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Mel BaY presents

u es Jor vwtonic cuu1 Chrornafic Jlarrnonica By Phil vuncatt

CD CONTENTS

IIJ IT2J 1IIJ @]

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AmaZing GriiU Red Rlvttr V (Pag.es 54 & 55) 01cking should be avoided. Lip blocking, puckering and pursing the lips , as lf t\l whisle, to forro a single hole, ls used almost excluslvely. The llp blocking is made wlthln the mouth or soft tlssue of the mouth, not the outside of the lips. The harmoníca must be inside the outer lips. The outer lips sea! the a ir from escaping around the harmonica. Aim and draw through the harmonica not around it. The muscles used todo this need to be strenghtened to produce the blues style. Only with MUCH practica can this be achieved. In thi s way you can ORAW and BLOW lnto a single hole. Locate hole two , draw and begin to lip block a single tone.

4

BLUES HARMONICA:CROSS HARP DIATONIC

Draw G Scale

C Harmonica

Llp Blocking slze of a pencU eraser Whole Note

WHOLE NOTES

1

11

etc .. .

l-2 - 3-4-

Tap:

1 1 1

j

2

2

l

2

1

1 Blow

Half note 1

@

Llp blocking

,. i 1' Tap:

HALF NOTES

¡

r

lv

V

1 - 2 - 3 - 4

1

cJ = 2 Taps

¡

¡

-

etc ..

4

4

l

4

f

f

1

r r

lf'

1'

4

4

4

4

f

4

f

f

f

f

11

Draw Quarter notes

@

Llp blocking

,. í

e

1

r r

Tap: 4

1

4

4

l l

1r

r r r IJ J r F r r 1

1 e

1 - 2-3-4 -

1 ¡ ¡

¡

4

4

4

4

¡ ¡l l 5

2

f¡

4

4

T T

4

l

2

1 1

11

BLUES FOR CHROMATIC HARMONICA

1

Blow ~~~~~~~~==~~=rh~ SUde out

Lip Blocking J \.....Main Tone To avoid con!usion treat the chromatic harmonica in the "CROSS HARP" fashion using "G" three hole as a starting or "key note ".

Wbole Note

Jo=4

Taps"""

HalfNote

J

4

,. f

Quarter note

e

1

f

.{1 J = 2 Taps 1

J J

1

J )

1

~

JJJJ

-

1 e

11

Tap:

l

f i

f f

fftf

t

Slide Out

,. ®

Tap:

~

11

1

1-2-3-41 1 1 1

V f'

1 •

1

F FF J

j

5

3

1

l-~-~-1-

5

5

5

f

f f

5

5

5

ii ff 6

3

f f

lv f' 5

5

1e 3

f f f

11

Draw Octave Slide Out

®

"d "

,. í

9

Tap:

r 1r r r r 1J J FF IF r

1[

l-~-i-1-

5

1

1 1

5

5

5

5

3

5

!¡¡¡

3 5

5

f t tt

5

5

rr

9

~

3

r

IMPORTANT! Remember: There are no draw "G" notes on the chromatic harmonlca, all "G's " are B LO W only:

G)

,.

9

1

1

9

9

1

9

Chromatic

\

3

3

3

3

Diatonicf2

I 2

I2

I2

1

1

1

7

1

11

All "G's" for the chromatic a re "blow" notes

12 BAR BLUES

®

* Guitar chords *G

,. í

e

1

•e

J

j

1 e

3

3

3

1

JJJJ1

11

3

5

5

5

4

4

4

lv f'

ehromati c 3

Diatonic

f2

¡2 ¡2

,~

*G e

3

3

f2

C ~ eommon time ?. time

ehr. Dia.

