kupdf.net phil-duncan-complete-chromatic-harmonica-method

~,
fI
MEL BAY'S
COMPLETE
CHROMATIC
HARMONICA
ME-TH ODBY PHIL DUNCAN
...,
CD CONTENTS*
~
[I] Introduction/Page 5 [2:38]
[2J Middle C/page 7 [:43]
[]]
C~/Page 8 [:55]
[Il Enharmonic Tones [:42]
~
Ex. 50-A~/Page 34 [:26]
jgzJ Ex. 54/Page 35 [:27]
[g§J Ex. 62/page 38 [:37]
W D/page 10 [:40]
[]] D::/Page 11 [:31]
[[] The Natural Sign [:36]
[]] Musical Measures & E~ [:39]
[]] Ex. ll/page 13 [:22]
[QJ E & Time Signatures/Page 14 [:31]
[TI] Ex. 13 [:23]
[1gI Phrases-Ex. 14, 15, & 16 [:45]
[1]J Ex. 18/Page 17 [: 17]
[11 Ex. 21/page 18 [:28]
~ Tonal Shading [:48]
[1]] Ex. 26/Page 20 & 21 [:33]
[Z] Ex. 28/page 22 [:38]
[1]] Ex. 30/Page 24 [:32]
[1]] Ex. 33/page 25 [:32]
l2QI Ex. 36-37/Page 26 [:42]
l21l Ex. 43/Page 29 [:32]
l22l Ex. 44-Tempo/Page 30 [:47]
1231 Ex. 45-Chromatic EtudeiPage 31 [:55]
I§I Ex. 47-Eighth Note/Page 32 [:33]
~ Ex. 49-Sixteenth Century/Page 33 [:52]
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Illl
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l1§J
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!2Q]
!§g]
Ex. 65/Page 40 [:26]
Ex. 70 & 71/page 43 [:48]
Ex. 73-C Scale/Page 44 [:35]
Ex. 74-C Blues Scale/Page 44 [1:02]
Ex. 76/Page 45 [:28]
Sharps & FlatslPage 45 [:55]
Ex. 83-Chromatic Scale/Page 48 [:24]
Ex. 84-Coventry CarollPage 48 [:48]
Ex. 87-Darl< EyeslPage 50 [:41]
Ex. 94-C,D,E,F/Page 54 [:34]
Ex. 100-Graceful WaltzlPage 57 [1:30]
Ex. 101-Slide In/Page 58 [:30]
Ex. 104-An Evening Prayer/Page 60 [1: 12]
Ex. 106/Page 61 [:27]
Ex. 109-Upper CrusVPage 63 [:35]
Ex. 110-Twice as Much/Page 64 [:41]
Ex. 115-Lower Octave/Page 67 [:27]
A Song of IndiClJPage 68 [2:58]
Whispering HopeiPage 70 [1 :45]
Over the Waveslpage 74 [2:01]
Irish Folk Song/Page 77 [2:10]
Ex. 123/page 78 [1:18]
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Ex. 125/page 80 [:22]
Explanation/Page 81 [1 :11]
Ex. of Octaves/Page 82 [:18]
C,D,E,F/Page 83 [:21]
Danube Waves/Page 85 [1 :30]
Bourree/Page 89 [:50]
Cantabile/Page 89 [1 :22]
Ex. 140/Page 92 [1 :25]
Romeo & JulieVPage 93 [1 :55]
Ex. 143/Page 94 [:29]
Ex. 146/Page 95 [:54]
Ex. 147/Page 96 [:44]
Ex. 151/Page 99 [:27]
Ex. 155-Aria in D/Page 101 [:40]
Ex. 158-Key of B~/Page 103 [:29]
Ex. 163/Page 106 [1 :06]
Ex. 164/Page 107 [:49]
Ex. 168/Page 109 [:29]
Ex. 170/Page 110 [:27]
Ex. 173/page 111 [2:34]
Ex. 176-Key of E/page 113 [:27]
Ex. 179/Page 114 [1 :07]
Note from the Author [:28]
*This book is available as a book only, CD only or as a booklCDIDVD configuration.
If you have purchased the book only, a recording (MB93890CD)
of the music in this book is now available. The publisher strongly
recommends the use of this resource along with the text to insure accuracy of interpretation and ease in learning.
4 5 678 9 O
© 1983,2005 BY MEL BAY PUBLIGATIONS, ING., PACIFIC, MO 63069.
