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How to Play the Harmonica

How to Play the Harmonica

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11/24/2011

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forming a: tighl 'cup. &. 1 1 10 I 1 r ~LO\rVJ b QRA.~·t"')t'o. only use your ri~ht tnurnb \0 preS:! in the key. YoU! should get a ditfer~nt .ers.j.&& I &. Exercise 3': Play ..(holes 1. BLOWING AND DRAWING EXERCISES t Exercise' 1: B1QWand draw in ro the-first three hcles (or around there) 'and go up one 'h. t 1&. the highest 'lti~tnotes. 'exercise k~epin_g. Low notes.2. t· t t . 4 &. This 'enables you to produce blue.right hand over."' into Itgle.2 t . :I s. Cup . and drawing.B bollom'of your palrns. T'ap with y~. Dcaw from hO'I~4 123 ~ 31". 2. ExpeJlment with vibrato and the sounqs you gst01owtniJ. I. usethe palmot your right hand to wo.. (When not pla:y"~g vibrato.sound .~ the key.O HOLD THE HARMONICA 1.rj 1 1'1 1 1 3. Try moving yOlJr whole' hand. 5 6 7 B 9 10 . 2. It . j I HARP CODE 4 ~ Blow into hQk4."ourit inyour he'd..Couru - @j'@ s: t ~t 134 t 234 ". 2 3 4. Try this. & 4 J r 3 &.clleat ~ lime 10. 2 and J ~ Drawfmotholesl.esn'thave to be perfect. I .il!:l" and quickly open and ctos!.123 Tap Count 234 i tl t. etc.·<tti even bear.1Conlinue . I& 2. Blow lnto tne two or three IQwe~t n<. &.2 .. lJ4 345. 2. the cup"pivoUng at '1h.6 1 I TRY KEEPING AN EVEN BEAT! 7 . justclose.do. E~ercise].sy.. i @@ . opening an'd closing the cup.) on left.J @@ t t ~Continue 3. vibrato e(iects.3.I & . " . Play-121 Tap . 123 3. Chromatic people: hold like above'.and 3 :GF Z.) (]LO[J C~RAr. @@ t 4 &. Hold in Lell hand petwean thumb arid Ii rlg.WJ CONTII'{UE I" t VIBRATO 1.HOW I.

"2 . and Puckering.. harp pj~y thls way.unplayed look.them "lpinst the harp .PLAYfNG_SIN~lE BLOW NOTES to order to play melod les. tile pucker over the hole. 've 110I 10 PW>' single and most important Blues and Rock 11 lead PUCKERING Whatever the 'lame. 5 and 6.ghten your 'lips and.rp 'sLightly to the right 'Of left in order to better center your mouth over the-hole. Press the side :or yous longue. Glow into holes 4.. I..Tonguing PiCK one that'. 1M! or ~ight. lips as i1' to wlii. be. probably ihe hardest in-mastering the harp. Try gelling a single. PROBLEMS') Gdt'irig [he wrong note? Try placing. making sure Ui'at you're still 'bjo\liing into hole 4. y QU Of and a ccompanirn en I. a .A common problem with this. step If. Try moving the harmonica 'very 'lightly to th.the lip of your tongue in the hole (hole 5) next I~ the cne yo" wont lo. C)?1lf tone. best for you.is getting.note? 'Belling two notes" You're not covering both holes. Try rnovmg I'h~ ha.play . 3. There are two w. I. . PROBLEMS'? Can't get one..playing a '2. press. melhod.against the other . making a <chord. Try to 'get a sidgk dear 1011e.Pro1:>l<:Om':' * more firmly T.tl" and blow TONGUING This-is the best way to play ifyou'll chromatic harp. many who pick 'up On the 0 tes. I.s to do 11.iy. Tighten your intohcleel.

