 (the Mannish Boy Riff)

3B 4B 3D 3B 3B 3B

3B 4B 3D 3B 3B 3B

ABS Riff #4

6B 5D 4D 5D 6B

ABS Riff #5

6B 5D 4D 4B 3D 3B



53

Use your own timing- You can use your own timing with these riffs to make them fit into

whichever song you are playing with. The easiest way to do this is to begin with long-held

notes. The notes that will almost always sound good when held would be the 3B, 4D, 5D,

and 6B.

How to make up your own riffs from the "Almost Blues Scale"- Play through the scale

repeatedly until you can comfortably do it from memory. Then, take a small portion of it and

repeat it. This section is now a new riff. You can start at the bottom, top, or anywhere in

the middle of the scale to create a riff. Make it as long or as short as you'd like. Hold notes

and add pauses between notes. You do not have to play the notes in the order of the scale.

Change direction (up or down) within a riff, or don't. It will all sound good. Write down and/or

record your favorites so you don't forget how they go.

Resolution- Whenever you return to the "key note", that is, the note that is the same as the

key of the song, this is called resolving or resolution. It 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. Since you are playing in 2nd Position, this would be either

hole 3B or 6B. (As you advance, you can use the hole 2 Draw instead of 3 Blow for resolution.)

You do not need to resolve every riff or every time you finish. Play with the concept for a while

and see how it works and sounds.

Add techniques to your riffs- To add some interest to your notes, apply a technique or two.The Hand Tremolo (covered in Chapter 3) will work and sound great on long-held notes. Start

with 3B, 4D, 5D, and 6B. If you are capable of bending notes (also covered in Chapter 3), try

bending the hole 4 Draw. If you are more advanced and have substituted 2D for hole 3B, you

can also add bending to the hole 2 Draw.

ABS Riff #6

3B 6B 5D 4D

3B 6B 5D 4D

3B 6B 5D 4D 3B5 J ammi n g



54

"When In Doubt" (Improv Tips)

Here's a collection of simple thoughts, tips, and basic concepts to keep in mind for

jamming and for most general practice and playing situations—good for players of

all levels.

Jamming Tips & Shortcuts

When In Doubt...

Use the "2 Draw—4 Draw" Rule. Stick with holes 2 and 4 draw for all basic 2nd Position style

jamming, especially blues. Use bending, hand effects, or any other techniques you know to

create your own riffs. If you have problems playing hole 2 Draw, substitute 3 Blow until you

are more successful with the hole 2 Draw.

When In Doubt...

Of what to play rhythmically: use more long-held notes for slow, medium, and fast tempos

(tempo is the speed of the music). Add some dynamics (loud and softs), hand effects, or

bending to these notes for interest.

When In Doubt...

Primarily play blow notes in the middle part of the harmonica to jam in 1st Position.

When In Doubt...Primarily play draw notes at the low end of the harmonica to jam in 2nd Position.

When In Doubt...

...of the key of the song, that the band you're jamming with is in... ask someone! Bass

players or keyboard players usually are the best first choice(s).

When In Doubt...

As to whether you're playing too much or too little when jamming with others, play less. If

you'd like to be invited back, give the other musicians plenty of space to play and be heard,

especially the singer. Try to play in the "fill" areas between vocal lines when the singer is not

singing versus playing over their singing and then stopping when they stop. Drowning out the

singer tends to really annoy them. If you want to play while they sing, play very simple riffs or

chords and bring your volume down.

When In Doubt...

Of what to play when jamming: keep it real simple, and stick with the stuff you know you can



55

do. Avoid playing anything you've been practicing the last few weeks—you don't have

it perfected yet. Repeat your riffs for a more melodic feel.

When In Doubt...

...of how to get a "blusier" 2nd Position sound, use more bending on holes 2 and 4 Draw.

When In Doubt...

...of how to get a more "country" 2nd Position sound, use more 3 Draw bending.

When In Doubt...

Don't think too much, close your eyes, play, and have fun.

General Practicing/Jamming

When In Doubt...

Lick your lips and the mouthpiece part of the harmonica before playing to prevent your lips

from sticking to the harmonica. Repeat whenever necessary.

When In Doubt...

Knock the excess saliva out of the harmonica by rapping the harmonica (mouthpiece side

down) against your leg or palm to keep the holes from clogging up. Repeat whenever

necessary.

When In Doubt...

Get up off the chair and stand up for practicing and jamming to facilitate good breathing/

single note habits. Try to stand erect with your head up, back straight, and body relaxed.

5 J ammi n g



56



57

Chapter 6: Lesson Plans

To help you focus in on what should be done first, second, third, etc., we give you the

Lesson Plans. Following the agenda below, week by week, will allow you to improve your

playing skills in a logical and orderly fashion. Everyone learns differently, if lesson plans do

not suit you, keep up with a regular practice and playing routine and you will do just fine.

Lesson Plan use- If you are a beginner, it's to your benefit to stick to this schedule for the

first 4-6 six weeks. Fifteen minutes to an hour a day is a good amount of practice time. More

practice time of course is better, but if you are consistent with your allotted time for a few

months, you will improve tremendously from where you originally started. Don't rush your

practicing, strive for quality and not quantity.

For the "long haul," take more time- If you are in this for the "long haul", you willultimately create better playing habits if you take the plans for Weeks 1-6 and do each week

lesson plan for two weeks instead of one. It takes more patience to do it this way, but if you

allow 2 months to work on the first four weeks of lesson plans by focusing on single notes,

hand effects, bending, only a few songs, etc., you will give yourself a much better chance to

master the basic techniques of playing that you will use for a lifetime of harmonica playing.

Take your time. If you don't feel comfortable moving on to a new weeks lesson plan, then

don't. Move on when you feel ready.

Like taking a private lesson- These weekly plans are based on the schedule you would be

on if you were taking weekly 30-60 minute private lessons. Stay consistent with your practice

and on schedule, and you will in essence be your own teacher.

Week 1

Week 2

Week 3

Week 4

Week 5

Week 6

Lesson Plans

Chapter Includes:

6L e s s onP l an s



58

Week 1

Browse through the book- Read through Chapter 1: Getting Started first, then browse

through the rest of the book and see what is contained within. Make sure your harmonica

is the correct type for this instruction.

Play a bit- Before getting really serious, first have some fun with your harmonica. Make up

a song or melody, or try to figure out a simple song you already know without looking at the

music (this is great ear training).

Holding the harmonica- for now, hold the harmonica on the ends as outlined in Chapter 1:

Simple Technique Tips.

First Song- We know it may not be everyone's all-time favorite, but a great song to start with

is "Mary Had A Little Lamb". At this point, only attempt to make the song recognizable, don'tworry about playing techniques or making it "musical". Keep it simple for now. After playing

the song 5-10 times, try to play it from memory. If you can't play the whole song, learn one

section at a time.

1st Technique: Single Notes- Multiple notes (chords) are fine in the beginning, but to

improve your sound and clean up your melodies, begin working on Single Notes using the

"Vertical Slot" method. Don't jump around from hole to hole. Spend the majority of your time

on the hole 4 blow and draw until you are 80-90% consistent (this may take anywhere from

a few days to a few weeks). Use the "Use your fingers to hear a clear single note" trick (from

the Chapter 3: Single Note section) to get the sound in your head. You can also visit

HarmonicaLessons.com and listen to the free sound file examples that go with this book

(see Chapter 9: Free Audio/Video files in the back of the book for more information).

General Overview- Read through the explanations for the 1st and 2nd Positions found in

Chapter 2: General Overview. A basic understanding of these two playing positions will allow

you to jam with friends almost immediately.

2nd Technique: Hand Effects- Your second basic technique should be learning to hold the

harmonica properly and how to use hand effects. Work through the Hand Effects section found

in Chapter 3.

Second Song- Read through and play "Oh Susanna" 5-10 times (use the sound file on our

Week 2



59

website for the timing and overall sound). When this is completed, try to play the song from

memory. Only look at the notes when you are really stuck.

Review- Continue working on your single note technique. At this point, single note playing is

the most important technique for advancing on the harmonica. Go for the quality of notes and

not quantity (i.e. go slow). Also, keep playing "Mary Had A Little Lamb" from memory. Slow,

correct repetition is the key to fast improvement.

1st Scale- Read through and play the "Major Scale" 5-10 times (use the sound file on our

website for the timing and overall sound). When this is completed, try to play the scale from

memory. Remember to move the harmonica and not your head when you go from hole to hole

(check in the mirror).