,~

., J

1

3

3

f2 ¡ 2

r

J g

f' r, 5

5

4

4

1

3

¡2 f2

r r

5

5

5

5

5

4

4

4

4

4

4

1

f i

j

j

1

1

1

1

1 r

High "G"

,r r

J J 3

f f

3

j

j

1 e

3

3

3

¡2 ¡2

¡2

r r

1

11

1

5

5

1

1

6

6

4

4

1

1

1

1~

5~1

Vi

4 ....._1

l~f

8

J

7

r Ji.zr Fr r 1r

6

6 5

3

t t

~

6 5

6

6

5

5

l t J f

5 4

5

6

4

5

!2

5 4

rr 4

4

3

3

3

¡ f J J 16

5

5 4

4 3

J t l l

r r r 1-r r r r 4 3

3 4

6 5

l l ¡ t

1J

6

6 5

rr1

>

G (I)

F

~-r F

¡ ¡ J i

r F 1J 7

4 3

h

G (I)

D7 (V)

5 4

3

4 3

J t J l

,. r r r r 1f t C (IV )

5 4

>

rr 4 3

5 4

6

5

6

5

¡ f

¡ l J t

4

3

J l

(1 count each) ('Rest"\

r 1J í 6 5

5 4

3

l

J 3

í

1

CHAPTERIII BENDING NOTES You can achieve harmonica blues style through the use of bending notes. This book will explain the techniques and the physical aspect of "bending". But the performer MUST listen to good records and try to copy the sound and musical ideas that professional players obtain. A new harmonica is stüf and you will have trouble bending the sound. But no one that has real! y wanted to produce the blues sound has failed. Using lip blocking (see introduction) DRAW in sharply, drop the jaw a bit, along with the tongue causing the air to dart downward to the floor of the mouth. It is DRAWING the sound through and down with much pressure causes the sound to bend. By reversing the process and returning the mouth, jaw and tongue ba ck to normal position the "bend" sound will restare itself toa normal straight tone. As you practice, your lip muscles will strengthen untll 1t becomes seemingly effortless. Remember, you will need to draw your breath about twice as hard as normal. The chromatic harmonica cannot easily bend a BLOW note. "G" is a blow note, therefore "G" will be played "straight" on the chromatic harmonica.

DIATONIC HOLE 2

The circled number

(DRAW)

Flat = (Bend)

Bend Flat (Lower one half

@

,. i J 2

r

J

1

vÍ J

1aW

2

2

¡

r 17

Means "Bend" step)~ Bend

J vJ J

11 2

1

If you own a wooden harmonica, soaking it will help bending notes because

it seals the edges around the holes and will not allow air to escape. The urethane harmonica (one piece) does not need to be soaked. As you begin to make the note bend you will discover that you can bend the note a little (a half step) or a lot (a whole step, 2 half steps) . Half step G1. /F#

Bend ---...

Whole step

Fq

Actual)

.

es. ....

=11

es.(~............. 1")

11

Bending Hole 2

r·{r. ~j

2

1

After you begin to make the note "bend", you must work to establish a "slide", like a trombone might play. You work to bend or sUde the note down , then let the note slide up to its normal position or sound.

@

,. i

Drop off

es ,,..,

Slide down =11

9 q_,

''·

.-e

-· @2

·-

Connected

Slide up :11

J, ... __J

Separated 1

l. ..... )

2

/

¡;

You must practice this SLIDE until it becomes comfortable. Your lip muscles will get ti red. Stop awhile then try it a gain. Your strength will increase with MUCH practice.

18

11

After the SLIDE becomes comfortable, end the slide with a BLOW note in the same hole (2). This will complete the slide. The chromatic cannot slide.

UP

DOWN

¡;;;:;.,

j

Slid e

Draw

Blow

' í J..... :J

1

w..

Slid e

L.;

=11

l. l ....J

Blow 1

Draw

J. ...J

When you have mastered the complete slide down, then begin to practice the slide up. Now move to hole three (3) and do the same slide practice, down and up. This is a good way to "break in" a new harmonica.

Slide up

Connected

Separated

lt is more düficult to start down and slide up. With practice, however, it will

create control. Hole three is more difficult to bend. It will be easier to bend this note a lot, than just a little. Begin first by bending a whole step, the half step will develop la ter.

19

11

Now tag on the blow note in hole three (3). This will complete tbe slide. Practice this until you master it. Now start with the blow note G, hole 3, and slide up. (set the draw pressure and slowly release) The chromatic harmonica can bend this note, but it is düficult todo so. The chromatic will bend a half step. This is necessary for the blues style for the chromatic harmonica. Do not use the push button on the chromatic!