note.!\'-upon r I I ~ ...:t. remember that 'a bea~ can beas long Or short ".NOTES AND RESTS MUS1C EXERCISES Before you can practice.2& J l =.j '~ «: >- hml' fll~!or slow . ~ "dolled t ~j haltnote 3 . r &2& 2 BEATS t & 1 REAT j) 1 = on.i3.& ~ JBEATS & . c)'<>pen'du. 1us.:.K"T- . ---~ a a whole "01e .til!chth note . ICS simple and really helpful.' .mlpo of the. t j. half ncte. 'i ) = a xi xteerrrh. t & 4BEA'tS 4 d.you want ih't.any rhythmsvyou've got to pick up 'on a bit of musical notation.I: &3 t &2 s: j. I "" .long to be_ :i "" '" ~ " " "" ~ :. NOTES '0 RESTS {means don't play) . whole rest TAP CPt_. «: oJ "- .ATor n~ ) rg':st Simple. .>. "._ ~ ~ a sixteenth Asixteenth 1/4 BE. note __ . YDU want for each piece.1£' u' " "" -00l ~.

. :-----. Soon you'll be able 10 ilq it every lime.<-"'" r. EJE)-+-: +--~ : 12 .. ~I g : --.~~ ----. You might nl1dp.df hy to play too-loud the reeds won't sound. ~ -----. Adjust-how tight yOU keep you.t _. T"Yedr-awilll> air into your mouth . ~ s~ .~ . Til" m(l't--imp(lft~IH fhing ii eKperiment il~ILI you gel that clean tome. through.+"'1 4~ :...PLAYING..'0 no air get.~ 'q .~ '. TTy pushing it hard against the harmonica when drawing.€)e : -----.j . EJ@) ~ ~ : I.r.._ ~ 0." I.. Tty "(lju~ling how 'm""b 'of the b.~ ~ . # you would to blow through hole 4. -Try drawmg air into . Tryto geta dear.. -+ ----." ~1'-~ --. posltion work' belle. you draw.®S:.~ ... 'you'll gel it._.th an Olh~TI. Ups.blow rhrough hole 4. Try ohimgiAg tile .ur lips.'= d I? 0: 5 .AfW1 Sometlmes.:':' 0 8 " :..00 __ " :~.-::t +-dj : +- ....@@__.:d' -+. ~. Stick with it... it cool. lips..t . '"~*'I.I -+_ --. "J'ROBLEMS_" PUCKERING Do... single tone.. your cheeks and lips collapse.~·----.®@ .Sometlines keeping them Jcose works... . . major problem is that your tongue tends to pull 'into your mouth when.. 4.g '.arp between your...~~-+.. Uj. . .S :----.a ngle.ee~ ----. you Keep DON'T DRAW TOO H. Mos't mortals rind drawing harder than blowing atflrst. 3. MQRE MUSIC EXERQlSE.your mouth.. the same thing as you would to.. .See page 8.t§e PROBLEMS? No-sound? Sometimes when yo" 'haw. .. TTy to _gel a ciear.@@ -----.Qi' tfie harp is In y.@® PROillJlM S" DOII't worry.@e:~ +-'" """""... 'i1'lgl~tone. sometimes not. . SINGLE DRAW NOTES TONGUING Oil the same thing.' ... A 2..

. ~--i .... also -always z z At firSt it's important you ... :"d! '" e ..... .. :=r I ~ . @8 @@ @(§) " [j u a @ ... u..._ -c. -e "...... .~ ".. o ... .... rr- @ .: ... .... .."' ® '" 5 "'" ~ .... "'- ...... -c~i:. ~ "" . .... 1:....... c- ... @is ... " ~ ~....) is :::I (fl o I- o s w (fJ ffi b z z i .. . .."a o £ .. . e-: . t..SOME.. . F. ®e ee " ....j< ~ '" ~ 0 @ GI '3 . S] U ~ '" E 15 ......' .. .. . SIMPLE TUNES ('.... .. " § . (Not e .::..O e i '" f" 6 . '" "" .c .. • tr @ ~ . ....... '€1. u.. .".... o <.: .....s '0 '". J i ~e @€) S ~ (§) C"" :..... -. though you.. until you am pia)' them dearly ...... "" ....... <ID .. . <. " o -< '" >.. :. :(0 ~ '" " ~ " U '" .0: .. should lr-y L6 keepan eve " beat..:........ ""........~ . @l@ U '-'" 0® ..get the' n otcs righr. ..i:l >. <.. >o. ..' 8 ~ . """ I . .. C!I . ~ .® . :=r@§ .. cU <0 . .~ "" 0....... ] e e= s: «>. @@ .l... ~ :~®8 . I .... @ .....~ <: ~ ~ & g ~ -q . . <..: ....~ ..~ (5 ~ ..~ ......... 'Ql '25 ~s " " ~ 14 B z " '0 ~.Start playing these songs slowly at first.

