WORKBOOK

PATHWAYS FOR THE BEGINNER

CHROMATIC HARMONICA MUSICIAN
WELCOME This workbook is a practical guide for
beginner chromatic harmonica players
who want to improve their skills and learn
new melodies. It’s not a replacement for
more advanced online curriculums, but it’ll
get you ready for them.

This workbook should be especially useful

for diatonic harmonica players who have
been learning melodies by ear, who are
beginners with music theory, and who
want to leverage the chromatic harmonica
to help them grow as musicians.

After you finish this ebook and all the

linked resources, you’ll be playing simple
melodies directly from music notation and
transcribing performances of your favorite
musical artists.

I hope this guidance will help you get

started on your mastery journey as a new
chromatic harmonica musician. Integral to
this workbook are links to videos and
practice flashcards to get you to the finish
line. You will also need the free application
MuseScore Studio.

Keith Mitchell
 WORKBOOK INTRODUCTION
This approach is great for absolute
beginners; it’s simpler than most books or
online lessons. It gently introduces music
theory and key terms so the note layout of
the chromatic starts to make sense.

There’s no harmonica tab here; instead,

you’ll learn to truly understand where each
note lives.

The focus is on learning by note names; it’s

a powerful way to build musical skill.
You’ll read regular music notation, but with
the note names written right above to help.
The workbook is packed with helpful
media: videos, graphics, flashcards, and
smart software tools.

What is unique about this curriculum ?

Listening as a great way to start
No use of tab, note name focus
Introduction
Focused on learning note layout
Supporting Video and Flashcards
Use of Pitch Monitor
Use of music notation tools (MuseScore)
Foundation in music theory and
terminology required to understand note
layout
Instrument selection advice
 YOUR AUTHOR
This workbook is the
guide I wish I had when I
first picked up the
chromatic harmonica.

Keith Mitchell

Keith Mitchell, PhD, is your author, tutor, and partner in getting a good start with
your new chromatic harmonica. Dr. Mitchell is the host of the Gospel Harmonica
Facebook Group and a companion Facebook group for this workbook called
Beginner’s Path for the Chromatic Harmonica.

Dr. Mitchell’s PhD had a focus on educational technology, and he is an advocate

for using technology to master the chromatic harmonica with multiple
presentations at SPAH on the topic. He authored this resource page to help
others explore software for mastering the chromatic:
Software Tools for Mastering New Melodies.

He is not an advanced musician but rather an educator sharing some of the

tools and methods that are working for him as a beginner. Dr. Mitchell is retired
with careers at Apple Computer, the Texas Education Agency, and the
University of Texas at Austin. He is currently a professional photographer.

www.KeithMitchell.Photography | Keithm@mac.com
@keithmitchell.photography
 Survey Performance Exemplars!
TABLE OF CONTENTS 01
Want to learn how to play an instrument like a pro? Start by watching seasoned
musicians use the chromatic to make music. It’ll inspire you and set your
musical goals high!

Selecting Your First Chromatic Harmonica

02 Chromatic Harmonica vary in pitch range and key focus. Understand and
research before purchasing.

Foundational Music Theory Concepts.

03
While it’s possible to play many melodies without knowing much about
music theory, that would be a shame. The chromatic harmonica is an
excellent instrument for beginners to learn music theory on. Understanding
the basic theory of your instrument will not only enhance your playing skills
for the Workbook

but also enable you to communicate effectively with other musicians.

Note Layout for the Chromatic

04 Once you learn some music theory lingo, we will use it to help you learn
where every note is on your instrument. We’ll skip the tab stuff and focus on
the note names. We’ll share handy diagrams of note locations and turn
them into flashcards that you can use to memorize note locations.

Playing Scales by Note Name

05
Put your knowledge of note location to work playing scales in various keys
given just the note names. Scales provide a great context for learning to
navigate your instrument.

Playing Melodies From Notation

06 Play some simple melodies directly from music notation with note names
displayed above each staff. This will require the free application MuseScore
from MuseScore.org
 SURVEY CHROMATIC
STYLES & MUSICIANS

MODULE 1
Antonio Serrano
Begin your journey with the chromatic harmonica by exploring the music it creates. Listening to
a variety of genres, like blues, jazz, classical, and pop, will help you discover what excites you
and guide your learning path. This exploration will impact your instrument choices and also fuel
your motivation to practice. Following is a short list of players who’ve inspired me, but it’s just a
starting point. Use platforms like YouTube, Instagram, and Spotify to dive into the rich world of
chromatic harmonica artists, and don’t hesitate to search beyond my list.
Module 1