Breathing- Read through the Breathing section in Chapter 3. Mastering the breathing

technique for harmonica takes many years, but a great deal can be done in the first few

weeks or months by following the tips in that section.

Combining Techniques- Going very slowly, play through either "Mary Had A Little Lamb"

or "Oh Susanna" from memory. After success on one song, you can try the other later. Now,

even more slowly, try to play the song with perfectly clean, clear single notes. Remember to

move the harmonica and not your head when you go from hole to hole. When, and only when

you can do this successfully, add the Hand Tremolo effect on the long held notes of each song.

Review- Continue working on your single note technique. The cleaner and more naturally

you can play single notes, the easier the bending technique will be. Also, keep playing your

two songs and the "Major Scale" from memory. Slow correct repetition is the key to fast

improvement. When practicing the hand tremolo technique (use the major scale one note at

a time), play as loudly as possible to achieve the maximum effect.

New Song- "Home On The Range". Use the breathing tips from Chapter 3 if you have

problems with the high draw notes (use the sound file on our website for the timing and

overall sound). Many times songs like this with high notes sound better and are easier to

play on lower keyed diatonics. Lower keyed harmonicas like "G" and "A" can be purchased

through HarmonicaStore.com in the Diatonics Harmonicas section. If you feel ready to buy

another key, the key of "A" is an excellent choice.

One Liner tips- If you haven't done so, read through Chapter 8: One Liner Tips. You will find

that re-reading this section from time to time is very helpful.

Week 3

6L e s s onP l an s



60

Ear Training- Beginning "ear training" is an easy, fun way to develop your ability to recog-

nize and pick out musical sounds, melodies, and patterns. The sooner you start, the sooner

your "ear" begins to develop. This ability will allow you to work out your favorite riffs, songs,

and melodies in the very near future. Begin by selecting a simple, beginning level song, that

you are very familiar with. Use Chapter 4 to find a recognizable melody. "Row, Row, Row Your

Boat" is a great choice (if you are familiar with it). Do not play through the song, merely

observe the starting note (very first note of song—in this case, hole 4 Blow). Look away from

the monitor or your printout and try to play the song by feel. As you work out the beginning

notes of the song, write them down and continue working out the melody. Don't give up and

"cheat" by looking at the correct notation. This may take anywhere from a few minutes to a

few days to work out. It's hard for everyone at first, but it gets easier each time you try a

new song.

Use the Mirror- If you haven't been doing so, stand in from of the mirror and practice single

notes on just hole 4 and then on the "Major Scale" from Chapter 4. Look for any signs of

visible tension in your forehead and eye area, around your mouth, neck, shoulders, and upper

body in general. Try to eliminate any visible tension or tightening you can find. Don't make

"faces" when you play, try to look confident and in control (even if you feel otherwise). Keep

your head up. Remember to move the harmonica and not your head when you go from hole

to hole. Once or twice a week, re-check yourself on the above points in front of the mirror.

Bending- If your single note playing is now consistent, carefully go through the Bending

section in Chapter 3. It is particularly important to listen to the Bending sound files on our

Week 4

Use a mirror for instant visual feedback.



61

website, both "correct" and "incorrect" examples, numerous times to make sure you clearly

recognize a correct bending sound vs. an incorrect bending sound. It's important that you

know when you are truly successful and when you are not. Stay with whatever hole seems

to give you the best results. Most likely this will be either hole 4 Draw or hole 2 Draw. If you

don't have much luck with either of these, try the hole 1 Draw. If hole 2 Draw sounds awful,

read through the breathing tips in Chapter 3.

New Song- Pick any song from Chapter 4 that you haven't done, but would like to do.

Additional songs are available in "Vol. 5: Songs & Riffs" of this Beginning Diatonic Harmonica

Book Series or from within the Members Area on our website. Avoid learning too many songs

at once. It's better to play a few well than many songs not-so-good.

Review- Review everything you know how to play up to this point. Whenever you practice,

begin by going over your "old stuff" to get yourself warmed up. Then work on the newer

techniques, songs, and riffs. Make sure you clearly understand the difference between the

1st and 2nd Positions (from Chapter 2) and how to use them.

Ear Training- Pick another song or two from Chapter 4 that you've never played or have not

played much. Follow the same instructions as outlined in the "Week 3: Ear Training" assign-

ment. Remember to pick out the notes by yourself. Reading the tablature does not improve

your "musical ear". Don't give up, it really does get easier, and the reward is worth the hard

work.

Terms & Definitions- If you haven't done so, read through the Terms & Definitions section

of Chapter 2. Many of the music and harmonica-related terms from this book are explained in

this section.

Simple Blues Improv- "Let's Jam!" Chapter 5: Jamming explains an easy approach to jam-

ming with blues music (or even rock or country). Learn the "Almost Blues Scale", and use this

set of notes to play along with the 12 bar blues MIDI file in the key of "G", Slow_Blues_in_

G.mid (available for free at the website). If you already own a CD or two that you know the

keys to, you can also jam to any of the songs that are in the key of "G" with your "C" diatonic

harmonica (played in 2nd Position).

Techniques, Songs, Improv- After a month or two of playing, you should be spending

roughly equal amounts of time on techniques, songs, and improv (jamming). Not necessarily

in every practice session, but by the end of the week, your practicing should have covered

all three areas. Technique practice allows you to do more with your songs and improv. Song

practice teaches you a sense of melodicism that ultimately is applied to your jamming. The

Week 5

6L e s s onP l an s



62

improv practice teaches you a sense of freedom and creativity that ultimately is applied to

your song playing.

Review & continue work on bending- Continue focusing your time and attention on the

Single Notes and Bending techniques. At this point, these are the two most important

vvtechniques for advancing on the harmonica. If you are not having much luck with Bending,

you may need to:

1. Better your Single Note playing.

2. Use the Bending sound files (on the website) to ascertain that you absolutely know the

difference between a true bent note and a note that "changes sound but isn't really bending",

3. Obtain a lower and/or higher pitched harmonica which you may find easier to bend on

(not a guarantee, but its works for many people having problems- try the key of "A" for

lower and key of "F" for higher), or...

4. All of the above suggestions.

Listen to music with harmonica- Start listening more intently to music with harmonica

in it. The HarmonicaStore.com—Music CDs section has many great choices for listening and

playing to. Check out the "Recommended For Beginners CDs" page for suggested CDs for the

person just getting started. All the songs on these CDs have been "keyed" and are available

in the Members Area, the CDs: Song Keys section of our website, or in "Volume 3: Basic Blues

Improv" of this book series. It's important to use the correct key harmonica when jamming

with CDs.

Ear Training- It's now time to find out how easy to learn and easy to play some of your

favorite folk-rock singer's harmonica playing really is. Bob Dylan, Neil Young, Bruce Springs-

teen, Tom Petty, Alanis Morissette, Billy Joel, John Lennon, etc., are great singers andmusicians, but are not expert harmonica players (technique-wise, they are at a beginner to

intermediate level). These musicians predominately blow and draw in the middle of the

harmonica and "fake" a little bending (no new notes obtained—just a slight bending effect, but

nothing fancy or difficult). As mentioned in the previous bullet point, use the CDs: Song Keys

section to determine the key of harmonica that is used on a favorite song by one of these art-

ists. Through trial and error, you can play what they played. Really, it's not tough stuff.

*Very Important Note- play along to the song with the same key harmonica that the player

originally used.

"Further in your mouth"- Being especially careful not to lose your single notes, attempt to

put the harmonica a bit further into your mouth (a 1/16 to an 1/8 of an inch is a good start).

Review the Vertical Slot instruction in Chapter 3 if needed. This will improve your tone, your

Week 6



63

volume, and force you to breathe more from the diaphragm. We want to avoid the pushing

and pulling of air that naturally occurs at the front of the mouth from your lips.

Basic Blues Improv- At this point, if you would like to better your jamming skills and under-

standing, you may want to consider picking up "Vol. 3: Basic Blues Improv" of this book series

(the info is also found in the Members Area of our website). The different approaches to

jamming that are discussed include "Techniques Improv", "Blues Riffs", and "Target Notes".

New Harmonica(s)- If it is not a financial burden, we recommend that you purchase one or

more additional keys of diatonics. As previously stated, the bending technique may be easier

for some people on a lower or higher pitched harmonica. Also, a few more keys of harmonicas

will allow you to play along to more songs on your favorite CDs. Ultimately, you will want to

get most or all of the 12 different keys so that you can play to any song in any key of music.