Down 1

Up

G

r··· .. J

11

J-.4....r

1

J ..... r

:11

Chromatic

4@

3

Diatonic

Hole four (4), draw is next. This hole is only bent one half step. You need not bend it very far. The chromatic can bend this note. DO NOT use the slide (push button) button to get the half step. Remember the chromatic uses hole 5.

@)

,. !

-Bend

es

'· •

Down

1

rs ..(,)

Up

11. · ee

Connected slide Separated slide 1

f?·z·" r

1

r·?-r

When you bend a note you are flating the tone. The symbol is (b).

20

11

As we examine the harmonica , certaln notes are missing, such as such as "A" and "F" also there are no nats or sha rps. Diatonic

1:!2. F or A

No Sharps or Flats

The chromatlc harmonic does not have any missing notes.

l

11

12

Slide out

Also there are s harps

1

89

10llZ

Slide in

These sharps are also nats. Flats and s harps are enharmonic tones. Thls means that G~ and A~ are the same note , also E~ and F natural are the same . Every note has two na mes, either na me is correct: A:! /B~; B!/ C; C' /Db; ~/&; ~ /G';G~ /M .

21

In gaining the use of these sharps and Clats, we discover through bendlng, that a tone or two exísts between the draw notes, such as B and G, between O a nd C, between G and E. We wíll begin with hole two, draw G. When bending thls tone, F sha rp and F naturalis possible.

Lip Blocking

m

@

~~ (!

G~

G

F~

G

J

~w

~w

lq,J .,J

2

f r !

~ ~

IJ 2

1

Bend

same (enharmonic)

11

J

~J

2

! Tf

1

J

1&d

11

2

Next, we use the slide Idea (Se e pages 18. 19 & 20 ) but now we cut off or separate the bending tone (G ~ / fl F~) so that we have three equal and separate tones , up and down. You also can tag the blow note at the end of the short scale. (E)

Separa te

@

~ ....... ~

. ¡J . J ~· (!

2

¡

!

-........ 1

]

~t

~

.~

J

11

J

2

2

f

f

.« ] qr

.~

I~J

~

~

.~

J 2

l

Thls takes a great deal of practlce and concentration. Your lip wlll galn strength with practice and control will establlsh tone separation.

22

11

The same technique works in hole three (3). Again work on s eparating the sUde, but this time there will be four parts.

~-~-~k~-~~-~t

.

W IKI SO A

Slide

A~

HOLE 3

Bend · · .. - . - ,

r-LJ l r~r i Jd le 3

3

11

G3 A A' Bend . . . . . _ • .,

J ,J

1

#J

,J

11 3

3

1

T Remember it is eas!er to bend to the "A" than t he

,.j r

"8~"

SEP ARATE EACH TONE

@

~

f]J

tJ

' 1 f ~ r 3

(ll e

,(li,J ·(J

~

f.

l#r

T~ !

3

f

¡¡.

(l

r

1

e

11

-..

3

1

1

D BEND

@

'#

E!

J 'O 'ÍJ

1~ 1

o1

f ~

1

11

V

F'1'F

1

4

1

1 23

f

-el

v·~v 4

f

!

., r 4

1

2 Counts Rest

1

~

11

CHROMATIC The chromatic harmonica needs only the use of the push button slide to lower the tone. However this does not give the "bending" sound . The circled number means to use the slide (push in), arrow straight.

@

{

,, í J Chromatic 3

l

Slide in

,;

~SIId oi o ~

~"

11

®

r

r

11

bo

1

j

¡j

t

2

4

3

1

1

r

'

11

However when using "draw" notes on the chr omatic ha rmonica, they too, can "bend" in the fashion of blues. Therefore, do not use the slide while playing B to B flat, A to A flat, D to D flat. Use the "bending" technique to achieve this sound, the circled number with the crooked arrow means bend.