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means ~a!id noie.BAR LINE dlvldes one.:.-:A.alhid.• --.!.C:_. idea for you to pick up on it. ". and sym b'ol S' were inve nted to locate certstn lines and the pitch . .:_rd. vis u:r£\~. of nullion years this way.of the note on that line.:-G:::" E:=-'_:::. FCISI • F G.'il always give yon tho holes for tile songs in . w.and G sharp. _ BAA LINE BAR LINE do uble bar Ii fie means the end. Play F..S. F'ClelNotes 9: r r r r r r r' J c e A G E 0 C J .:. ..:. - beats.... in each measQre.. _~ __ 2"_d_S_P_A_C_E=__.. ._.J 8 A Naturals-oancel a previous" within a measure.... placed ilexl to each cia.~nd_ioatethe number of beats in 'each measure.--. .LlNE . what's it to yOll'!)_it migh c be " good. The'sa symbol"~ ware o:.J)Jrrf G A' 'B CD FI E -_ The key signature. __ LINE _.any.. or ~ 2t .::."ce=----=-NE •• _~ _ _::_:4_::lhc::S. ---~~5th _____ __ _' __ ~_ 4th LINE LI . ' Tt>.. s nou Id be played sharp or Ila\ in the 'preee. G. the stili! had' from 2 to 20 II 1'1 es._. next len (after that. measure ffom another.P. gUi. and wiU probably continue be for at least the. ~hd LINE _.3.nly apply within the measure.j! . fONE MEASURE=j ONE MEASURE41 ~1st During tneevotutron 01 musical notation. A ."".=-.. ..E.. F and Cl ·clefs. snarps or flats next 10 individual notes o. STAFFS.. T.taf' and naemontca uses 'th e G and JF' <)1 fs.1i:etti ng' 0 ne bsal • KEY SIGNATUF!E.. ls_t--'S_P_A:_. TIME SIGNATURE CLEFS Music has three cists. ~JJj.HOW TO READ MUSIC Since songs have been written out a 'couple.• _~_. e G GCJEif TlTe. MEASURES to Music is divided intci equal parts called MEASURt:S. 4'. ind icates W hat notes. S '_ 2 3 4 6 ~. Most music ior Ihe< plano.-Clef Notes.. _ 3rd.-:PA-:::C=-=-E-.:.this book.the C.i me S ignatu res: AI 4.. But don't worry.

. j cI:Q ..I 0 '" 0 (!I '3 -.." "I I '" '" "0 s: £ ~ 1ii II -e 0 '0 J::_ '" OJ .....: 0 I II: r!>l el .. j t- .. j .i . f ® ILl e < ILl I e l:- i= o c .: 0 '0 s: E c-..~ . Gl @ '" z !.. -r. ) o Z U ~ Ci i= -c ::...PRACTICE TUNES @ U ) ® '" ) @ -e- j ..I .. . . l~ - e '" o < 1 @ "J . °i L"- ..: . "0 w.. ~ b I w .: :s: ILl 0 -' .c:.. 0 II OJ @' II -e e • 23 22 .. '" a..: Ie I' . I e -< Q e "'I "I ® c e « a: w 0 :! 0 U 'J.... I l- o « 0 Z c. 0 ~ 'l'" 0 .i I:Q ®l e ® I @ ~ :::> « $§ C!I :i "' '0 '.. ®~ -' <C- 0 c.: W ~ ~ c II >0:: Q)' . @ e I I ® ® @ "'~ ~ l- 1.

PRACTICE TUNES 24 25 .