After the key of "C," you should pick up an "A", "D", "F", "G", and "Bb"—roughly in that

order. You certainly don't need to buy them all at once.

Review- Continue focusing your time and attention on the Single Notes and Bending tech-

niques. At this point, these are the two most important techniques for advancing on the

harmonica (intentionally repeated from the Week 5 Lesson Plan). Review and practice any

other techniques you know that were mentioned in the previous 5 weeks of Lesson Plans.

Also, review all your songs and riffs.

New Songs and Riffs- If you're ready for additional songs and riffs, pick up "Volume 4:

Songs & Riffs" (or head to our website). Any songs that you like that are labeled

Beginning Level should not be a problem for you to play. You may be able to begin playing

some of the Intermediate Level songs and riffs. (The Intermediate Level songs and riffscontain bent notes which are used in the melody, along with standard blow and draw notes.)

Congratulations! If you've made it through the six weeks of Lesson Plans in an

evenly paced 6-12 weeks of practicing, you may now officially call yourself an

Intermediate Level player. At this point, keep trying to better your playing

technique, keep learning new songs, keep jamming along with CDs, and when

ever possible, play with real live people.

6L e s s onP l an s



64



65

Chapter 7: Frequently Asked Questions

Chapter Includes:

Starting Out

Harmonica Purchases

Playing TechniqueTheory and Jamming Questions

Advanced/Miscellaneous

Repairs and Maintenance

Here is a collection of Frequently Asked Questions (FAQ's) that will help if you're just

getting started. Take a look at the various categories list above - you are likely to find

your question(s) answered within those topics.

Can anyone, even without a musical background, learn to play harmonica?

Yes.

Do I need to be able to read music to play harmonica?

No. We use a system for notating harmonica music called the "Text Tab System." Tabs are

a simplified way to notate harmonica solos, harmonica parts, melodies and songs, without

having to formally read music. In this system, 4B means blow (exhale) through hole 4 and

5D means to draw (inhale) through hole 5.

What is the difference between a chromatic and diatonic harmonica?

They are really two different instruments. See Chapter 2 for an in-depth look at the two.

Most good players specialize in one or the other. It is less common to find players that

excel on both, but they are out there.

Is it OK to hold the harmonica by the ends when just starting out?

Yes. It makes good sense to only work on or concentrate on one thing at a time. If you're

memorizing a song or practicing single notes, you don't need to worry about what your hands

are doing. Keep it simple, have fun, focus on one point at a time, and you'll progress more

quickly.

Starting Out

FAQs7F A Q s



66

If certain holes don't play correctly, like my hole 2 draw (or not at all,) how do I

know if it is me or the harmonica?

99% of the time it is the player. Beginning (and sometimes intermediate players) have a

tough time getting a good sound out of the 2, 3, 7, 8, and 9 draw holes. This is normally caused

by incorrect breathing habits (i.e. sucking the air in from your lips and into your mouth instead

of breathing in through the harmonica and continuing that breath through your mouth down to

your diaphragm.) From time to time, you will get a bad harmonica out of the box, but is not as

likely with the better brands and models. See Chapter 3, Breathing section for more informa-

tion.

Are there any shortcuts to getting good quickly with the different playing

techniques?

Yes and no. Yes, by not getting into bad habits early on that you may have to break later, you

will save time in the long run. And no, it's not merely a matter of how much you know and

how much you practice. It takes time for new ideas and abilities to really sink in. It is said that

to truly master any art form, it takes a minimum of 5-10 years. This doesn't mean that you

can't get very good in a shorter amount of time, it just means you will lack the experience that

makes the masters really the masters. The longer you play, the more this makes sense.

Is it normal for my mouth and hands to get tired after playing for a while?

People starting out may find that if they practice or play for more than 10 minutes, their lips

and possibly their hands get tired and begin to fatigue. This is normal. The best thing to do

is to practice for 10 minutes 2 or 3 times a day and build up the associated muscles and your

endurance (it won't take too long). Remember, even 5 or 10 minutes a day is better than no

minutes.

How much should I practice?

The simple answer is... as much as possible. The problem is that a lot of us don't have unlim-

ited time in our day to practice as much as we would like. If you want to keep improving you

need to practice and play whenever possible. 15 to 30 minutes a day is a good amount of time

if you can stick with it.

There are a number of professional musicians that practice an hour or two a day, everyday,

and have done so for many years or decades. Do what you can, it will pay off over time. As

mentioned above, beginners may find it easier to practice for 10 minutes 2 or 3 times a day

and build up endurance (it won't take too long). Remember, even 5 or 10 minutes a day is

better than no minutes.

What is the difference between practicing and playing?

Thinking vs. doing. When you practice, take your time and think about what you're doing so

you can build up the correct patterns and muscle memory. When you "play" or perform, you

shouldn't be thinking at all. Let the muscle memory you've built up "do it's thing" and just let



67

it happen. There is an old Zen saying that gets right to the point for all performance situa-

tions, "Don't think, do."

I've heard some players soak their harmonicas before they play. Should I do this?

No. Soaking ruins wood harmonicas and does nothing for plastic or metal ones. This practice

was done decades ago when all that was available was wood-combed harmonicas. The soaking

caused the wood to swell up and make the harmonica more airtight and easier to play. These

soaked harmonicas didn't last the players very long (and still don't).

How do I know if I'm a beginner, intermediate, or advanced player?

Ultimately, it doesn't matter as long as you are having fun playing. With that said, it can help

when learning to know roughly where you stand so that you can choose the appropriate tech-

niques, songs, and information for your skill and knowledge level.

Beginning Level: Anywhere from never having touched a harmonica before, to

having put in the equivalent of a few months of practice on basic techniques, songs,

and improv.

Intermediate Level: You've been playing regularly for 3-6 months or longer. You

should be comfortable (but not necessarily perfect) with the four basic techniques:

single notes, hand effects, bending, breathing, and have at least a few songs and riffs

memorized. If you haven't already done so, this is the time to start playing with

others.

Advanced Level: You've been playing for a few years or longer. You are familiar with

most everything harmonica players do, but you still need work in some areas to have

the confidence to call yourself a "pro".

How do I use other key diatonic harmonicas after I learn to play the key of "C"

harmonica?

The different keyed diatonic harmonicas are all designed to play the same. A key of "G"

diatonic will play the same as a key of "C" harmonica (only lower). The correct sharps or flats

are added to the different keys to make them play the same. Therefore, your songs and riffs

that you learned on the "C", will start and end on the same holes on the other eleven keys of

diatonic harmonicas. You don't have to do anything other than to know you are now playing in

a different key. If you are playing with other musicians, be sure to let them know what key

you are in.

Why is it that holes 2 Draw and 3 Blow on my "C" diatonic are the same note, "G"?

Wouldn't it make more sense to have an "F" note in hole 2 Draw, so you wouldn't

need to bend to play a complete "Major Scale" on the first four holes?

First of all, if you never needed to bend a note on a diatonic harmonica, it would basically be

a chromatic harmonica (without use of the button). The bent notes and bending sound is what

gives the diatonic its character.

7F A Q s



68

The duplicate notes on the hole 2 Draw and the hole 3 Blow allow the player to play both a "C"

chord on the blow and a "G" chord on the draw (on a standard key of "C" diatonic). Both of

these chords must contain a "G" note to be correct. This goes back to the original design and

layout of the diatonic harmonica (called the Richter Tuning), which enables you to play the two

most important chords for simple songs of that era (the "C" and "G" chords for the key of "C").

This design ultimately led to the unintentional, yet very fortunate discovery of 2nd Position (or

"Cross Harp") blues style, that is now the norm.

I'm very eager to learn to play the harmonica, but sometimes I get confused when

reading instructions or looking at notes. Are there any tips that you could give me?

Take your time, and read over the information as many times as it takes for you to under-

stand it. Going over material three or four times is not considered unreasonable when trying

to learn a brand new skill.

Why should I buy a more expensive harmonica if I'm just starting out?

Without store discounts, the best quality, most expensive diatonic harmonicas are around

$20-$60. That is pretty cheap for a good quality instrument. Learning the harmonica, or any-

thing else for that matter from scratch, can be very difficult and frustrating at times. Cheap

harmonicas tend to be poorly constructed and therefore leak a lot of air. This means they are

hard to play (for anyone, at any level). Pay the extra $10 or $20 and get a harmonica you can

count on to play great right out of the box.