MY LISTENING DIARY
Toots Thieleman
Three Views of a Secret
Antonio Serrano
I Got Rhythm
Kamar Bayat
Pink Panther
Yesterday
Derek Donovan
The First Time I Saw Your Face
Jerry Murad's Harmonicats 1957
Oh You Beautiful Doll
Jang Li
Always and Forever
Firefly
Tommy Reilly
Harmonica Parisien
Shima Kobayashi
Golden Girl
Tomer Makiyes (Artomer)
Schindler’s List
Boao Liu
Donna Lee in all 12 keys
Chris Bauer
Autumn Leaves
Misty
Filip Jers
Misty
Stardust
Trubbel
Ashay Kumar
Tu Tu Hai Wahi - theme improvisation in Cm
Will Galison
God Bless the Child
When I Think of You
Rei Yamashita
When I Think of You
Scarborough Fair
Boris Plotnikov
This Masquerade
Jack Henry (2:21)
Que Reste-T-Il De N08 Amous

Featured to the left are some of my favorite artists who take

the time to educate new Chromatic Players. Filip Jers, Ross Walters, Yvonnick Prene, and Chris Bauer
Module 1

MY LISTENING DIARY
Monica J
My Heart Will Go On
JDR Harmonica
Beauty and the Beast
Pat Levett
Isn’t She Lovely
Philip Achille
Bach - Air on the G String
Aiden N Evelyn
Señorita
Cy Leo
Misty
Sean Costello
50 Shades of Blues
Sanggyun Kim
Ben
Hoang Yen HA
Anitra’s Dance
Jason Keene
SummerTime
Yvonnick Prene
Jobim’s World
Risa Minima
Summertime
Yoonseok Lee
Moonlight
yuanmao wang
Arpeggione Sonata in A minor
Sandy Weltman
Stardust

Each one of the artists has many performances online

to inspire you. Just search for their names on Youtube,
Instagram, Spotify, etc.

Additional Harmonica conferences such as

SPAH
and
The Harmonica FEN Festival
Have great performance content to explore.
 SELECTING YOUR FIRST
CHROMATIC HARMONICA

MODULE 2
If you’re thinking about getting your first chromatic harmonica or adding more
instruments to your collection, this section might be helpful. I don’t have one of every
model, so take my advice with a pinch of salt. But I’ve played a few, and I can share
some basic ideas about note range, valves, and my personal experiences. In a nutshell,
I recommend beginners purchase a 12-hole chromatic in the key of C costing $100 or
higher.
Module 2

SELECTING YOUR FIRST CHROMATIC

Almost everyone agrees that your first

First Chromatic
chromatic harmonica should be a 12-hole
C chromatic.

Chromatic harmonicas vary in the number

of holes (available notes), keys, and
whether they have no valves, are partially
valved, or fully valved. Prices can range Almost everyone agrees that your
from sixty dollars to over a thousand
first Chromatic Harmonica should be
dollars, depending on the brand and
model.
a 12 hole C Chromatic. Harmonica

My Experience So, while I’m not against beginners starting

It’s hard to find agreement on the best with a low cost instrument to make sure
they’re interested, I recommend a
instrument to invest in, but I’ll share my
professional-grade instrument as soon as it
experience. I started with a very low-cost
makes sense for your interests and budget.
12-hole harmonica that was fully valved.
The top few holes barely played, and the
valves were a pain to keep working. These
instruments cost around $65.

Eventually, I decided to buy the same

instrument that several of my favorite
online performers and educators were
using. Now I have two instruments that
cost around $300 to $400. They’re
reliable, have a wider range of notes,
sound great, and the valves rarely stick.
Module 2

SELECTING YOUR FIRST CHROMATIC

Key and Note Range

It is useful to understand the most poplar key and note ranges before purchasing.
Most people begin with a 12 hole key of C chromatic. The resources available to
support your learning will be deepest with this key and basic music theory easier
to attain. The 12 hole harp is easier to handle and popular with many advanced
musicians. Options for note range as your grow in experience:

10 hole solo tuned (JDR Trochilus Solo Tuned) 2.5 octave

12 hole - 48 notes - 3 octaves typically C4-D7
12 hole Orchestra Tuned - 48 notes - 3 Octaves - G3 - F6, such as the
Seydel Saxony
14 hole - 56 notes - 3.5 octaves - G3 - D7 (Suzuki SCX-56, my favorite)
16 hole - 64 notes - 4 full octaves (I am still researching for my choice.
Until and if you are playing classical
music, it is rare for beginners to
need a 16 hole harp. A 12 hole
instrument is probably the most
common and is nice that it is small
enough to wrap your hand around
it.
Many outstanding chromatic players
have excelled with a 12 hole harp.
Eventually you will want to own at
least a 14 hole instrument. Many of
the professionals I follow prefer this
size and their performances I want
Figure 01
to master often require this note
range. G3-D7
Module 2

SELECTING YOUR FIRST CHROMATIC

Where to Purchase
I recommend you purchase your chromatic from an online source that has a real
person you can talk to for your instrument selection. The three that I have
purchased from are:
Ron Hobdy at RockinRonsMusic.com and
George Miklas at HarmonicaGallery.com
Greg Jones at 16:23 Harmonicas
Each of these gentlemen can also make sure you have a way to have your
instrument serviced when needed. Spend some time researching what online
reviews have to say about different brands and models.