... €l @ Q S '" @l " r" ~ ®I o z " ® -<:. @ e ~ -c c<. . ® @ 0 @ @) 9 Iioo.PRACTICE TUNES ® @l "" 8 «: I .. A C! (ii' '" z a: UI :!) . @ Q e @ « 0 ::.::.....1 ··1 26 2·7 . J: tu. e ej e @ . ~ tl -" Ol . 9 Q e 0 a: 0 ::> foil 6 8 @ a '" <C C/) a: 0 J: « ~ o ::I oJ 0 . (!l -at @ 9 0 e ~ LL :c: U 0 e w Vl :::> 19 .~ G @ 0 '" J: ..:l e e e .. 0 ~ @l 0 ~ I @ . I ® I· «: E S e @ @ ®l @ Q e ® €I _<> i'Q e @I 0 Ij 0 I- @ ® z 0 15 . 0 s « ':.

'C Q) <: 0> :I:: II) '" o '" « " ':. @ @ "'" e e . 0 e @) p ® @ 0 ) ·9 « ® 'II e E r <{ @ e- 0 0 s e ::i1 \§' €Jl @lj Z !2 .g c <C % l: .. ~'... z '" 0. 9 e I ..: 15 o a: @. d .l!! z @ 0 J: f- IZ :::> >- ~ .® :: ~ '0 II 0 e '..0 1!' a @J ~ ~ " m b '0 oj> @J @ @ u ..PRACTICE TUNES <II ~ ® ® U . €l . ® . ... sn ® -~ . ~ ~ 0 ~I @ @ @ :f.' 26 29 ...Ia @)·I ® r!l @ :I: 0 e . '" ) e -' '"...

: " '" .. <.." 13 <: '" @J @J ® i= <{ :.. ci .2 III ~ r- b @l (!) @) 0 @lj @) S ® <9 Q( ..." @ a: J: (J . .J ID '" '" e- o '<Jl . ~ ® c... e S u ®I ® @) @) @) a: W Z Z :.: o :E « a ir a: 0 !II (. o ®) I>. '" ~ ® 9 s "- ~ ~ '" t- "" '" w :::l .PRACTICE TUNES e- @j ® u.... 0 "( t'- @ := ® ~ ® >! @j @ r.r I- 0 5! @ ~ :.i @ Q @l u @ @) o "' '" @j @J s '" o @ "" r- @ :2 'm ... ::.: " "'" 13 0> "' @ . @ @ Q G ® o @) &( u 9 z 0 f<{ a 0 " til is al . ~ . a: w l- z w w !:! ~ 30 31" .. '" '" (fj ..!J ® <Ii @ O....

'2 u . ® u J e t:...PRACTICE TUNES o $\ @ o )~ o @ ® @ "' 0 e- 8 ® ® " .. '8 M (§ju '" u @ :.I Q ~ i '" en c .. @ ® o e- o - ® e ......"... ..l . {€> 0 r- e @) . @ Q - '" @ 0 0 ....0 ~ " " 32 33 . Q ~ ® {~) " @ ® ... ® " 0-- _2 -.. o· _8 . o "' @ . '" 0 e- z is @ e s c..!l. e " .! 0 ffi~ ~ -~ o IL 0 "" :l- 0 "' @) u ® .

: . ) :" & 5 @) s @ c. Ji I'i..::.6 @ e- '" . Il: . " "'I .1 @! .0 13 ®l @ 0 ®I @. ~ UJ :Ii: 0: @I « -s .>-- :I II: ii: <II " 8 @ eQ q @) @ " Lt'- . t- ~ el .. 13 el @! 6 '" M"' t- p <I)' e· @.j Q @ 0 E ®j @ .....€l (§) . C\ '~ r- ® 8 "G) @I q ~.~ Q @ ®j e! ".~ a @ '" il @ 0 S @ .. "" @j ej '-" ::E 0 I ~ @l --<>.@ @l .' @ @ '" 0 '" 0 el 81 '.._ A S Q €l e- " .J:. 8 ®I @ .PRACTICE TUNES ®! "" Q : Ell ~l @ e~ -6 . ®I @l @ 0 UJ :J al s ®! @ t- ... @)j e".