Are wood harmonicas better than the plastic ones? No. Quality wise, it tends to be just the opposite. Most of the wood harmonicas leak too much

air and are not recommended for beginners. In terms of the sound or tone, the choice between

wood and plastic (or metal) combs comes down to personal preference. Any reasonable quality

harmonica in the hands of a good player will sound good.

*Footnote- there are specialists out there that make or modify wood combs to play better and

they are quite nice, although many times not inexpensive.

Hohner makes a harmonica called a "Blues Harp". Is this better for playing blues

than a standard diatonic harmonica like the Lee Oskar or Special 20?

No. The "Blues Harp" is just a name for a wood combed diatonic that is made by the HohnerCompany. It is no better for playing blues than any other harmonica that has "Blues" in it's

name.

Are there many different types of harmonicas?

Yes, quite a few, but none are used as much as the diatonic and chromatic harmonicas. Some

of the other types include: bass harmonica, chord harmonica, tremolo and echo effects

harmonicas, etc.

Harmonica Purchases



69

What is the difference between a harp (or blues harp) and a standard diatonic

harmonica?

Nothing. The term harp is short for "blues harp" and they are both slang for harmonica. Yes,

it is a bit confusing at times when people use the term "harp" to refer to the harmonica since

there is another instrument called harp that is used in classical music (and made popular in

the movies by one of the Marx Bros). That's slang for ya. Other slang terms for harmonica

include: mouth organ, tin sandwich, French harp, short harp, and Mississippi saxophone.

How useful is it to buy songbooks (specifically for the harmonica?)

Very useful for some people. Buy the books with the songs that you like and know. Anything

that gets you to play, practice, and have fun, is good. Visit our HarmonicaStore.com for

recommended song and tab books.

How can I go about getting the song sheets or harmonica tablature so that I can

learn to play the harmonica licks on the blues albums I own?

First, you can check at HarmonicaStore.com to see if there is a book which has the

transposed riffs for the songs or album you are looking for (i.e. the tab book, "The Harp Styles

of Bob Dylan" has harmonica tablature along with lyrics, and chord changes). Unfortunately,

you may not find precisely what you are looking for. If this is the case, check with your local

music stores for a harmonica teacher that can work out the riffs for you. Even a guitar teacher

with a bit of harmonica knowledge can figure out simple harmonica riffs on the guitar and then

help you transpose them into harmonica tablature. You can also post a request for assistance

in the forums at HarmonicaLesssons.com. It's possible a kind soul will be willing to help.

Aside from what you've mentioned earlier, are there any other recommended

purchases I could make that would help in my learning and playing?Yes: 1. A rhythm or timing device is a great tool to work with. An amplified drum machine is

the best choice (or a computer with a sound card that can play MIDI files). With a drum

machine, you can hear and FEEL the beat. They can be expensive, but if you can find a used

one, you won't be disappointed. (Try looking at one of the auctions sites like Ebay.com or at

Craigslist.com.) For a new drum machine, check at your local music store or at

HarmonicaStore.com for recommendations.

2. A metronome is also a good choice, but avoid the ones with flashing lights and try

to find one that is loud enough to hear while you are playing. The last time I checked, Seiko

made a nice Metronome card. The trick is to put it in a place where you can hear it. You can

stick it in a cap, on or near your ear. Or, you can hold it in front of you in your hand (with themini speaker up) between your little finger and the finger next to it, so that you can hear the

beat.

3. The Lee Oskar Harmonica System Tool Kit for repairs and modifications. It comes

with a simple instruction booklet that explains what needs to be done and why.

4. An electronic chromatic tuner will come in handy for keeping your harmonica playing

in tune and checking your bending skill.

7F A Q s



70

5. There are many other fun and useful accessories like: carrying cases, microphones

and amps, neck racks, T-shirts, CDs, and more. But, all you really need to get started is a

decent harmonica, a healthy interest, some spare time, and this book.

I don't want to buy all 12 key harmonicas at once. Which are the best ones to get

first and in what order?

Start with a harmonica in the key of "C". Then you should pick up an "A", "D", "F", "G", and

"Bb"—roughly in that order, but you don't need to buy them all at once.

What are the best keys of harmonicas for playing the blues?

The key the song is in is usually determined by what key the singer is comfortable singing in.

Most commonly, you will find the keys of "A", "C", "D", "E", "F", "G", and "Bb" in blues, rock,

country and folk. Remember that you have to do the math on the key of the music to figure

out which harmonica you need to play 2nd Position (Cross Harp) in that key (i.e. for the key

of "E" you would play 2nd Position on a key of "A" diatonic).

How long should a harmonica typically last before one of the reeds (notes) goes

"bad" (i. e. flat) and I have to buy a new one?

Harmonicas can last anywhere from 2 weeks to a year or longer depending on how much it

gets used, how hard it's being played, how correctly it's being played, and the luck of the draw

(sometimes we get a good one, sometimes not). On the average, most people playing

consistently will get 3-6 months out of their harmonica before notes go "flat" or become

unplayable. Unfortunately, the more air-tight the harmonica is, the easier it is to play—and

because you can get more air through the harmonica with less difficulty, it takes "more of a

beating" and won't last as long as a lesser quality harmonica that leaks air and is difficult to

play. Sometimes you just can't win. Keep in mind that Lee Oskar and most Hohner harmonicasare capable of having the reed plates replaced instead of replacing the whole harmonica. The

replacement reed plates are available through HarmonicaStore.com.

I just purchased a harmonica that has no numbers on it. How do I play along with

the tablature system that you use for songs and riffs?

Hold it with the low notes to the left and the left most hole will be hole 1. If you're serious

about playing, you are better off just buying a new harmonica that has numbers. We

recommend the Lee Oskar harmonica or the Hohner Special 20 in the key of "C" for

anyone starting out.

Does it matter which hand you hold the harmonica with?

Yes. It works best to hold it in your left hand (regardless of being left-handed or right-handed)

because then the biggest part of the cup you form around the harmonica will surround the

Playing Technique



71

low notes. As you advance, you will play more and more at the low end, and the bigger 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).

A couple of great players, Sonny Terry and Paul Butterfield, held the harmonica in their right

hand, but they also had to hold the harmonica upside down. There is no advantage to this if

you already know the correct way to hold it.

Is it OK to play chords (two or more notes) if I can't play single notes?

Yes. Many players use chords on purpose for effect and for contrast to single notes. Keep

practicing your single notes so that you ultimately have the choice between the two.

Why is it that sometimes I get great single notes and other times I don't?

Numerous reasons. Most likely you are going too fast or trying to do too much. Slow down,

take your time, listen to what your doing, and let the muscle memory develop with clean

correct single notes. Another reason could be that your lips and mouth are getting tired.

Take a break and come back to it after a few minutes.

As the weeks and months pass, you will naturally gain the endurance to play as long as you

like. If you lose your single notes while going up or down the harmonica, check in the mirror

to see that you are moving the harmonica and not your head.

What if I can't tell if I'm playing a clean single note or not?

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'tworking for you, try putting tape over the holes surrounding hole 4. When in doubt, come

back to this drill.

Why don't you recommend curling your tongue (U-blocking) to achieve a single

note?

We don't recommend the U-block method (sometimes called the tube-tongue method) for

beginners. First, it can only be done by people that were born with a certain set of genes

(about 50-70% of the population). The rest of the world cannot physically put their tongue

into a tube to produce a single note no matter how hard they try. Second, the U-block method

utilizes the tongue to achieve a single note, and although it is possible, it is much more

difficult for a beginner to learn to bend notes and to get a big, fat tone.

Also with practice, both the Vertical Slot method and the Tongue Blocking will ultimately give

you a full bodied tone on chords and single notes which is created by dropping your jaw and

expanding your oral cavity for optimum resonance. It is very hard to get this full bodied tone

with the U-block method because the technique tends to limit the airflow and resonance

chamber.

7F A Q s



72

When I play songs or riffs, should I move the harmonica or my head to get to the

next note?

From day 1, try to get in the habit of moving the harmonica and not your head. Watch your-

self in the mirror to see if you are moving the harmonica correctly. Most of us tend to move

our heads in the beginning. This is one of the most common causes of losing single notes.

Is it easier to bend notes on a "F" harmonica than on a key of "C" harmonica?

It is for some and not for others. Typically, if someone finds it easier to bend on a high

harmonica like an "F", then they may have problems bending on a low one like a "G", and

vice-versa for the rest of the folks. If you are learning to bend and have better luck with an

"F" or "G" harmonica versus the standard key of "C", by all means stick with the easiest one

to bend and work on the other keys later.

