As you'll soon discover, this is a different kind of harmonica lesson. Tys what you might cll instructional play-along” and i a combination of concrete instruction, discussion of theory, plus actual playing expe- rience. The CD is split track. ADJUST THE BALANICE TO TAKE OUT ‘THE SOUND OF MY HARMONICA AND LEAVE ONLY THE BAND. The facus is on playing the great songs of Americana, blues style, or cross harp. This is good for us in many ways: 1. Playing the songs in straight harp is easy but, for the rocker/blues- man, eventually unrewarding. Playing them Cross Harp is hard, and requires pinpoint bending at 3d. It’s a great challenge! 2. Playing the old tunes gives us a repertoire people can recognize. 3. You can really jam on these songs. 4, What you learn about bending intonation and melody will carry over into everything you play. Throughout the text, the following notation will apply. beblow —_d=draw —_tb=tongueblock octaves * 1/2 step bend **1stepbend — ***1 1/2 step bend 7 tongue or otherwise articulate “#" refers to flat and # means sharp. Illustrations by Bruce Thompson, Art Ellis, Mark Zingarelli Dedicated to Franklin Gindick, copyright Jon Gindick C 2001 Book Design by Jon Gindick Cover Designs by Frank CasserFUNDAMENTALS, There are two basic styles of playing diatonic harmonica, Straight Harp, 1st position is playing with the accent on the blow. Traditionally, it's For melodic harmonica, Gross Harp, 2nd position, is the style of the blues, The trick is to play that Charp in the key of 6. ‘The accent now is on the draw notes, the notes that bend. The Physical Part The harmonica is not a little whistle. It's an intensely physical instrument requiring the whole participation of breath and deep body. The most important rule is: RELAX. Relax your face, jaw, tongue, throat, breath. You are going to use your entire body to gently, yet firmly, control, pressurize and manipulate a tiny current of air. Often the answer to your harmonica problems will be: “LESS AIR, MORE PRESSURE." And yet, you must stay relaxed.i Single Note Pucker aka lip blocking, pursing. « Wanted: Great harmonica tone. Needed: Relaxed harp in lips. Tip the back (ho holes) end of the harmonica up to get the harp deep in your lips. Pinch inside of lips to help control, constrain and channel the airstream. Pressurize the air ta ~ with slight resistance, Single Note Tongueblock Make your mouth big enough to play 1234d chord. Place tongue-tip on holes 123.The unblocked 4d is the note that plays out when you blow/draw. Lift and replace tongue to get quick burst of chord behind ‘the single note. This is a “tongueslap.” ‘Octave Tongueblock “Splits” Cover the two holes in the middle with your tongue, cand play “splits” - the two holes at the ends sounding at the same time. One draw and 4d are the same notes, an octave apart. This is a great way to play the V chord. Octave Tongueblock all over the harp - especially the V chords at 1-4d, 4-8d, and the I chords at 3-6b, 2-5d, and the IV chords at 1-4b and 4-7b.Hands With or without a microphone, use your hands to create a palm pocket behind and around the harmonica, Use the closing and opening of your palms asa valve that