It is a moving target, but right now I am recommending beginners who are budget
constrained start with the JDR GM648. That is not because it is necessarily the
best choice, but because I purchased one after Ron at Rocking Rons told me it
was an excellent instrument for the money for beginners.

https://tinyurl.com/chromaticgm648

The GM648 I received is very responsive and plays well from the lowest to the
highest note! It was about $100. When you get to the $350 - $500 range, you
are looking at truly professional instruments, but most beginners do not start
there. In this range I own a 16 hole Suzuki SCX-56 and 12 hole Orchestra tuned
Seydel Saxony.

If you fall in love with chromatic you will eventually have several instruments,
probably with varied with the number of octaves. Almost all online instruction
assumes a 12 hole C chromatic.
 MUSIC THEORY FOR
BEGINNERS

MODULE 3
Fear not, this is mostly the vocabulary and basic concepts required to help you make sense of
the note layout on your instrument. When we say something like play a G#, you will know what
to do! It may seem strange to tackle this before starting to play, but note layout is king for
making progress as a musician. I am not against tab, but I decided and recommend beginners
on the chromatic skip over this way of thinking about music.
Module 3
MUSIC THEORY
Why Music Theory

Music Theory If you’ve mastered playing diatonic harmonica

by ear, you might be wondering why bother
with theory now. I get it; I learned diatonic the
same way. But here’s the thing: the chromatic
harp makes basic music theory a breeze
compared to the diatonic.

The 12-hole chromatic harmonica gives you access to 48 different reeds; 12 pitch
classes across three octaves, some by blowing, some by drawing, and others by
adding the slide. And of course, one instrument provides twelve keys. A solid grasp of
basic music theory will help you:

Understand the note layout of your instrument.

Make efficient choices when playing faster phrases.
Communicate clearly with other musicians.
Read and eventually perform from sheet music.

What Is Pitch? Understanding the Building Blocks of Music

Sound is vibration, and music is made from specific pitches; vibrations our ears
recognize as musical notes. The frequency or cycles per second (Hz) of these
vibrations differentiate pitches. Thank goodness, we don’t think of musical notes in
terms of their frequency. We assign them alphabet names beginning with 440 Hz,
which is labeled “A.”

The selection of specific pitches to use in our music is not random. The collections of
pitches used in music follow patterns that humans across cultures have found pleasing
and practical. (see link below) Musical pitch is the quality of a sound that determines
how high or low it is perceived. It corresponds to the frequency of vibration of the
sound wave. Higher frequency equates to a higher pitch.

We sometimes talk about “Pitch Class.” All the Cs on a piano are not the same
frequency, but they are in the same pitch class. On your chromatic, as you move from
left to right, the note pitches increase and get higher.

Musical pitch is the quality of a sound that

determines how high or low it is perceived.
Module 3
MUSIC THEORY
The Octave: Nature’s Repeating Pattern
The octave is a fundamental musical concept. When you double a pitch’s frequency, you
reach the same alphabet note in the next register, an octave higher. For example, the
note A (440 Hz) becomes A (880 Hz) an octave up.

Notes an octave apart sound similar and harmonize well. We often include a number to
indicate which octave a pitch is in. Middle C on the piano is “spelled” C4, indicating it is
in the 4th octave on a piano.

Your 12 hole chromatic starts at C4 on the piano and the C is the same frequency as
middle C on a piano. In music, an octave is the interval between two notes where one
has twice the frequency of the other, making them sound like higher or lower versions of
the same pitch. The standard 12 hole chromatic has three repeated 12 note octaves.

When you start playing scales or melodies, you will find you can try them in multiple
octaves using the same blow/draw patterns to see which sounds best to you. When
you start playing scales or melodies, you will find you can try them in multiple octaves
using the same blow/draw patterns to see which sounds best to you.

In music, an octave is the interval between

two notes where one has twice the frequency
of the other, making them sound like higher
or lower versions of the same pitch.
Module 3
MUSIC THEORY
The Chromatic Scale: All 12 Notes
Western music divides each octave into 12 equal parts, called the chromatic scale. The
story behind why the 12 pitches were chosen is a fascinating one, but we won’t be able
to cover it all here. However, I highly recommend checking out these three videos;
they’re really informative and interesting!

1. Why are there 12 notes in the Western scale?

2. Why are there 12 notes in the Western scale?
3. What are there 12 notes in the Western scale?

The term “chromatic scale” in this context specifies all the notes in the Western
musical system. The term “scale” is a selection of notes with a specific interval
pattern. For the Chromatic scale, each interval is one half step (or semitone) apart.
The term step is somewhat arbitrary, but it is a lot more convenient that talking about
intervals in terms of frequency! A step is 1/12th of an octave.

Figure 02

From this full set of pitches, musicians choose smaller sets that form the basis of
melodies and chords. These smaller sets can be grouped as “keys,” which usually
include seven notes organized around a tonal center.

The numbers in this graphic are just the number of notes and are not related to hole
numbers on the chromatic harmonica. We started with the note A in this example, but
any 12 notes in alphabetical order from this same set would be called a chromatic
scale. Here is a chromatic scale beginning with the note C.