I noticed that when I have a string of blow-draw notes back to back, my playing

sounds kind of choppy. Are there any tricks to make these blow-draw patterns come

out more smoothly?

One of the big reasons the harmonica can sound like a "toy" instead of a real instrument is

because of the choppy blow-draw sound. A lot of pros go out of their way to make the

harmonica sound less choppy. They do it by purposely attempting to smooth out (make

legato) the blow-draw motion. This is done by playing around with the pattern and listening

closely to what you do, until it sounds as smooth as you can get it.

Also, if you can predominately stick to draw notes or predominately stick to blow notes in your

playing, you will be able to play a true legato sound. Remember, you have to completely stop

the airflow momentarily to change air direction when you do a blow-draw pattern and the

brief stop is what makes it choppy or "staccato". Of course this is not always possible when

you play, but since 2nd Position is primarily draw notes anyway, you can make it work in your

improv. Paul Butterfield got around this problem by "over-emphasizing" the blow-draw pat-

terns. By exaggeration, he was able to make this innate weakness into a strength.

Is the "Tongue Blocking" method better than the "Vertical Slot" (advanced version

of whistle or lipping or pucker) method for playing blues?

Many great blues players use the Tongue Blocking method of producing single notes and

creating special effects. Then again, many great blues players use the Vertical Slot method

for what they play. More commonly, you will find the good players use both methods and

switch back and forth when one seems more appropriate to use.

The Chicago blues style is typically characterized by Tongue Blocking and the sounds and

effects that go with it. Tongue Blocking adds great additional sounds for the intermediate and

advanced players, whereas, the Vertical Slot method is better for beginners, especially if they

are learning to bend. It is possible to bend notes while Tongue Blocking, but it is much easier

to bend using the Vertical Slot method at all skill levels. Both methods have their advantages

and disadvantages.



73

I just got a harmonica holder. I'd like to be able to play while I'm playing guitar. But

this thing feels so unnatural. Any tips on how to properly use a neck holder? Can I

play 2nd Position or only 1st Position (as many people seem to do)? It seems that it

pops out every time I put any pressure on it.

You need to buy a better one. It is possible to play 2nd Position with a neck holder, but it is a

bit tougher. John Hammond Jr. is a singer/guitar and harmonica player that does a great job

playing blues with the harmonica on a rack. Visit HarmonicaStore.com for harmonica holder

choices.

What is the difference between 1st Position and 2nd Position?

1st Position (or "Straight Harp") is mostly, but not exclusively, blowing in the middle part of

the harmonica which means you are playing your "C" major diatonic harmonica in the key of

"C". 2nd Position ("Cross Harp") is predominately, but not exclusively, drawing at the low end

of the harmonica. 2nd Position puts you in the key of "G" on a "C" major diatonic harmonica.

Why do so many players use the 2nd Position instead of 1st Position?

Because the important notes in 2nd Position are the low draw notes (1, 2, 3, and 4 draw) and

these low draw notes can be bent down for a bluesy effect and will soon give you all the

missing notes on the harmonica that are used in blues, rock, and country.

What is a "riff" or "lick?"

A short musical phrase usually repeated or repeatable. In classical music, it is sometimes

referred to as a "motif".

How do I figure out which harmonica to pick up when I want to play 2nd Position

("Cross Harp" style) on a song?

The 2nd Position key on a diatonic harmonica is always a "perfect 5th" or seven half-steps

above the key of the harmonica. If you purchase a Lee Oskar harmonica, you will notice there

is a handy little chart included in the box that shows you the 2nd Position key for every key

harmonica. Also, each Lee Oskar harmonica has the appropriate 1st and 2nd Position keys

printed on the ends. We've also included a "Harmonica Keys & Positions Chart" in Chapter 2

for easy reference.

Is there a way to find out what keys the songs on a CD are played in, so as to know

in advance which harmonica I need to jam to it with? And how would I know what

key a song is in that is being played on the radio?

Playing to the radio is difficult for anyone on any instrument. We don't recommend it unless

you've been playing a long time (heck, sometimes before you can figure what key of harmonica

works best, the song ends). The best way to get CD's "keyed" is to have a friend come over

Theory & Jamming Questions

7F A Q s



74

who is a guitar player or keyboard player with a good ear and ask them to "key" the songs for

you. If that doesn't work, go to a local music store and try to find a harmonica teacher who

can do it for you in a private lesson. For keying songs, a half hour lesson with a guitar teacher

will work also. Any teacher worth his salt should be able to key songs extremely quickly

(5-10 CD's is possible). It is definitely worth the money to get your favorite CD's keyed.

It's not good to play to music with the wrong key harmonica, it makes it difficult for you to

recognize when you are playing in-tune or out-of-tune.

What is "12-Bar Blues?"

"12-Bar Blues" is short for a 12-measure (measure is another word for bar) chord progres-

sion, which at completion, cycles through and repeats itself as many times as needed for the

verses, choruses, and solos in a song. An extremely high percentage of blues tunes have this

as the background for the singing and lead playing. The 12-Bar chord progression is generally

played by the rhythm guitar, piano, and bass. You will even hear many early rock and roll,

country, and pop songs that use a 12-Bar Blues chord progression as their backdrop.

Which is the best microphone and amp combination for using on stage?

First of all, don't buy anything based purely on price, specifications, personal recommenda-

tions, or pro endorsements. Your purchases should be based on the way they sound. When

possible, try to play through the equipment first and then A/B (compare) with other mics and

amps. Take a musician friend with you when you are trying out equipment to get another

opinion. Many of the great and influential players play (or played) through junk equipment.It is really about 95% "you", and 5% the equipment for that final great sound.

Also, aside from the sound (tone) you get from a mic and amp combo, don't forget to pay

attention to how much volume you can get before feedback. The best tone in the world won't

do you any good if you can't get it loud enough so people can hear you before feedback level

(high pitched squealing from an amp or PA system).

Many of the top blues players prefer old Fender amps (typically the Fender Bassman), and use

a bullet microphone (typically the Shure Green Bullet). You'll have better feedback control if

you get a mic that has a volume control or an on/off switch. See Vol. 3: "Basic Blues Improv" of this Beginning Diatonic Harmonica Book Series for more information.

How do I stay inspired to play when I don't have anyone to jam and practice with?

(Philosophical answer)

It mostly comes down to who "you" are. The majority of people that start playing harmonica

will quit fairly soon because after the initial excitement and newness wears off, they realize

Advanced/Miscellaneous



75

it's very difficult to "get good" and they're not willing to put in the required time and energy

—it typically takes many years.

There is absolutely nothing wrong with this. If harmonica is just not in your soul, it can't be

forced in. Most people quit new activities like golf or piano or karate for the same reason.

Those of us that stick with the harmonica through the good and the bad times, do so because

we are natural born harmonica players (based on a love for it, not talent) and must considerourselves lucky that we found the harmonica.

Having a love for a specific activity is not mandatory and can not be forced. Time will tell if

harmonica is a short lived past-time for you or a lifelong passion. Either way, have fun and

enjoy what you do.

How do I stay inspired to play when I don't have anyone to jam and practice with?

(Practical answer)

Find ways to make your practicing more fun. Different is good. When you are repeating the

same things over and over again to commit them to muscle memory—and this is the ONLYway to get good, then change something else in your environment to add interest. Try

practicing while watching TV, or listening to talk radio, or when you go for a walk. Or, play in

a room or place you don't normally practice (i.e. the garage, backyard, friend's house, car,

bathroom, school room). Or, in a place with naturally good acoustics (i.e. like a large hallway,

bathroom, or stairwell), or in a neighboring place of beauty (i.e. local beach, mountain, desert,

forest, park). You may also find it more fun to play and practice with a CD or MIDI file that is

in the same key that you are playing in. Lastly, find people to play with (see next question).

What are the best ways to find other people to jam with?

Unless you get real lucky, jamming partners won't find you, you will have to find them. Askfriends and family members if they know of anyone that plays guitar, or keyboards, or sings,

who might like to jam. Don't be afraid to ask people. There are millions of "closet" musicians

out there that are too shy to ask someone else to play with them. Don't be shy and don't

worry that you may not be good enough. Everyone has to start somewhere.

If someone you talk to doesn't think you're good enough to play with them, fine, move on and

ask someone else. You can also try posting ads at local music stores, in local papers, at local

supermarkets, or on the web. Just be careful and smart when dealing with people you don't

know. Talk to them on the phone first and then think about taking a friend with you if you

schedule a jam session.