changes the air-pressure and sound of the harp. Going from close to open creates a "wa." Fluttering creates a fast vibrato. Play in slightly closed position, and be ready to open and close. Vibrato Vibrato is the art of making your notes vibrate in just the right way at just the right speed. It comes from pushing from the gut and the throat with a trembling motion. At first you have to think about it but soon the vibrato comes naturally. It creates much of the harmonica's emotion and warmth. Tip: Think the “ou' (as in you) vowel-sound as you tremble-push through blows and draws. Articulation Articulation is how you go into notes and come out of them, how you break them up, how you create syllables and follow lyrics of tunes. It's also how you create rhythm. Articulation methods include tonguing as in “ta”, or clicking as in “ka” or “ga.” You can also use your hands and bending, slide-on, slide offs, and much more to articulate notes. In the notation, articulation points are shown as slashes: /.PLAYING THE BENDS PPS eee eo YUP YY ELOLEL. Playing the old songs in 2nd position requires some pretty precise bending on holes 2 and 3. Check out the 3 draw. The 3d** is the most important bend in this book. Tt is NOT the. lowest bend on 3 draw. It's the “middle” bend. Learning to play it in tune, so it sounds the same as the notes around it, is the most difficult part of advanced cross harp. THE oNener Nore This simple do re mi scale is one of the bending intonation exercises I know. You can also use a guitar tuner or the songs in this book to train ‘your ear to proper intonation, 1b 1d 2b 2d" 2d 3d™* 3d 4b do re mi fa so la ti doTONIC CENTER What key are you in? Also known as the Note of Resolution, the tonic center gives the other notes their musical meaning, If you are: playing in the key of G, the G notes are the tonic center. All the other notes in a piece revolve around, and are defined, by this central tone. Tt has become a convention for harmonica teachers and players to. communi- cate using the C harmonica for reference. Because we usually play the ¢ harp, 2nd position, most theoretical harmonica takes place in the key of 6. SCALE DEGREES ‘Once we know where the Tonic Center is, we can talk about music by assigning numbers to each note according to its relationship to the tonic center. If Gis the tonic center, Gis the Ist degree, Ais the 2nd degree, Bis the 3rd degree, Cis the 4th, , Dis the very important 5th, Eis the 6th, F sharp is the 7th. (F is the flatted 7th, referred to by most musicians as "the 7th.") To flat a degree is to lower it a half-step. To sharp a degree is to raise it a half-step.CHORD PROGRESSIONS Just as notes can be identified by degree, so can chords. Note degrees are usually shown with numbers. Chords with Roman numerals, The most common blues progression is the I-IV-V. In the key of 6, the Tor ™ chord is @. The TV Subdominant chord is C, and the V *Dominant” chord is the D. Each of these chords is made up of its own set of triads, the Ist, 3rd and 5th notes of their scale. As the music goes from chord to chord, you the harp player must adjust to play within the. chord. Most of us learn to do this by