C C# D D# E F F# G G# A A# B

A chromatic scale is listed sequentially from lowest pitch to highest pitch in one
octave.
Module 3
MUSIC THEORY
The Musical Alphabet
Musicians use just seven letters, A through G, to label notes. But to cover all 12 notes in
the chromatic scale, we add symbols:

♯ ♯
Sharp ( ): raises a note one half step (e.g., C → C )
♭ ♭
Flat ( ): lowers a note one half step (e.g., D → D )

We only use 7 note letter names (A to G) because the notation system evolved from 7-
note scales. Early Western music was often about singable 7 note scales. The
remaining 5 notes are modifiers of those 7, labeled with sharps and flats, not new
letters.

Half Steps and Whole Steps

A half step is the smallest movement in our 12-note chromatic scale.
Examples: A→A#, E → F, B → C
A whole step equals two half steps.
♯
Example: C → D (C to C is one half step, then C# to D is another half step)
Reference Figure 03 below.

If you don’t count embellishment bends on the chromatic, it is also true that the
smallest interval on your chromatic is a half step. Pressing the slide, whether blowing
or drawing results in a half step rise in pitch.

These steps (intervals) form the basis for all scales and chords.
Understand that all 12 notes from the chromatic scale are in half step intervals.

This means from C to D is 2 half steps or a whole step. Reference Figure 03. E to F
is one half step. B to C is one half step. You don’t need to spend a lot of time learning
the entire chromatic scale, since most music is built from smaller sets of notes found in
familiar scales like major, minor, and others.

Figure 03

Any adjacent note in the chromatic scale is one half step away. Whole steps always skip
a note (A to B)
Module 3
MUSIC THEORY
Enharmonic Equivalent Notes
♯ ♭
Sometimes, the same pitch can be spelled two ways (e.g., G = A ). These are called
enharmonic equivalents. You will need to memorize these equivalences. (Figure 04)

Figure04

Assignment

Click HERE to access the flashcard to show mastery of the chromatic scale as well
as half and whole step concepts..

Musical Keys
A key in music is like the color palette of a painting. A key defines the main “color”
(tonic) and the set of related “shades” (notes) the artist (composer) will mostly use,
creating a unified mood or theme. This constraint creates unity and gives the music (or
painting) a coherent feeling.

Diatonic Scales (subsets of the chromatic scale)

A scale is defined by a specific pattern of intervals (the distance between notes), and
different types of scales produce different musical moods or characteristics. Though
the chromatic scale has 12 notes, most Western melodies are derived from 7-note
scales, called diatonic scales.

This would include major and minor scales in all 12 keys. Other scales have fewer
notes, but are still related to diatonic scales. Examples include pentatonic and blues
scales. The scale type is defined by the pattern of half and whole steps.
Refer back to Figure 04 to see why the following patterns are true.

Major Scale Pattern (e.g., C Major):

Whole – Whole – Half – Whole – Whole – Whole – Half
C–D–E–F–G–A–B–C

Natural Minor Scale Pattern (e.g., A Minor):

Whole – Half – Whole – Whole – Half – Whole – Whole
A–B–C–D–E–F–G–A
Module 3
MUSIC THEORY
Why the Piano Helps (Even If You’re Not Playing One)
The piano layout makes the chromatic and subset scales physically visible. Each key
on a piano is a half step apart; white and black keys alike. The visual structure is
especially helpful when learning:

Scales
Whole and half step patterns
Enharmonic equivalents

Figure04

Comparing Music to Color

Issac Newton was one of the first to compare music to color. Figure 5 is one way to
think of the terms Chromatic Scale, Key, and Diatonic Major Scales.
Newton picked 7 colors from the rainbow spectrum as he saw it from a prism and
compared to the 7 note music scale.

Figure 05
 THE NOTE LAYOUT
OF THE CHROMATIC

MODULE 4
Learn the note layout for your instrument. The basic C chromatic has twelve holes, 48
notes arranged in three repeated octaves using “solo” tuning. While chords are possible,
the layout is optimized for single-line note playing. The term “solo” may also contrast the
Richter tuning for the diatonic harmonica, which supports both melody and chords.
Module 4
NOTE LAYOUT
Using a Pitch Monitor
Great news! From now on, we’ll be assigning you
actual “playing” assignments. To help you get a
Pitch Monitor
feel for the note layout on your instrument, we’ll
start playing while using a pitch monitor. When
you’re first learning the note layout on the
chromatic, it can be really helpful to use a “pitch”
measurement tool on your computer or mobile
device.

These are often called “vocal” pitch monitors, as they help singers know they are
hitting the pitch correctly. You could use any chromatic tuner software, but I have
found the vocal pitch monitors to display the pitch very quickly. While guitar tuner may
show pitches, they often are not “chromatic” and do not show all the pitches in the
chromatic scale.