I have recently acquired an unusual harmonica. How can I get some information

on it?

Check out some of the websites on this page: http://www.harmonicalinks.com/others.html.

Someone at one of these sites should be able to help you out.

7F A Q s



76

I have a four hole harmonica. Do you have any tips for 4 hole harmonicas?

This refers to the mini-harmonicas (sometimes made into a necklace) or a real simple kids'

harmonica. In most cases, the first hole (lowest note) is equivalent to the hole 4 on a standard

10-hole diatonic harmonica. Any songs that would start on hole 4 on a standard diatonic would

now start on hole 1. Hole 1 is the beginning of the major scale. Playing options are limited, but

they can be a fun diversion.

Is there an advantage to closing your eyes when you perform (or practice)?

For many people, closing their eyes allows them better concentration and focus on the matter

at hand. When your eyes are open you are constantly taking in visual data which can

distract you, without you even being aware of it. You may have noticed that some musicians

that don't close their eyes sometimes stare blankly into space. This accomplishes the same

thing. Whatever keeps you focused in the moment (of playing) is good.

To play the blues well, do I need to live it?

No. Although it may seem to be the case from time to time, life is not a "B" movie. The most

soulful players, blues or otherwise, play what feels good to them and not what they think they

are supposed to play. After you repeat riffs and scales hundreds or thousands of times, they

start to become instinctive and just flow out. There are no shortcuts for this to happen, it just

takes time, and it comes when it comes. The less you think about it, the faster it comes (or

seems to anyway).

My two year old daughter would like to play harmonica. Can she start learning at

this age?

That may be a little young to get started, but the decision should be made by the parent. If

you do decide to give your child a harmonica, be sure to give her a harmonica large enoughso that she can't accidentally swallow it. There are oversize kid harmonicas available. Take a

look at Harmonica4kids.com for more information.

If I find a problem with the harmonica, can I take/send it back to where it was

purchased for an exchange?

You can only return harmonicas, faulty or not, if they haven't yet been played (and that is hardto prove). Federal and State health laws prohibit their return and it is in everyone's best interest

as consumers to limit any possible spread of disease or viruses. If you have played the

harmonica, your best choices are to send it back to the manufacturer, try to fix it yourself,

or send it to a 3rd party repair person. If everything works fine except the hole 2 Draw, read

the next question.

Repairs & Maintenance



77

If certain holes don't play correctly like my hole 2 Draw (or not at all), how do I

know if it is me or the harmonica? Most of the holes seem to work just fine.

99% of the time it is the player. Beginning (and sometimes intermediate players) have a

tough time getting a good sound out of 2, 3, 7, 8, and 9 draw holes. This is normally caused

by incorrect breathing habits (i.e. sucking the air in from your lips and into your mouth instead

of breathing in through the harmonica and continuing that breath through your mouth down

to your diaphragm). From time to time you will get a bad harmonica out of the box, but is not

as likely with the better brands and models. See the Breathing section in Chapter 3 for more

information.

How long should a harmonica typically last before one of the reeds (notes) goes

"bad" (i. e. flat?)

Harmonicas can last anywhere from 2 weeks to a year or longer depending on how much it

gets used, how hard it's being played, how correctly it's being played, and the luck of the draw

(sometimes we get a good one, sometimes not). On the average, most people will get 3-9

months out of their harmonica before notes go "flat" or become unplayable.

Unfortunately, the more air tight the harmonica is, the easier it is to play and because you can

get more air through the harmonica, it takes "more of a beating" and won't last as long as a

harmonica that leaks air and is difficult to play. Sometimes you just can't win. Keep in mind

that Lee Oskar and most Hohner harmonicas are capable of having the reed plates replaced

instead of replacing the whole harmonica. The replacement reed plates are available through

our online Store.

How do I keep the excess saliva and the condensation from my breath from getting

in the harmonica and gumming up the reeds?

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. Do this before and

after you put the harmonica into your mouth. If the reeds are stuck together with saliva, they

can't vibrate and make sound.

I notice when I remove the cover plates that there is a reed plate on the top and a

reed plate on the bottom of the comb. Is one reed plate for the blows and one for

the draw notes?

Yes. When you hold the harmonica so that the low notes are to the left (the shorter reeds

should be to the right with the cover plates removed), the top reed plate houses the blow

reeds and the bottom reed plate houses the draw reeds.

I have a hole (note) on the harmonica, that plays and makes a sound, but it some-

times hesitates before coming out. It seems to not play and then it does. Is there a

way to fix this or adjust the reed so that it doesn't "hesitate"?

Many times when notes seem to "hesitate" or "stick", they need to be adjusted (i.e. "gapped").

7F A Q s



78

The reed that is hesitating, is most likely even with (or parallel) to the reed plate that it is

attached to. You may notice that the surrounding reeds that do not "stick" when you play

them, are slightly away from the reed plate. This is referred to as "gapping".

The vibrating end of the reed should be slightly away (up) from the reed plate so that your air

can get between the reed and reed plate to make the reed vibrate and thus create the sound.

If the air cannot easily get between the two, the note seems to "hesitate" or "stick".

At some point, you may want to pick up a The Lee Oskar Harmonica Tool Kit which contains all

the tools you need for simple repairs and comes with a well written pamphlet on how to use

the tools and details what problems you may encounter. Visit the Repairs & Maintenance section in

the Members Area at HarmonicaLessons.com for more information as well as illustrative photos.

What do I do if my harmonica breaks?

Many times when harmonicas seem broken, they are not. There may be a stuck reed which

has a little piece of gunk lodged in it that keeps it from vibrating. You can remove the cover

plates and fish out the piece of gunk with a small pin or needle.

I've heard some players soak their harmonicas before they play. Should I do this?

No. Soaking ruins wood harmonicas and does nothing for plastic or metal ones. This practice

was done decades ago when all that was available was wood-combed harmonicas. The soaking

caused the wood to swell up and make the harmonica more airtight and easier to play. These

soaked harmonicas didn't last the players very long (and still don't).

What is the best way to clean and sanitize an old or used harmonica before

playing it?

Very carefully, take the harmonica apart, or at least as much as you need to, and then takeQ-tips and Hydrogen Peroxide solution (found at any drug store and most supermarkets) and

clean the areas that seem to need cleaning. The Hydrogen Peroxide will sanitize, clean,

disinfect, and is perfectly safe. Focus special attention on the areas where you will be

putting your mouth. Be very careful not to leave any of the extra fuzz from the Q-tips,

especially around the reeds (the little thin brass things with a rivet at one end). If you can

find some Q-tip type swabs that are not made of cotton but made of some material that

doesn't leave lint, that would be even better.

The bigger metal and plastic parts (cover plates and combs) of the harmonica can be cleaned

separately by scrubbing them with an old toothbrush and warm water and soap. Rinse well.

If this harmonica has a button on the side and white plastic valves over the reeds (which you

would see when you took off the metal cover plates,) it is a chromatic harmonica and you

need to be careful not to disturb those white plastic wind saver valves. By the way, NEVER

SOAK A CHROMATIC HARMONICA OR RUN WATER THROUGH IT, this can ruin it.

Also, find a safe place to temporarily store the little screws and nuts that you will get from



79

your disassembly, because they will disappear forever if they fall into your carpet.

What about true sterilization of a harmonica?

From one of our friends in the medical industry:

"It is true that Hydrogen Peroxide will not completely sterilize a harmonica. Unfortunately, true

sterilization is very difficult. In the medical office, we use an autoclave (combination of high

temperature and high pressure,) which is very reliable, but expensive and not available to the

public. In addition, autoclave conditions can damage many materials—I have my doubts that

a harmonica would survive. Gas sterilization is used as an alternative for medical instruments

such as arthroscopes, etc. which contain latex, plastic, or other materials which would not

survive in an autoclave. This is also not available to the public.

The general public has access to soap and water, rubbing alcohol, and hydrogen peroxide.

Of these, alcohol is probably the best disinfectant, but again this depends on the contact time,

and not all organisms can be killed with this. Protected areas (i.e. under a reed plate, etc) may

harbor organisms and the alcohol may not penetrate there, limiting its effectiveness. Alcohol

also needs to be rinsed off very well. Peroxide is effective for certain organisms, but as I

recall, its action spectrum is not as broad as alcohol. I do not know the effects of alcohol or

peroxide on the long-term viability of the harmonica itself."