feel. We find common tones, notes that work through the entire chord progression and emphasize them. Chord Forms Major chords are made up of the 1st, 3rd and 5th notes. Other types of music add, subtract or substitute notes to create other forms of music. ‘Minor chords are ist, flatted 3rd,and 5th. Seventh chords add the flatted 7th to the 1-3-5. Minor 7th flattens the 3rd degree as well as the 7th. Cross Harp naturally emphasizes the flatted third at 3d* and the flattened 7th at@d** and 5d. This is why it is so popular for blues and jazz.KNOWING THE CHORDAL BACKGROUND Chords are groupings of notes that harmonize when played all at the same, time. These rich sounds - usually played by guitors and keyboards ~ create the foundations and the harmonies of songs. The harp player can express this simply by drawing holes 1234 to express the I chord and blowing 1234 fo express the IV chord. The V chord is expressed by a higher draw at 456. 1 (1234d) From this valley they say you are leaving (1-4d tb) V (or 456d) We will miss your bright eyes and sweet smile I (1234d) IV (1234b or 1-4b tb) For they say you are taking the sunshine , 1(1234d) 1-4dV 456d = 1 (1234d) That has brightened our lives for awhile. Tf you rhythmically articulate the song using these chords, you'll be playing as a rhythm guitar. To articulate, use your tongue, or ga ga ga clicking from the back of your throat.MATCHING THE RIFF TO THE CHORD PROGRESSION Pick a riff, any riff... To express the I Chord, end the riff on Ist Scale degree notes, 1234d 2d 3b 6b 9b or 3rd degree notes at 3d and 7d crorsi234d Or 5th degree notes 1d 4d 8d x or flatted 7th notes at 2d** and 5d or “5th of the 5th” 3d"* To express the IV chord, end riffs on 4th degree notes tb 4b 7b 10b 1-4b 4b-7b V chord Sea or 3rd degree notes at 2b 5b 8b or 5th degree at 2d 3b 6b flatted 7th: 3d" Relative minor at 3*™* To Express the V chord, end riffs on 1d 4d 8d1-4d 4-8d 5th degree at 3d** or 6d flatted 7th at 1b 4b 1-4b Wehord 1234RIFFS PLAYED ON THE CD Basic Up Riff Good Morning Riff Good Morning Scale 3b 3d 4b 4d* 4d Ad 2b 2d 2 1d 2b 2d 3d 4b 4d* 4d 6 Blow Down 4d Surprise Berkeley Blues Riff 6b 5d4d 4b 4b3d3b © 4d 4b3d4d = 4d 4b 3d 4b 3d 2a** 2d 3B Jazz Up Flat 7th Up 3b 3d** 3d 4b 4d* 4d 5d 6b 6d* 6d adt* 2d 3d* 3d 4b 4d* Ad 6 Draw Blow Slider Down 6d 5d 6b 5b Sd 4d 5b 4b 4d 3d 4b 3b 3d 2d 9 Blow/Draw Slider Down 9b8b 9d8d 8b7b 8d7d 7b6b 7dbd 6b5b 5d4d 4b3b 3d2d Draw Slider Fancy Variation Six Blow Down 5d4d5d Sb4b5b 4d3d4d 4b3b4b 3d2d3d 6b 5d 5b 4d 4b 3d 2d 1 Blow Jazz Up Riff Ib 2b 2d** 2d 3d** 3d 4b 4d** 4d 5d 6b 6d* 6d * 9 Blow Down 9b 9d 8b 8d 7d 6d 6b 5d 4d 4b 3d 2d Octave Tongueblock Down Riff . 25d 2-5b1-4d 1-4 1234d (or 1-4d) Bent 6d Down 7d Filler 6d* 6d 6b 5d 6d* 6d. 7d 8d 8b 9d Bb 8d 7dNOW LET'S PLAY THE SONGS. In the notation that follows, the first line above the lyric is the low end, core melody. id 2d 3d/ / / 3d%* 3d3d** 2d (4d 4b 3d 4d) From this valley they say you are leaving Above that I have placed the melody in an upper octave, or a riff that might work in place of a melody. 