In the Resource page at the end of the workbook, I have links for software pitch
monitors I have used successfully on both computer and mobile devices. Very
quickly, you will find you do not need the pitch monitor as you will soon know the
physical position of the note and interval spacing from the first C. But until you reach
that stage, the pitch monitor gives you visual feedback as to the notes you are
playing.

These tools are available as Mac, IOS, Windows, and Android. But are also available as
web browser based tools. They are responsive enough to check single notes but not
fast enough to show all notes as you play phrases or melodies. My preference as a
Mac app is “Vocal Lab” and for IOS “OnPitch.”

I haven’t found one that gives me control over how enharmonic equivalents are
displayed. A# will often be displayed as Bb. D# might be displayed as Eb.

Figure 06
Module 4
NOTE LAYOUT

Figure 07
The Natural Notes
Let's forget the slide notes for a moment. Figure 7,
above, is the note layout of a 12-hole chromatic
The Natural Notes
harmonica. Notice that the 12-hole chromatic offers
three octaves. The blow and draw pattern for each
octave is the same and is identical to that of a
diatonic harmonica between holes 4 and 7.
Displayed in Figure 7 are the “natural” notes, those
notes that are not “sharped” or “flatted.”

Note there are two adjacent C notes separating each octave.

By repeating the note C, this layout allows you to maintain the same blow/draw
pattern for any phrase regardless of octave. It does mean that you need to
consciously decide which of the two blow Cs is more efficient for any given musical
phrase. (It will quickly become subconscious.) Each vertical pair indicates the pitches
possible in a single whole. Each vertical pair indicates the pitches possible in a single
whole, G and A are in the same whole.

Assignment

Using your pitch tool to check for accuracy, blowing on hole one which should give
you C4, meaning the first C in the 4th piano octave. Now draw on the first hole and
you get the note D.

Playing from Note Names

As we mentioned in the introduction content and video for the workbook, our goal is
to be able to play from note names. By this, I mean, if you are asked to play a G, you
should be able to do that in as many octaves as your instrument offers. Be sure to
watch the chapter introduction video to understand where you are going with the
following exercises.
Module 4
NOTE LAYOUT
Learning the Natural Notes on Your Chromatic
Let’s begin by exploring and playing the natural notes in the first octave; the notes
you can play without using the slide. Instead of focusing on which hole plays what, I
want you to get a feel for where the eight natural notes live and how they connect.
This understanding is key. There are a few diagrams that should become second
nature to you; almost like mental maps. Here’s the first one, along with a short
assignment to help lock it in.

First Octave Natural Notes

Memorize the blow notes in order C E G C
Memorize the draw notes in order D F A B

Figure 08
Assignment
Using your Pitch monitor and looking at figure 8, play the blow notes C E G C in
order from left to right on your harp, checking your pitch with your monitor. Try
them in reverse, C G E C.
Play the draw note sequence: D F A B using your monitor. In reverse B A F D
Randomly pick any of the notes and play it on your chromatic.

I recommend you don’t think of these in terms of hole#, but relative to each other
and relative in the graphic. If I am playing an E and then need to play a G. Remember
in the sequence of blow notes C E G C, I know I need to move one to the right and
continue blowing.

Memorizing the note names of an octave as

vertical pairs will make a huge difference in
your readiness to play from note names!
For example, if you're playing a blow G,
followed by an A, you will know to stay on
the same hole and draw.

Figure 09
Module 4
NOTE LAYOUT
Now Two Octave Natural Notes!
It should be fairly small step to now begin visualizing the diagram in two octaves.
Note the complete octave is repeated resulting in two adjacent Cs. Note where the
vertical pairs of C/D and C/B are relative to each other.

2 Octave Natural

Figure 10

Assignment
Using your pitch monitor play two octaves of the blow notes C E G C E C E G C.
Now try it descending. Which C do we use between the two octaves? Ether will
sound correct but try both and think about which allows you to play smoother. I
play the 2nd C, both ascending and descending.
Play two octaves of the draw notes ascending and descending: D F A B D F A B
and B A F D B A F D

Being able to accurately jump up to an octave note will be at first challenging but fun
to practice. Using your pitch monitor will insure you are practicing correctly. Don’t be
too concerned if you can not do this for now. It will be more natural in the context of
a phrase and a melody such as “Some Where” Over the Rainbow. The first 2 notes are
an octave apart.

Assignment
Practice playing octaves for all the natural notes ascending and descending. C4 -
C5 - C 6 Use the 2nd C when ascending and the first with descending
Repeat for the other notes
Challenge: Given any natural note name A-G, (non slide) and the octave, play that
note! Until you can do that, do not proceed.

Your harmonica’s not a mystery; it’s a map.

Learn the streets!
Module 4
NOTE LAYOUT
Nope Pairs in Music Notation

Two Octave Flashcard Practice

It is critical before proceeding that you have learned the position of all the natural
notes in the first two octaves by memory. We now want to practice being able to play
any of these notes quickly given the note name. I have prepared a flash card to help.