7F A Q s



80



81

Chapter 8: One Liner Tips

Chapter Includes:

Starting Out

General Tips

Technique

Becoming More Musical

Here is a collection of instructional tips and thoughts. They include rules of thumb, playing

tips, and common sense rules of physics and nature that apply to harmonica playing (and

many other activities for that matter). The rotating "Tip of the Day" on the homepage of

HarmonicaLessons.com is taken from this collection of tips.

Breathing tip- The further you can put the harmonica into your mouth without losing the

single note, the better. A good Vertical Slot single note technique allows you to do this.

"Playing music"- If you are just starting out on harmonica, don't try to "play music" right

away. Spend a couple of weeks merely concentrating on the basic techniques—establishinggood habits with single notes, holding the harmonica, etc. The "music" will come soon enough.

Stay relaxed- Stay as relaxed as you can when you play and practice. You will use your

energy much more efficiently and ultimately be able to play faster and last longer. The trouble

areas for tension are usually: the shoulders, the neck, and the whole face in general, but

especially the eyes and mouth area. Watch yourself in the mirror.

No such thing as cheating in music- There is no such thing as cheating in music. Do the

best you can to follow the rules and steps in learning the basics, but foremost, try to make

things work. Bending is a great example. Do whatever it takes to make the note bend—you

can clean up the technique later.

Moisten your lips- 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.

Do this whenever necessary.

Starting Out

One Liner Tips

8 On e

L i n er T i p s



82

Improve even when you're not playing- Listen to as much harmonica as you can. Make a

CD for the car, or transfer tunes onto your MP3 player of your favorite players and songs and

listen over and over again. Drive time is ideal for this. Ultimately, try to copy the riffs, tech-

niques, and ideas you hear on CDs with harmonica playing on them. Use "keyed" CDs without

harmonica on them to practice your execution without being influenced or distracted by the

harmonica already there.

Not as easy as it looks- Bottom line: The harmonica is not always as easy as most people

would like to believe. Stick with it and you'll get good as you want to be. Depending upon how

high you set your sights, this could be days, weeks, months, or years.

Have fun and stick with it- Learn to enjoy the process: All musical instruments, sports,

and activities like karate and yoga, take a ton of time and commitment to achieve abilities

beyond beginner status. The people that love harmonica, love golf, love piano, will get good.

This means that they don't mind all the time and practice that must go into harmonica playing

and practice (in fact, they love every minute of it). Enjoy yourself. We all want to be good, but

only those that persevere through the good, bad, and boring times of learning and practicing

will become better players. Relax, have fun, and try to enjoy the ride.

Some harmonica styles are easy, others aren't- Don't be intimidated by your favorite

harmonica playing. Some recorded harmonica is difficult and complex—it could be years before

you can approach this kind of playing. But, much of recorded harmonica isn't. Bob Dylan, Neil

Young, Bruce Springsteen, Tom Petty, Billy Joel, etc., are great musicians but are not expert

harmonica players (technique-wise, they are at a beginner to intermediate level). You do not

have to be a technical expert on harmonica to make good music.

How to figure out harmonica parts by your favorite players- The above mentioned

musicians (Dylan, Neil Young, etc.) predominately blow and draw in the middle of the harmonica

and "fake" a little bending (no new notes obtained -- just a slight bending effect), nothing

fancy. It's not tough, you can do it too. Use the CDs: Song Keys section (in "Volume 3: Basic

Blues Improv" or, in the Members Area on the website) to determine the key of harmonica

that is played on a favorite song of yours. Play along to the song with the same key harmonica

that was originally used. Through trial and error, you can play what they played, really. By

doing this you will: become more familiar with the harmonica, be able to create your own

"tabs", make your ear better for learning music, and demonstrate that not everything ever

recorded is difficult to play. The more you work at it, the easier it gets.

Brand and model of favorite player's harmonica- Using the exact brand and model of

diatonic harmonica that your favorite player(s) uses because you would like to sound like them

when you play, won't get you very far. Learning to play the way they play is what will make

you sound like them. As long as you have a reasonably good quality, airtight harmonica, you

are in good shape. The brand and model are unimportant.



83

Making music- There is no big prize at the end of your musical journey except that you're

making music, making friends while making music, and that you've accomplished something

of worth that you did by yourself for yourself (and for all the lucky people that get to hear you

play).

Knock out the 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. Do this before and after you put the harmonica into your mouth. If the reeds are stuck

together with saliva, they can't vibrate and make sound.

Practicing advice- To get the best results from your practice sessions, "don't over do it and

don't under do it". There is no need to work on something so long that you get so fatigued

that you can't play again after a reasonable amount of rest. It's easy to burn out mentally if

you frustrate yourself by expecting results and perfection too soon. On the other hand, don't

give up too quickly. Sometimes persistence, quality repetition, and a little sweat, are the best

ways to gain improvement.

Stand when you play- Whenever possible, be in a standing position if you are playing or

practicing. Especially when you are working on your breathing technique, stand erect with

your head up, back straight, and body relaxed so that you have a fighting chance of getting

the airflow to originate from your diaphragm and not your mouth.

Bendable holes on a diatonic- Generally speaking, on a standard diatonic harmonica, holes

1-6 Draw and 7-10 Blow are capable of being bent (to a lower note). But, the holes 5 Draw

and 7 Blow don't bend much and constant bending may cause their premature demise.

Bent notes are lower- Whenever you do a basic draw or blow bend on the harmonica, it will

always go down in pitch (a lower sound). When bending notes on a stringed instrument like

the guitar, the note will always go up in pitch. Differing rules of physics.

Lots of repetition—create Muscle Memory- Your body remembers whatever it repeats.

This is called muscle memory. Every time you play something, right or wrong, your body is

learning it. Take your time when you practice, do it slowly and correctly, and then play it as

many times as you can. This creates what is referred to as a "good habit".

General Tips

8 On e

L i n er T i p s



84

Correct breathing for the harmonica means N O T sucking and N O T blowing-

Sucking and blowing occurs with your lips and at the front of the mouth. Put the harmonica

further into your mouth to avoid this problem. See the section on Vertical Slot and Breathing

in Chapter 3.

Stomach moves first- The first thing, physically, that should happen when you play a note

on the harmonica, is that your stomach (diaphragm) moves. This movement creates the

airflow that ultimately makes the sound come out the harmonica. For most, this will develop

naturally over years of playing.

Good hand effects: large, airtight cup- The secret to great hand effects is understanding

what makes them, and when to use them. The object is to trap the sound into the largest and

most airtight cup you can make with your hands. The perceived change of sound is actually

a change of volume. Opening and closing your bottom hand rapidly will create what is called

"hand tremelo". You can apply this effect to long held notes which tend to fall at the ends of

phrases.

Play loud for better hand effects- When you are learning and practicing the hand tremolo

technique, always play as loud as you can so that you really hear the difference between the

"hands closed sound" and the "hands open sound".

Move the harmonica and not your head- Always try to move the harmonica and not your

head when you play. This will allow you to play faster and more efficiently in the future. Watchyourself in the mirror to REALLY check.

Intermediate/Advanced single note tip- Avoid "over-single noting". Always try to use

100% of the hole, that is, the whole hole, when making single notes to gain better volume,

tone, and so that you use less effort when you play. (This tip is directed more at the

intermediate and advanced players, the people struggling with attaining clean single notes

should focus on that first.)

Breathing and tone tip- To get better tone, increased volume, and more accurate intonation

when you play, focus your airflow through the hole of the harmonica and not just into it.*NOTE: Angled airflow is why so many beginners cannot get a good sound out of 2 and 3

Draw (and 7, 8, and 9 Draw also.) If there is any angle to your airflow, then you will be

unintentionally bending every note you play and some of the high notes may not come out

at all.

Technique



85

Bending: broken down to two aspects- Bending is only two things: 1. Breathing &

2. Shifting. Breathing is what makes the sound come out and shifting is what actually makes

the note change pitch. Shifting is accomplished by changing the angle of the airflow.

*NOTE- This angle of airflow is not the same on every bendable note. Each reed, based on

how far it is capable of bending, determines where its own "sweet spot" is. It may seem like

it takes different techniques on different holes to make them bend, but the only thing that

should change technically is the "sweet spot" from the different angles of airflow.

What makes a great player?- All great players have two things in common: good tone

(sound) and good timing (rhythm). Their note selections and riffs may vary greatly, but they

make whatever it is they play sound good.

