BLUES HARP PDF

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blues riffs for diatonic harmonica in C, in the style of. The Walters, Sonnyboy II, Sonny Terry, Levy, Clarke,. Milteau,. Piazza, Musselwhite, McCoy, Power and. Beginning Blues Harp - Download as PDF File .pdf), Text File .txt) or read online . Blues methode for harp. As you play along with this DVD you will have the opportunity to experience the enjoyment of allowing music to freely flow through you. This DVD will share with.


Blues Harp Pdf

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A Diatonic harmonica is one that just plays the regular notes of the key it is. .. sounds so good playing cross-harp is that the blues scale uses an F instead of an . CHICAGO BLUES HARMONICA. C The shuffle rhythm is the rhythm of the heartbeat. It is derived from the triplet, 1 an a 2 an a 3 an a 4 an a. The groove. original Blues HarpĀ® was the Marine Band Classic, which is still downloadable PDF lesson plans with exercises and music notation/TAB;.

Using just the basic notes on the instrument would mean playing in a specific mode for each position e. Harmonica players especially blues players have developed a set of terminology around different "positions" which can be somewhat confusing to other musicians.

There are twelve "natural positions" one for each semitone , numbered from 1st position as given on a standard hole diatonic by the note on the 1 blow and going up round the cycle of 5ths - so on a C harp, 1st position gives C, 2nd position G, 3rd D, 4th A etc. The terminology of positions is also applicable to chromatic harmonicas.

The first three positions cover the vast majority of harmonica playing, and these positions have names as well as numbers. They are: 1st position or "straight harp" : Ionian mode. Playing the harmonica as it was intended, in its main major key. On a diatonic, starting note is hole 1 blow. On a C-chromatic, starting hole is the same, resulting in C major scale.

This is the main position used for playing folk music on the harmonica. Playing the harmonica in a key a fourth below its intended key. Playing just the unbended notes, this position gives the mixolydian scale between 2 draw and 6 blow.

Beginning Blues Harp

However, bending the 3 draw allows the player to play a minor third or a blue third , allowing a player to use a C harmonica to play in G mixolydian or G minor. Blues players can also play a tritone in this position by bending the 4 draw. See a more extensive discussion of this position at the article on blues harp. On a diatonic, starting note is hole 2 draw or hole 3 blow. On a C-chromatic, starting hole is hole 3 blow, resulting in G major with a flatted 7th.

Playing the harmonica a full tone above its intended key.

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This gives a dorian scale between 4 draw and 8 draw, though once again bends and overblows give players a variety of options. Blues players can achieve a tritone by bending the 6 draw.

On a diatonic, starting hole is hole 1 draw. On a C-chromatic, starting hole is hole 1 draw, resulting in D-minor with a raised 6th. This is the traditional way of playing Blues on Chromatic. The terminology for other positions is slightly more varied. It is possible, of course, to play in any of the modes and, using overblows and bends, it is possible to play in all 12 keys on a single diatonic harmonica, though this is very rarely done on a diatonic.

Even if a player is capable of playing multiple keys on a single harmonica, they will usually switch harmonicas for different songs, choosing the right "position" for the right song so as to achieve the best sound.

Even when the same notes can be achieved on a different key of harmonica, choosing different keys of harmonicas will offer a variety of options such as slides, bends, trills, overblows, overbends, and tongue splits. Breathing patterns are changed position to position, changing the difficulty of the transitions between one note to the next, and altering the ratio of blow notes and draw notes. The different starting place for each position limits or extends note options for the bottom and top octaves.

Changing positions will allow the player to create a different sound overall. Blues harp 2nd position [ edit ] Blues harp or cross harp denotes a playing technique that originated in the blues music culture, and refers to the diatonic harmonica itself, since this is the kind that is most commonly used to play blues.

The traditional harmonica for blues playing was the Hohner Marine Band, which was affordable and easily obtainable in various keys even in the rural American South , and since its reeds could be "bent" see below without deteriorating at a too rapid rate. A diatonic harmonica is designed to ease playing in one diatonic scale. Here is a standard diatonic harmonica's layout in the key of C 1 blow is middle C : This layout easily allows the playing of notes most important in C major, that of the C major triad: C, E, and G.

The tonic chord is played by blowing and the dominant chord is played by drawing. Blues harp subverts the intention of this design with what is "perhaps the most striking example in all music of a thoroughly idiomatic technique that flatly contradicts everything that the instrument was designed for" van der Merwe [2] p66 , by making the "draw" notes the primary ones, since they are more easily bent for holes and consist relative to the key of the hamonica of II, V, VII, IV, and VI.

This resembles the tuning of the bottleneck guitar. For a further discussion of "bending" on the harmonica, see the harmonica article. The key played in this style is one fifth above the nominal tuning of the harmonica, e.

Blues Harp Blues

Therefore, to be in tune with a normal guitar tuning of E, an A harmonica is often used. We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime. Upcoming SlideShare. Like this presentation? Why not share!

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Embeds 0 No embeds. No notes for slide.Playing only one note at a time is referred to as a "single note". 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.

Repeat your idea two or three times to create a melodic feel. In this excerpt, Dave discusses some of the reasons for playing in either 1st Position or 2nd Position. Overbending[ edit ] In the s, Howard Levy developed the "overbending" technique also known as "overblowing" and "overdrawing".

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