ALL RIGHTS RESERVEO. INTERNATIONAL COPYRIGHT SEGURED. B.M.1. MAOE ANO PRINTED IN U.SA
No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form
or by any means, electronic, mechanical, photocopy, recording, or otherwise, without written permission of the publisher.
Visit US on the Web at www.melbay.com - E-mail [email protected]
PREFACE
The objective of this book is to express as clearly as possible the fundamentals of music in a logical sequence as they apply to harmonica The job
of explaining harmonica is not easy, but 1 am approaching the problem from
the standpoint of an educator.
Therefore, this book is a preparation of performing on the harmonica.
Whether the music is for harmonica or other instruments a number of
technicalities have to be explained. (1 have made every effort to keep technical problems to a minimum.) It seems to me that there is a tendency to
exaggerate the difficulty of understanding music. Invariably some say they
love music but don't understand it. These feelings are often not justified.
Participation in a music instrumental group ultimately depends on the
ability to read music. It is a fact that to have the ability to read music, to hear
tonally and feeI rhythmically, what is seen in the musical notation, even
before it is perfonned, seems necessary. It would be an error to assume that
musical sensitivity will increase without serious study. Musical understanding
must be consciously, systematically and carefully taught.
The overall scheme of the preparation of this valuable book is being
made available to the harmonica student and reflects the attitude that
education and learning are not necessarily incompatible with the playing of
harmonic;:a The, implications of this attitude are in themselves of enormous
value, in so far as they may in time breakdown the barrier of "teaching" harmonica in our educational institutions. This book' s value is not only an
implicit one but a practical one. Indeed this is its primary purpose, that is, to
give the beginning harmonica student the rudimentary musical and theoretical tools that are needed to become a professional musician.
Philip M. Duncan
In memory of my Grandfather, William Espy Butler.
TABLE OF CONTENTS
PAGES 5-12
Introduction
Musical staff
Music notes C thru e b
Dynamics
PAGES 14-23
Music notes E thru gb
Phrases
Rests
Tonal Shading
Note values
PAGES 24-31
Time signature
Notes G thru a
lst & 2nd ending
Tie notes
Tempo
Musical form
PAGES 32-37
Eighth notes
Notes a# thru b flat
Expression marks
Incomplete measures
PAGES 67-77
Notes middle C ta low G
Duet
Relative minor
PAGES 78-93
KeyofG
Major scales
Lower Chromatics
Actual pitch
Lines and spaces
6/8 Time signature
PAGES 94-98
Key ofF
Triplet
PAGES 99-102
KeyofD
PAGES 103-106
Key ofB flat
PAGES 107-109
Key of A
Parallel minor
PAGES 38-44
Notes b thru C
Dotted notes
Diatonic scale
Blues scale
PAGES 110-112
Key ofE flat
PAGES 45-50
Notes C#
The slide button
Chromatic scale
Cut time
PAGES 116-118
16 Hale chromatic
Lower Octave
Trill
Grace note
Glissando
Listening
Examination
Dictionary
PAGES 51-57
Sharps, flats, naturals
Notes C thru f
Upper diatonic
PAGES 58-66
Notes C# thru D
Upper chromatic
Sixteenth notes
PAGES 113-115
Key ofE
CONTENTS OF MUSICAL NUMBERS
A Song of India . . . . . . . . . . . . . . . . . . . . . . . . . . .. 68
Jesus, Lover of My Soul .................... , 28
A Waltz from Schubert. . . . . . . . . . . . . . . . . . . . .. 41
La Donna e Mobile ......................... 114
A.ir ....................................... 42
Liebestraume No. 3. . . . . . . . . . . . . . . . . . . . . . . .. 92
American Patrol, The . . . . . . . . . . . . . . . . . . . . . .. 90
Long, Long Ago ........................... , 42
America, The Beautiful. ..................... 104
Mary's Little Lamb ........................ , 15
An Evening Prayer . . . . . . . . . . . . . . . . . . . . . . . .. 60
Menuet 1 & II. . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 88
Aria in D .................................. 101
Michael Row Your Boat Ashore . . . . . . . . . . . . .. 41
Au Clair de Lune. . . . . . . . . . . . . . . . . . . . . . . . . .. 15
New World ................................ 28
Banks of the Ohio. . . . . . . . . . . . . . . . . . . . . . . . .. 37
Nocturne Op. 9, No. 2 ...................... 111
Bourree ................................... 89
O Come, AU Ye Faithful ..................... 108
Camptown Races. . . . . . . . . . . . . . . . . . . . . . . . . .. 47
Oh, Suzanna. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 46
Cantabile .................. . . . . . . . . . . . . . .. 89