as ii is' . MEASURES 9F TONIC lHE' 12 BAR BlUES BL. 'only a dlatontc harmontca is used. pages 37 to 47..edon a: ~hrQmal.J<!. Generally.in'g blues" harp.can ~e plaY.k' harmonica and the ones following :are.Iil.SQF:. However. Is for p"lay.a.poMIINANT Part 2 + Ttle following sectlon.6 .capable of' j'he "bend·i~g".RE OF DOMINANT + 1 MEASURE OF SUBDOMtNANT .1'f) no~ 01 e.ES PROGRESSION I(the' T:ONtC chord' (1 st GUIDE and the DOMtNANT (5~h ri1?l. C chotc is F G 91 ~~. G G# Eb E F D F# G~ A Ab A i3~ G A~ A F# 8).no + p.e} 15. 2 MEASURES OF'TONIC + 1 MEA. c B :B C c~ 0 E D~ DC E~ E Eh F B'l> B F# '37 3.eJe) ohordls.geared toward the diatoniC harmonlea.THE 12 BAR BLUES PROGRESSION 4 MEASURES OF TONIC + 2 MEASURE. Jusirna(1 the music and ignor"ihe holes ir)dlc<lted. $c:. tnts sectlcn is. e)lcepfion. and chord i ng associated with Ihe blu as sound.>t. many blues tunas ..$Ij. . . Thus.a the SUBDOMtNANT (.U.ttt'! not~ 01 s:t:.

THE BLUES PROGRESSION FOR "STRAIGHT HARP" (First Positioh) "' . c: "'" u @@i @. !3 o .@ @@ @@ @@ @J§).I::.. e® @{a ®61 @@ @l@j @@) @~ @Ei ®e ®@ ®e ®e 39 .

osition) ( €I@ "N S@ .THE B~LUESPROGRESSION (Second FOR "CROSSED HARP" P.. 40 41 .

.: III :J ~ IL e 0 w II: :.) '" '" W· 0 w IL II: '" 15 .c .. .s: E <0 '0 ..Q .) a» ::::.<: Ol '" '" S :§ :~ '" '" 'E 'Ol E oj . ai !1) ~ co <II 'E '0 c: ~ :rg rCi..0. u . .THE BLUES P'ROGRESSION '0 FOR "THIRD POSITION" ~ ... m u. :... Z c .I o ® ® ® '" ) )® --. z 0 IL « z.: .) 0 W '" a: ::> ~ :::. e'l 0 ur II: :.r:: '" .~ " OJ co c Q..~~ ..r:: E " e e0 r-r ..... ..g 3: CI E z <{ I!! " :S s F ~i:c. W <n <n ::.:5.-a OL :I:S 42 .0 '0 .. '0 . ._ o ...J 1: '" 0..J:: () 'E oj o . :::. til so.0 0 g CI E E ~ ii ."' ~ ~ . ci . 3: '0 .. <'oJ :::..: N 3: l' '".<:: "' '" o " @ ~ .. 0 Z I- ~ o 0 <Il ~ E 3:: e CI <.... co' g .. '0 ~ ~~ 'U.sr <II ~....S ::I ..:. . .!..!l . " '" " c . '" . i .. II: :J..~ :. w e ® . @j G' l! ~ Z «: iZ I. ... .. eS @J E c . Z g ~ ...i Z e.:u iJ j'·0 .~ '" J' . iI: ~ !! . <' '0 '" o '" s CI CI s: .. 0 0 I- " i € . == c 'is. ::.!I .S '0 ::I -" III 0 0 w u. E "E c. e @ @ @ @J ~.: ::'01: <ii s: o ""3 Q.. Cl -- :::> « '" « m N . . . E !I: <'> . " .....) t-' to :. (ll ~ c :!!: U) ~ c ~ 0 _c.§ ...) IL til 0 II: :..0> _~ in Z :0 "' '" . '" . co E ". . :is -" "' ~ 0 c w u.) '" . '0 l: o 0 @J .0 . '" a <Il tu. :.J f!l II: ·-:.. .~ 0 Z 0 ~ 0 0.5 e-. :8 0 u. . . .0. '0 s: Ol "c. ... e» .