Figure 11

Assignment

Click HERE to access the flashcard for practicing natural notes in 2 octaves.
Module 4
NOTE LAYOUT
Note Layout Including Accidentals (with slide)
It is now time to expand our study of the note layout to include those notes that are
accessed by using the slide! As figure 12 below shows, this will add the flats and
sharps plus a few alternate ways to play two of the natural notes (C and F). These are
call “accidental” notes as opposed to the “normal” notes A-G.

Figure 12
The slide raises any note by a half step. Look at Figure 12. The slide raises
both blow and draw notes by a half step. Study the graphic to
understand why the following two statements are true:

Blow C + Slide = C ♯ (the # means one half step above the C)

Draw F + Slide = F# (the # means one half step above F)
Blow E + Slide = F (according to the chromatic scale, F is one half step above E)
Draw B + Slide = C (according to the chromatic scale, C is one half step above B)

Do you need to memorize where all the slide notes are? Not really. After you know
the location of all of the natural notes in the first octave, then you already know all
the slide notes. (Accidental notes are those that are sharped or flatted.) If a melody
calls for a G#, then just play a G with the slide in. D#, just play a D with the slide. ie #
means press the slide!

There are 2 complications. First, often music notation will ask you to play notes
marked with flats, not sharps. For example, B flat. We call these “enharmonic
equivalents” in our music theory module. Anytime a note is given with the flat
spelling, you need to be able to know its sharp counterpart. Ie B flat = A#, so just
play an A with the slide in. In our first practice below using the slide notes, we will
assume every note is “spelled” with a sharp. The 2nd issue to deal with is the
alternate methods of playing C and F, explained in the following section.

Assignment

Click HERE to access the flashcard for practicing notes with slide.
Module 4
NOTE LAYOUT
Alternate Cs and Fs
Normally, a C is a blow note and an F is a draw note, but we have some alternative
ways to play both notes. Since pressing the slide raises any note by one half step,
then playing a draw B with the slide it give you an alternate way to play a C. Playing a
Blow E with the slide in gives you an alternate way to play the note F.

Blow E + Slide = F (the alternate F)

Draw B + Slide = C (an Alternate C)

I have seen some Chromatic players think of the alternate F as an E#. If you write it
that way, it obvious to play an E with the slide in. And of course C can be written as
B#. If I were transcribing, this would be an easy way to show my plan of when to play
the alternate versions.

Knowing when to use an alternate version (e.g., blow vs. draw) is crucial for smooth,
fast phrasing. Personally, I found that mastering these alternates first made sense to
me while learning to play scales across multiple octaves.

Practicing the Alternate C

Here ere is the C major scale across two octaves:

C, D, E, F, G A, B, C, D E, F, G, A, B, C

Assignment
Use the graphic below to play this phrase first with no alternative Cs and then again
but with the alternates. Play all the notes paying attention to the C options. Now play
the scale descending both ways.
Blow C, D, E, F, G, A, B, blow 2nd C, D, E, F, G, A, B, blow C
Blow C, D, E, F, G, A, B, draw B+slide, D, E, F, G, A,B, blow C

Normal & Alternate Cs

Module 4
NOTE LAYOUT
Practicing the Alternate F
Now try the F Major in two octaves both ascending and descending. Use
Figure 14 to assist. Note the scale has a Bb which is an A#.

F,G,A,Bb,C,D,E,F,G,A,Bb,C,D,E,F

Do you see why a Bb is used rather that an A#? That will prevent there being two
notes both spelled with the “A.”

Assignment
Use Figure 14 to play this phrase, first with no alternative C or F and then again but
with the alternates. Play all the notes paying attention to the F options. Now play the
scale descending both ways. Continue to try the alternative C.

Figure 14, the Note F

All the scales that use an F# or C#, will not have use of the alternate versions of the
C or F. C# will always be a Blow +slide. F#, will always be a Draw F+slide.
When we get to the module covering playing from notation, we will look at the
through process for choosing alternates based on efficiency when learning a new
phrase.
 PLAYING SCALES BY
NOTE NAME

MODULE 5
Personally, I found practicing scales an excellent opportunity to really master navigation of the
chromatic harmonica for a beginner. You not only get excellent practice at playing from note
names but scales will provide a context for thinking playing alternate C and F. Finally, scales
will put your knowledge of playing accidental notes as needed. While we will be playing from
note names, your eventual goal will to have at least some of the scales memorized.
Module 5
NOTE LAYOUT

Playing Scales on Your Chromatic

Now that we’ve identified the positions of the notes
from the chromatic scale on our chromatic
Playing Scales
harmonica, we’re ready to begin learning to play
scales in specific keys. I have found scales an
excellent way to re-inforce your knowledge of note
positions and navigation of your instrument.

As we discussed, there are different types of scales such as Major, Minor, Pentatonic,
Blues, etc. But they are made up of notes you now know how to play. Almost all
chromatic harmonica instructors will advise you to learn to play scales. The experience
can be an important part of learning to navigate the note layout on your chromatic.