CHROMATIC BENDING

®

*'

ir

Chromatic 4

¡

B'

~

1

j 3

l

By

Bend

!,

11

!

r f l ~ 5

24

1

j 1

¡

~nd 11

r

CHROMATIC SCALE on the diatonic harmonica , 10 hole chromatic possiblities 1

/

2

3

Cd Eg Gb

" '' '

f

•

./

i

. •, 1

•

\.

7

4

5

6

Cd

Ef

Ga

'

'•

9

10

EJEJEJ8]

¡

"-

e

"'

Harmonica in C /

•

DOWNWARDCHROMATIC POSSIBLITIES

@

,. e

f

T

6

!

r

,. ,J

¡F ~r 6

5

t r

&j

~

1

1

~w

J

r

5

4

T

l

1 ~J

il ~

j

~

~2

T

t'

1 ~r

f'

~ 1

J

4

3

i

l

& J

......

r ~ 1

2

Ir

'~ 11

1

i UPWARD CHROMATIC POSSIBLITIES

'

T

No E flat No O s har

@>

i ~ 1

,. gJ

1

2

l

i

¡ !

'No E flat

r

1

f' #¡'

No .~ shar~

1 e

~ 1 f f 1 3

4

2/ 3

1f

1

f'

~r

l t #r

f 1 i -~

4

6

5

6

r

@]

-

~

6

1

Attempt the above scales , it will take practice to play them with s kill. But a ll practice will pay off . 25

11

CHROMATIC SCALE on the 12 hole chromatic harmonica /

'

1

2

3

4

5

6

7

8

9

10

11

12 "'

§JEJBEJEJE]EJEJEJGEJEJ

~ Slide out

/

/

1

1c'JII

2

3

4

5

6

7

8

9

10

11

12 "'

E~ill JIIb'

3

12

1 e ,. r r r T

'j ·t 5 4

1

,,

í

3

f2-

5

J

7 6

r 1

'í

i

f

6 7

¡

1

3

4 3

4 3

·~

1

7

6 7

6

1

1

,J

~J 3

l

3

1 ;t r

~~ 5

3

4

~

'f2

1

z~

., i 3

7 6

., 1

h -

3

t 'I

21

5

07

4 3

4 4

1

ci§"=

1

=ªf ~

l

r rf

5 4

1~

4 3

·~

4 3

I¡J

3

1 ·~~

,, ,,

7 6

5 4

r

5 4

"'l 1

G

6 5

i f

7 6

t t

1

G

6

6 5

3

4 3

t1

1

5

t

4 4

4 3

t t

5 4

4 3

7 6

6 5

G

·tr

1~,J

rs~r

1

5 4

1 f

07

•

3

1 1 ·~

,,

~~ 3

4 3

1 *~~ 59

G

~~ "" 3

f2 --

1

l·tt ¡J!r 4 3

5 4

1 1

F 6 5

t

D.C al Fine

~

--

1

3

1

11

Í

THE WABASH CANNON BALL

= Voice

FILL

J= Harmonica

@

f

jj

G

i

¡

-

?r

TF

From the great At - Jan -tic

wide Pa - cü -ic's 4 3

us _ _ to the

ones we see once

migh-ty tall and

-

~

quite well known by

all. 6 5

7 6

7 6

f f 1

'jj r

f'

sound of

-

r- r

F

1

the

Wa

i

bash

7 6

6 5 5 4

How

s ........

we love the

4 .. ,~..

t .,¿_.. t t 'f'

r

Can -non

ba ll . - - - - 4 3

60

hand sorne, - and

5 4

55 4 4

4 3

3

2

THE WABASH CANNON BALL

SOLO

Chromatic 1

1

1

o1atonic ,

1

t

r 11 1

:¡:¡

•r

3

1

3

3

f2

4 3

s @s

5 4

4

4

3

1

1

D

J.

1

J J J J

1

., •!*! 3

4

¡f

T

4* J.

J¡ J ®

3

f

G

J

1 o

2 2

t 1

'jkf t

itt ¡tr

'/tf

4 3

4 3

1 'I ,,~fiD

,J,

4 ... , ... ,

1 .,..... 3 ..

3

ijj

1 1

e

J

1

., r 3

f2

3

•T

J 1 1

3

J

3

,j j ¡11]

3

~2

J

1

2

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