4d 6b 7d 6b 7d 8d 7b 7d 6d v-b td 2d 3d 2d 3d 4d 4b 3d 30™ (4d 4b 3d 4d) We will miss your bright eyes and sweet smile Separating the two is the chord degree and the guitar chord for C harp, 2nd postion. This chord notation is purposely unadorned. Tf you are a guitar player, add 7ths to make the music bluesy. Play major chords to make it sound country. If you don't care about the guitar chords, blot them out. Tip: enlarge these pages, take notes on them.RED RIVER VALLEY James Kerrigan cross harp le) 7 5d 5b Ad db 3d 2d / 1-6 i 2d 3d/ / / 3d** 3d3d** 2d (Id 2b 2d) From this valley they say you are leaving 6 / / 5d 5b 4d 3d 4d 4d v. Id 2d 3d 2d 3d 4d 4b 3d 3d (4d 4b 3d 4d) ‘We will miss your bright eyes and sweet smile 6b / / 5d 5b 4d 4d 4b / / 1-6 Iv-c 4d 4b 3d / 3d** 2d 3d™* 3d 4d 4d | For they say you are tak ing the sun shine |! ~ \4 5b 4d 6d 7d 6d 6b v-D cm Jig 2d* 2d 3d** 3d 3d** 2d fs cr ‘that has brightened our lives for a while 7HOME ON THE RANGE - Cross Harp 4d 6b 6d 7d 6d 6b 5b 7b 1-6 we ld / 2d 3d** 3d 3d** 3b 2b 4b / / Oh, give me a home where the buf fa lo roam 7d 7b 8d 6b 6d 7d 6d r6é IEA vo 3d 4b 4d 3b / / 3d** 3d 30** And the deer and the ante lope play 4d 6b 6d = =7d «= 6d 6b Sb 7b 1-6 Iv-¢ Id / 2d 3d** 3d 3d**3b 26 4b/ / Where seldom is heard a dis cour aging word 7b 7d 6d 6b 6d 7d 6d 6b 1-6 V-D 1-6 4b / 3d 3d** 3b 2d" 2d 3d** 2d And the sky is mot cloud y all day7b 7d 6d 7d . v-d 1-6 as 4b 3d 3d™* 3d Home, home on the range as 6b 7d 8d 6d 1-6 IrDA v- D7 wo /oad / | 7 dt 2d 30 ‘Where the deer and the an te lope play ad 6b 6d 7d 6d 6b 5b7b I-6 Iv-c ld / 2d 3d** 3d 3d** 3b 2b 4b / / Where seldom is heard a discour a ging word Tt 7d 6d 6b 6d 7d 6d 6b 1-6 V-D 1-6 a / 3d 3d** 3b 2d* 2d 3d** 2d _ aed the sky is not cloudy all dayOH SUSANNAH! -stephen Foster (James Taylor style) I-6 VI-Em 3b 3d** 3d 4d / 5b 4d 3d 2d Well, I come from Al a ba ma Iv-c v-D 3b 3d** 3d/ 3d 3b 3d** with “a banjo on mo knee Bb 3d" 3d 4d / Spad'hd 2d 3d°*4d 2d got zat od Head ed for Louis i an na, my true love for to see (REPEAT VERSE) Iv-¢ 1-6 V-D 4b 5b5b 5b 4d / 3d 3b 3d™ ‘Oh Susannah, oh don't you cry for me 1-6 VI-Em, 3b = 3d**3d 4d / 5b 4d 3d 2d Cause I come from Al a ba ma Iv-c v-D I-6 3d** 3d 2d 3d** 2d** 2d My ‘true love for to see.france AND JOHNNIE 9 / / 7 8 8 % / ‘oe / 7 / 4d 5b 6b 1-67 Bo 3d 3d 5b 4d 5b 3b / “Fronk ie and Johnnie were lov ers % / sf fs 17 od 1-67 Bo 3d™3d 5b 4d 5b 3b Oh Lordy how they could love Ib 2b 2d**2d 3d 4b 3d 4d 5b W-c7 2 / id2bid // Id a ‘They swore to be true to each oth er 9 7 19d 8b 8d Sd 6b / 5d 5b Ad Wv-c 1-67 2d / / 2d** 2b td ‘True as the stars a bove 7d 8d 8b 6d 9b 9d 8b Bd7d bd 6b 1-67 vD7 167 3d 4d 5b 3d" 4d / / 5b 4d 3d 2d He was her man, but he was do ing her wrong.BILL BAILEY --Hughie Cannon 1-67 3d / = 3d**3d 3d** 3d 4d 3d / 3d** 3d Wor't you come home Bill Bail ey? Won't you come home? 1-67 v-b7 4d / 3d 4d 5b 3d** 4b / 3d 4b 3d 4b 4d She cried the whole night long, Til'do the dish es, hon ey V-D7, 1-67 4b / 3d 4b 4d 5b 4d 5b / 3d 3d// 3d** 3d 3d** 3d 4d Til pay the rent.I know I done you wrong. Remember that rainy even ing 4d 5b 4d 4b (3b 3d* 2d) 67 Iv-c 3d / 3d**3d 6b =/ / / / 6d 6b 5b T drove you out with nothing but a. fine tooth comb 2d 2b 2d 2b 3d 3d*™* 3d 2b 7d 6d 7d 5b Iv-¢ 1-67 VIET 6b/ / 5b 6b 