We have explained the concept of “alternative” methods of playing in C and F. Scales

will give you a context to put the concepts to work and help you to think about which
alternate works best to both ascend up a scale and down the scale. Additionally, as you
play across the adjacent Cs. Playing scales will let you think within this context which C is
most efficient to use. Playing multiple octaves will be a part of this experience.

For now, we will stick to a few of the major scales. In the resources section of this
workbook, I’ll provide a spreadsheet with all the major scales displayed as both notation
and note names.

Using your Pitch tool to check for accuracy, play the following major scales in one octave,
both ascending and descending. Along with adding the octave, I have added one note
beyond the octave. As Ross Walters explained to me, this will help when you play across
multiple

Exercise

C C, D, E, F, G, A, B, C, D Play the 2nd C both ascending and descending

D D, E, F#, G, A, B, C#,D,E
F F, G, A, Bb, C, D, E,F,G Remember Bb = A#. Play the alternate C following the Bb
G G, A, B, C, D, E, F#,G,A Play the Alternate C as a draw slide B
Bb Bb, C, D, Eb, F, G, A,Bb,C Play the Alternate C as a draw slide B
Module 5
NOTE LAYOUT
To be blunt, you need to play these babies until the are ingrained in your mind and
take very little effort. Once you can play them while looking at the note names, learn
each by memory! Now, you guessed, try them at least two octaves up and down! it is
fun!

Exercise

C C, D, E, F, G, A, B, C, D, E, F, G, A, B, C
D D, E, F#, G, A, B, C#,D,E,F#, G, A, B, C#,D
F F, G, A, Bb, C, D, E,F,G,F, G, A, Bb, C, D, E,F
G G, A, B, C, D, E, F#,G,A,B, C, D, E, F#,G
Bb Bb, C, D, Eb, F, G, A,Bb,C,D, Eb, F, G, A,Bb

If you look at these specific scales, you will note the most used flatted notes are Bb
and Eb. While you could plan on just “remembering” the equivalent sharp note, you
will eventually want to memorize where the flatted notes are on your harp.

I have prepared a spreadsheet that includes the note names of all the major scales. I
also added a link to a backing track that you can practice your scales over. Find that
spreadsheet on the resource page.

Layout With Both Sharps and Flats

 PLAYING MELODIES
FROM NOTATION

MODULE 6
This module will assume you have MuseScore Studio install on your PC or Mac (not mobile
version. We will provide you with download links for specific melodies with everything setup. All
you will need are few basic skills such as looping phrases, changing the tempo, and using the
mixer to control volue of accompaniment and lead melody parts.
Module 6
MELODIES FROM NOTATION

Playing from Notation

While some harmonica players rely on tab
(which hole, blow/draw, slide in/out), our goal is
to eventually play from standard music
notation.

Imagine the doors that will open when you can

look at a piece of music notation and quickly
learn a new melody. This will require not only
that you see a note on the staff and know its
name, but that you also know where it is on
your instrument.

You can actually have that skill in short order!

Harmonica tab is useful only until you have learned the note layout on your
instrument. You can be a real musician with just a little guidance, playing by note
names not holes. Music educators often use what we can call scaffolding to help
learners ease into a skill. We will do that for the notation we share in the workbook,
by showing you the note names above each note. But the end goal is to look at the
notation and know the note names based on the notes postion on the staff.

Think like a pianist: they don’t count keys; they recognize notes relative to each
other.

To reach that level of expertise:

Memorize note names and their locations on your harmonica

Practice identifying notes on the staff
Drill with flash cards or apps until you know them cold

Play From Notation

Module 6
NOTE LAYOUT
MuseScore Studio

In this workbook and in the community I will be

giving assignments and resources that require
you install MuseScore Studio. MuseScore
Studio (previously just called “MuseScore”) is a
free, open-source music notation software for
creating, editing, and playing sheet music.

When you visit the download page at

MuseScore.org, you will be given two options
for the free download. The first, will install
“MuseHub” which includes MuseScore Studio
and Muse Sounds.

Personally, I chose to just download the application without the upgraded sounds.
MuseHub takes an additional 15gb of hard drive space and the included better
quality sound will not impact our use. If you have the space go for it, otherwise, click
the link titled:
Download MuseScore Studio without MuseHub. The download page is located here.

While the MuseScore Studio application is free, there is an optional MuseScore

community which has a yearly subscription fee. I have a subscription and will share
some MuseScore files as download links for all workbook and community
assignments. So don’t feel you have to subscribe to the community. The benefit is
that you can do your own searches for songs that you personally would like to learn.
You can subscribe to MuseScore community here.

MuseScore Studio Introduction

MuseScore Intro MuseScore Studio as we will be using it from the
workbook will act as a MIDI melody player. I will
provide with you with a downloadable file that will
open in MuseScore Studio ready to play. It will
display the notation for the melody along with the
note names displayed above. Watch this video to
see it in action. Use the + - buttons bottom right
to zoom the page size.
Module 6
NOTE LAYOUT
Note Identification on the Musical Staff
YouTube, the web, and books do a good job of covering how to know the pitch of a
note based on its location on a musical staff. I will not be covering these skills in the
workbook. For our purposes as chromatic harmonica beginners, we are most
interested in the treble cleft and knowing notes from C4 to D7. That means the C
beginning the 4th octave on a piano up to the D of the 7th octave. I have a 14-hole
harmonica which has a low note of G3.