Bh. wi'th adifle(e~I. Eb. F.<lQ\'mb"al . from hQlss3a.nd4 • $ubd'ominant· Blow into holes 4 arl. Sf C# E.B· 0: E.• syncopated Siill ~".with a variation 44 . E G A G.G.C. B. II DIATONIC NOTE REFERENCE CHART Harp Key Noles c o E C.vartatlon THIRD POSITION • Tome. A.Draw from hole'4 BIQw into hole 6Draw1rom J Mrs 6. n n. 1 nJ J II II • Dominant" Draw from hole 4' · _.ot~erRtiylhm J.E.G. D.d5 J nJ J 1. it One More (slow tempo) II 1=#.r:rn I JJTI m 'f · _. r.c. G.F. A "" . A.A.SUMMARY OF BLUES PRQGRESSIONSSTRAIGHT IiARP • TOllie· Blo_wInto holes 4 and 5 SAM Pli NG OF BLUES RHYTHMS TM Standard Train Rhythm JJTI JJTI I JJTI JTIl · ..F~ G# B~. D# F.E. C.D. C#. C#' D._D. F~. G. B. f • Subdominant· • Dominant· n IJ n ~n _.B.sy nc opated CROSSED HARP • Tonic· Draw from holes z and 3 or Draw.A.. :with arl embellishment II II • Domlnsnt- Draw from holes 7 and 8 or Biow'into hole6 JJTI . E. G#.)'Ilth a.F# A.A.Q.

..INSTANT CHORD GUIDE FOR DIATONIC HARP CHORD - Play noles' CHORD - Play holes C Harp C -ANY F G F Harp ssr OF BLOWHOLES F- ANY SET OF BLOW HOlES -®®.@@l B~-®®O'®® C -@®®.®@ 0®® . 0®® .@@}.®-®@"0® G7-@@@ ...®@ G)0@.@@ B- -0®®.®"{V® A Hiirp AANY SET OF BLOW HOLES AA7- ®0® ot@@@ o -@~ E ...'(V@® G -@@) .®®@".' 46 47 .-@® @@@..@®® F7-®®®. G Harp G -ANY SET OF BLOWHOLES c 10 Harp D -ANY SET OF BLOW HOLES -®® .. (!)® CD®® -0@@.®®® ®®®"' E7- E Harp E -ANY' A ·SET OF BLOW HOLES B~-ANY SET OF BLOW HOLES -®®o. ®@ ..<1J@@ 0< !7l - @@ D'l-'@®®. 0®® C7- -G)®0...®@@l'" E~-®® 00 F ...@@@·'CV® 0®® B'i-®0® .0® ®®® •.

man utaeterers warn a9 ainst s ubm erg I. Side of yQur harmcnlea against 1Me palm 01your hand.trying tc sclve this problem. It IS particularly lrnportant Ihat you do not tamper wllh the lnstrument. Olt~'n Ihe. While this doss not' indi.. ' In A NOTE ON CHROMATfC' }lARP 'CAR. but not if you 'va tWl1pere.cate your' harp is ruined. 2. not work. Thls technique does frlie-up 1M reeds <lnd Speed up _the br. notas thai won't play.HARP CARE .'" will repair 'Ih~ lnstrurnsnt. that Is. In fact.E smce -IOnrornat ic harmon Icas 'Ien d' lobe quite' expenalvs. Plirti oularly a.sed and th" channal. and will not gene-rally '!l p'a. I wOlJld recorn m ell d ret urn'jng th e harp to I he dea Ier or rnanutaoturar. 48 . 'he probable cau se 01 the Sill ok reed ts saliva. The best Way to free ih~ reed Is to firmly 'tap rhe hole.at Illtie Dr no expanse.i:I with It. Howe"e r. you Should dotnls after Ilverylew millul.r ~ "'s-oaked" harp. Or some other9ubstance. food. etten people do ruin their harps . The be s t way to prev_e'nl stuck reeds Is 10 keep you r harp c lean.fght between' the ..es of normal play.1"his technique does.lng.eak.g 9 harm 011ca in any i Ilq. The big 9est p rob: e m yoU'll ever encou nter with your harrnonrca i$' stuck reeds. 1. Thus. Many players soak Ihelir harps In water to make playing eaeler.~8l. In procsss.~id. il Is olten cheaper !'O repair a broken Qn9 than to replace It.vOid9rease andutrt.but leave'repail10 prolecsslonals.

l.O'l :P .Inc Pleasuredome.Leechers.

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