5b 4d / 5b 3d Tknow I'm to blame. Now ain't that a shame 6b / 5b 6b 5b 7d / 6b IZA v-b7 1-67 3d _/ 3d** 3d 3d" 4d 3d 2d Bill Bail ey, wor't you please come home?TOP OF OLD SMOKEY Appalachian Traditional -6-7 1-67 zd /3d 4d 6b Be oy ab Ad Sb ad '@n top of ol’ Smokey, all covered with snow 1-67 2d/ 3d 4d a ae 3d 4b 3d 3d** 2d I lost my true lov er, a courtin’ too slow 7d 6d ob ab Ad 167 2d / 3d 4d Tyo '5b Sb 4b 4d 5D a (Now courtin's a pleasure And partin's a grief vo7 LG @d// 3d 4d/ 3d** 3d4b 3d 3d** 2d @ut a false hearted lov er is worse than a thief.THIS TRAIN spiritual Traditional 2d 3d** 4d* Ab 3d**4b 3d** 2d 2** 2d 1-67 2d / 3d 4d 4b 3d* ad lod This train is bound for glory, this train 4d* 4d 4d* 4d 6b 5d 40" Bd 4d" V-b7 4d / / 6b J 5d 4d 5d 4d This train is bound for glory, __—this train 2d 2d** 2d 2d** 2d 3d** 1-67 6b / 5d 6b 5d 6b 4d This train is bound for glo ry, Iv-c7 “ 4b / / / 3d* 4b 4d" 4d 4b 3d** 4b 4d Don't take nothing but the righteous and the ho ly 2d** 2d 3d** 4d* 4b 3d** 4b 3d 2d 2d** 2d** 2d 1-67 V- D7 1-67 2d / 3d" Ad 4b 3d** 2d fs This train is bound for glory, this trainIGHLY, HOW TI PLAYED RED RIVER VALLEY ‘am an improviser. I start with a riff, or melody. and build off that. lHere I play solo, then I alternate melody with chords and finally, the band sets in, and I pick my Shure 57, put the Tube on “High Distortion" and... 11 Played the Good Morning riff as a fill between the vocals I id2b2d (x2) _V_ 4d 4b 3d 4b 4d (x2) I___IV_ 1-4b tb (3d2d 2b 2d) V-E id 2b 2d 2 Played the melody behind vocals. Works best under controlled conditions. '3. Blues scale down from 9 blow to express the chord progression. T.9b 9d 8b 8d 7d 6d 6b 5d 5b 4d 4b 3d 2d V (REPEAT ABOVE ) 4d (Ad 4b 3d 4d) I 9b 9d Bb 8d 7d 6d 6b 5d 5b 4d IV1- 4b 4d 4b 3d 4b 4d 4d 4b 3d 4d V id 2d**2d 3d** 3d 3d** §=— 2d 4. Melody and improvised fills. Heavy tight cupping as I play fills to my own melody. The particularly gritty tone parts are where T employ the ‘tongue-blocking octave techniques. 5. 4 draw Surprise repeated to express I-IV-V chord progression. 4d 4b 3d 3x 4d V 4d 4b 3d 4d_ 3x repeat 19 down to 1-4b «None return to melody 6. build a theme on the 3 blow Jazz Up.STRAIGHT HARP INTO CROSS HARP Ifa Straight Harp song uses this note Turn straight harp traditionals into cross harp rackers ona diatonic harmonica with this simple transposition chart. Grab a pen Jand pencil and do a little transposing. Use one of these notes to play it Cross Harp 2d 3b 6b 9b 25d 3b-6b _6b-9b 3d"* 6d 2b 5b 8b 3d 7d 9d 5d pat 2d 3b Gb 9b 1b 4b 7b 10b 1d 4d 8d 1-4d 4-80 2b 5b 8b 2d"* Sd 9d flatted 7thRE FROM JON | Gindick has been playing harmonica since 1965 publishing harmonica books since 1977. Each of Jahese great products represent the finest in festrumental instruction. Order today! IRMONICA AMERICANA "6 page book and 2 CD package for beginners. America's greatest 30 songs STRAIGHT HARP. $24.95, KN BLUES HARMONICA IBook and CD The new bible of the blues harmonica Hor beginners and intermediates. $19.95 Available from your local book or music ‘Store or at WWW.Gindick.com Or call us at 1-800-646-9245Sa ge ea ce lel Cee wi Side Dae ae 7 on ee eg ae ee eed ae a "