Begin your journey of playing from notation by watching some of the following
YouTube-based tutorials on learning note names on the musical staff.

How to Read Musical Notes on the Treble Cleft by Joshua Mitrado

Joshua introduces the mnemonics: F A C E for spaces, and Every Good Boy Does
Fine for lines.

How to Read Notes Fast - The Landmark System by Musicians Inspired

This tutorial covers learning the note names on both the bass clef and the treble clef
and claims you only need to memorize 3 notes positions on the treble clef and the
fact that the notes are in alphabetical order.

Search Youtube for “Learning the notes on a treble clef” and you will find many more
tutorials ! The following graphic will show you the all the notes available for the 14
and 12 hole chromatic.

And of course there is an app for this. Here Is one I have tried for $2.00 Notes
Teacher The Recommended book for the workbook also will teach you notation
reading: Complete Chromatic Harmonica Method by Phil Duncan.

The Complete Chromatic Harmonica Method is

the textbook that I expect to reference in the
community. Phil introduces notation and note
layout simultaneously and interestingly begins
with learning notes in the 2nd octave. This
makes sense, as new chromatic players often
have trouble with the first octave until they are
more experienced with the instrument.
You can purchase this text on Amazon in print
or Kindle versions.
Module 6
NOTE LAYOUT
Playing a Melody Using Note Names

II’ll be giving you some MuseScore-presented melodies. In the Facebook group, I’ll
be sharing “how-to” videos that help you do things transpose to another key, add
note names, and even enter a melody or scale on a blank staff. For the purposes of
getting you started, as our introduction video demonstrated, you just need to open
the melody, set the tempo, and add looping points and hit the play button.

Playing from note names with a MIDI playback of the melody will get you temporarily
around two fundamentals of playing from sheet music. First, you don’t have to be
able to sight-read the rhythm initially from the music since you will be playing along
with the melody. In effect, you will be learning the rhythm playing by ear using the
notation as a visual cue. Second, you will be getting around “knowing” how to play
flatted or sharped notes from the notation from the key signature, since the note
name will be displayed. As an example, if the song is in Bb, you would otherwise
need to know that all “Es” need to be played as an Eb and all “Bs” must be played
as a Bb. To help you get started, I’ll display both the melody key and the major scale
notes for any of the MuseScore files I have posted.

So that I get to continue my retirement, the files I share will be old enough so that
they are not copyrighted. But for those that subscribe to the MuseScore community
at $50/year, I’ll demonstrate how to find, download, and make useful over 2 million
uploads!

I will not be covering how to sight read rhythm, there is a good start in Phil Duncan’s
book and I suggest the following videos.

Rhythm Notation - The basics of reading music

Always Count Rhythms Like THIS for Best Accuracy

Complete Guide to Sight Reading Music (not just rhythm)

Module 6
NOTE LAYOUT
Assignments
Put your skills to work playing the following melodies. Until you are sure of yourself
keep your note layout graphics and pitch tool available. Play along with the
Musecore player to help learn the rhythm.

America the Beautiful in F

America the Beautiful in C
American Medley in F & Bb
Old lang Syne in C arranged by Vinogrua
Old lang Syne in G arranged by Vinogrua
Aura Lee Easy in C
Aura Lee Easy in G
Beautiful Dream Two Accordions in D
Bicycle Built for Two in Bb
Bicycle Built for Two n C
House of the Rising Sun in F

The following graphic should be useful in understanding the note range of a 12-hole
chromatic harmonica. The notes in the last octave using above staff “ledger lines”
can be challenging. If you are playing from MuseScore Studio, you can select them
and press the Command down arrow to move them down an octave for easier
reading.

It can be useful to use this graphic to look at where note pairs fall on the staff.
Understanding how note pairs such as CD, EF, fall on the staff will make it easier for
you to know at a glance when movement to a new hole is required.
RESOURCES The journey is yours;
these resources are your
stepping stones.

Join the companion Facebook group for

beginner chromatic harmonica musicians.
Download the free MuseScore Application
Join the MuseScore community by
subscription to download arrangements.
MuseScore Tutorial
Filip Jers Patreon subscription
My Harmonica Studio (Yvonnick Prené)
ChromaticLessons.com by Ross Walters
Chris Bauer Music
Software Tools for Mastering New
Melodies
Slidemeister Chromatic Harmonica Forum
Anytune Pro for the Mac (for looping audio)
Music Transcription at Fiver.com
Vocal Lab Pitch Tool for Mac
On Pitch for IOS devices
Web based pitch tool, any platform
Companion Facebook Group for this
workbook.
Chromatic Harmonica Facebook group
Spreadsheet of Scales to Practice
12 Hole Layout to print
10-12-14-16 hole layout to print(pdf)