Few short riffs = Long Riff- To be able to play longer riffs and phrases, you need to string

together some shorter riffs. Be sure to commit your own riffs/melodies to memory.

Commit your songs to memory- One of the first things you should do after playing a new

song or riff a few times, is to close the book, turn over the sheet, or look away from the monitor

and then try to play it from memory. The sooner you do this, the sooner you will commit it

to memory and put some "feel" into the song or riff. You may not get it perfect the first time

when you're not looking, but that's OK. You can always take another peek and correct your

mistakes. This is also a simple, easy way to do some ear training, if you don't give in too

soon and look at the notes. Try to sound it out, it gets easier as your ear gets better.

Hum, sing, or whistle- Get the music in your head first. If you can't hum, sing, or whistle

a riff or song, you don't have it in your head, and therefore, don't really know it yet.

Becoming More Musical

8 On e

L i n er T i p s



86

To create a more melodic solo- Play any simple riff two or more times, and use longer

pauses between riffs. The repetition keeps your playing less complex and more memorable.

The longer pauses (or rests) gives your listeners time to take in and digest what you just

played.

Use the "2 Draw—4 Draw" Rule- Stick with holes 2 and 4 Draw for all basic 2nd Position

style jamming, especially blues. Use bending, hand effects, or any other techniques you know

to create your own riffs. If you have problems playing hole 2 Draw, substitute 3 Blow until you

are more successful with the hole 2 Draw.

Good timing means good playing- All harmonica players and musicians in general should

continue to work on their timing, regardless of their level. The best way to do this is to

practice quarter (1/4) notes (typically, one foot tap) and whole notes (4 foot taps) to an

amplified drum machine or to a drum sequence played on your computer through speakers.

With a drum machine, you can hear and FEEL the beat. A metronome is a second choice, but

if you use one, make sure you can really hear it at your best harmonica playing volume. Avoid

using the blinking lights that come with some metronomes because it doesn't simulate a real

musical situation.

Straight vs. Swung 1/8 notes- The basic beat of most music, 1/4 notes, can be divided

into two types of 1/8 notes. Straight 1/8 notes are 1/4 notes exactly divided in half and give

you a "rock" feel. Shuffled or swung 1/8 notes are actually the first and third notes of a triplet,

(a 1/4 note broken into three even beats). The shuffle is the most common groove or feel in

blues and early rock and roll.

Less is more (better)- It's always better to learn 3 songs (or riffs) well, then it is to learn10 songs not as well. Put another way, it's better to sound good on only 3 songs then to sound

mediocre on 10.

Good music is simply what you like- Don't confuse good technique with "good music".

Good music has very little to do with the perfection of technique. Good music is simply what

you like. The reason for perfecting your techniques and learning music theory is so that you

can make "good music" in different ways. It's nice to have choices (fast or slow, clean or

sloppy, full or thin tone, bluesy or country, etc.).

Jamming: when to play and how much- Fills vs. Leads vs. Backup- make sure that when

you are playing with people, at any given moment, you know your role. Should you be playing

a solo, or playing fills between vocal lines, or playing backup, or nothing? Avoid over playing

and under playing. If you don't know whether you're doing one or the other, ask the people

you're playing with. Or better yet, record yourself, let it sit a day or two and then you be the

judge.



87

Sitting in with bands—Don't play all the time!- If you jam with bands or small groups

in clubs, don't monopolize the audio space. If you play constantly, especially when someone

is singing, it is unlikely you will be invited back. As much as the audience wants to hear you

play, they mean "along with the band" and not instead of it. Play fills (between vocal lines)

and wait for your solo spot.

Zen Saying- "Don't follow in the footsteps of the masters, walk where they walked." Listen,

learn, and move on. The great players became great somehow, so can you. All you need is a

good attitude and lots of playing and practicing. They had their sound and style and it's okay

for you to sound like "you".

8 On e

L i n er T i p s



88



89

Chapter 9: Free Audio/Video Files

Chapter Includes:

How to receive your:

"Book Buyer Mini-Membership"

at HarmonicaLessons.com.

Audio/Video Files

Throughout this book, we make reference to audio or video files that can be accessed at our

website for further instruction and understanding. Sound file examples for techniques, songs,

blues riffs, and more are yours by following the simple steps below and letting us know that

you've purchased this book. For a 3-month period, you'll get the "Book Buyer Mini-Member-

ship", which includes:

Follow these Steps:

Visit our "Contact Us" page- Go to:

http://www.harmonicalessons.com/contact.html .

(If you are currently connected to the Internet,

click on the above link to go to our Contact Page.)

Fill in "Name" field- Be sure to use the name

of the book purchaser.

"Subject" field- Select:

(Book_Buyer_Requesting_Login_) in the "Subject" field.

"Message" field- In the "Message" area, please

include your Date of Purchase, Receipt Number, and

the title of the book you bought (i.e. Vol. 1: "Beginners Start Here" ).

*Sound file examples

*Jam-To Blues MIDI file

*135 Terms & Definitions

*Discussion Forums

*Games

*Harmonica History

9A u d i o / V i d e oF i l e s

The HarmonicaLessons.com Contact page.






90

Click the "Submit" button- Within 2 business days, you will be sent an email with the

information you need to log in and access the sound files for your book.

Upgrade Your Free Mini-Membership to a Full Membership- Gaining access to your Book

Buyer Mini-Membership, will also allow you to become a Full Member at HarmonicaLessons.com

for the discounted member renewal rate. Don't forget, while you're at HarmonicaLessons.com,

be sure to take advantage of our free Discussion Forums for your playing questions and

problems.



91

Final Words

You can have fun playing harmonica at any level from raw beginner to professional. If you want

to keep improving, all you need to do is to keep playing—it's just that simple. If you've made it

through this book, then you can officially title yourself an advanced-beginner and you are most

likely ready for more instruction, songs, theory, riffs, information, etc. Don't worry that you

haven't yet "mastered" the 4 Basic Playing Techniques, they will improve as you continue to play

and practice.

Where to go from here? You can either continue with our book series, (volumes and titles are

listed on the back cover) or you can join up at HarmonicaLessons.com. Our Members Area contains

all the information contained within our book series, plus additional content (see back cover for

website features).

If you enjoy jamming, keep playing along with MIDI files and CDs. Also, now is a great time to

begin checking with you friends and family to see if you can hunt up a guitar or piano player to

jam with. You DO NOT need to be an expert to play along with others. The only requirement is that

both parties are interested in jamming. Consider yourself lucky if you can find better musicians to

jam with. Playing with better musicians will help raise your musical level.

Whatever you do or whichever direction you go with the harmonica, the secret to improvement is

to keep playing. And, if you remember to have fun when you play and practice, you should have a

lifetime of musical fulfillment ahead of you—regardless of what level of player you become.

Play on,

Dave Gage



92

About Dave Gage

Dave Gage is the founder, author, programmer, and

photographer of HarmonicaLessons.com, the largest and

most visited harmonica website in the world. He constructed

the site in 1999 as an off-shoot of the ever growing popularity of

the instruction and information for learning harmonica found at

DaveGage.com. Dave is also the founder of HarmonicaStore.com,

Harmonica4Kids.com and other harmonica websites.

He currently teaches in Santa Monica, CA, where he has been a

part time/full time instructor since 1980. Through mostly one-on-one private lessons, and

as a class and seminar teacher, he has logged over 10,000 hours of harmonica instruction.

Dave has been playing diatonic and

chromatic harmonica for over 30 years.

Before forming the Dave Gage Band

(now called GAGE), he played with

numerous cover and original bands

doing everything from folk and blue-

grass to 60"s and 70's rock, funk and

Top 40, hard rock and heavy metal and

all of these primarily playing harmonica.

His unique use of the "tongue-switching"technique is the closest you will find, to duplicating on harmonica, the guitar playing style of

"tapping" (á la Eddie Van Halen).

He has 2 albums available through www.davegage.com: "Well You Can't, Now Can You"

(released in 1990) and "Love You Just The Same" (released in 2000) which both feature his

harmonica playing, singing, song writing, and production.

Throughout the years, he has played harmonica on, as well as produced, the music for various

radio and TV commercials. He has played or recorded with artists such as Andy Summer (Police),

Mark Mothersbaugh and Bob Casale (Devo), Rick Springfield, Bill Ward (Black Sabbath), JackBruce, Lee Oskar, and others. He was also one of the songwriters and lyricists for the Disney

Channel show "Adventures in Wonderland".



93

[Back Cover]

Documents

Harmonica Book BegV1