Over the Waves. . . . . . . . . . . . . . . . . . . . . . . . . . .. 74
Ciribiribin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 95
Pathetique ................................ 102
Concert No. 1 in C ......................... 59
Prelude in A Major ......................... 108
Coo-koo Bird Waltz .. . . . . . . . . . . . . . . . . . . . . .. 66
Prelude in C Minor Op. 28, No. 20 ........... 112
Cornish Folksong . . . . . . . . . . . . . . . . . . . . . . . . .. 56
Romanze .................................. 77
Coventry Carol ........... '. . . . . . . . . . . . . . . .. 48
Romeo and Juliet. . . . . . . . . . . . . . . . . . . . . . . . . .. 93
Danube Waves. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 85
Russian Folk Melody........................ 109
Dark Eyes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 50
Sabre Dance. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 49
Deep River ................................ 112
Secret, The. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 79
Etude in E Major Opus 10, No. 3 ............. 115
Serenade, Op. 134 .......................... 98
Fantaisie-Impromptu, Op. 66 ................ 106
Skater's Waltz ............................. 109
Fur Eloise. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 72
Star Spangled Banner. . . . . . . . . . . . . . . . . . . . . .. 66
Graceful Waltz. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 57
Swing Low, Sweet Chariot ................... 102
Habanera from Carmen . . . . . . . . . . . . . . . . . . . .. 96
Toreador from Carmen ............ . . . . . . . .. 97
Hot Cross Buns . . . . . . . . . . . . . . . . . . . . . . . . . . .. 15
Unfinished Symphony ...................... 105
Hungarian Dance . . . . . . . . . . . . . . . . . . . . . . . . .. 86
Valse Lente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 76
1 Know ................................... 27
Waltz from Nutcracker Suite ................. 100
Irish Folk Song. . . . . . . . . . . . . . . . . . . . . . . . . . . .. 77
Water is Wide, The ......................... 56
J esu, Joy of Man' s Desiring . . . . . . . . . . . . . . . . .. 93
Whispering Hope .......................... 70
INTRODUCTION
This book deals specjfically with the chromatic harmonica. Learning the
chromatic harmonica is a matter of absorption and internalization, therefore, daily
practice is necessary.
OBJECTIVES
The purpose of this book is to clearly, correctly and completely set forth a foundation for chromatic harmonica study. It is designed to help the student to think and feeI
musically.
HOW TO HOLD THE HARMONICA
Hold the ha rmonica firmly in the left hand with hole number one to the left. The left
index finger should lie along the upper part of the instrument and the thumb along the
lower part. The right hand should be cupped around the back of the harmonica with the
right hand index finger posittoned on the slide button .
. PRODUCING THE SINGLE TONE
A single tone is produced by blowing air through the instrument and by drawing air
through the instrument with the use of the tongue to block unwanted holes. Place the
harmonica comfortably in your mouth as though to blow four holes. Now bring your tongue
forward covering all holes, then move your tongu,e to the left just enough to allow air
to flow from the inside right of your mouth into only one hole. DO NOT LET AIR ESCAPE
THROUGH THE SIDES OF YOUR MOUTH. BLOW AND DRAW T-H-R-O-U-G-H the
harmonica, not at it.
without tongue
6
7 8
9 10 11 12
DDDDDD
VIBRATO
You can effect the sound of your playing by adding a wavering tone, called VIBRATO.
Holding the harmonica in the left hand, close the right hand over the left. Now open and
close the right hand over the left and a wavering tone will begin. As the right hand moves
back and forth slowly, a rich mellow vibrato is the result. The heel of both hands should
stay in contact with each other while the fingers of the right hand move back and forth.
The movement of the right hand should be smooth and even. The left hand can also create
vibrato.
ARTICULATION
You need to develop a skill that will help to control and create the necessary accent
and separation of tones. By using the upper lip to physically "bite" the harmonica, you
will automatically create a quick and easy note separation skill called ARTICULATION.
You MUST WORK each musical piece trying to develop this necessary skill. It must be
learned slowly and gradually in order to develop this skill. As this skill develops, your
playing will become clear and distinct, with greater efficiency to be able to play fast
and accurate. The use of air control and throat muscles to develop articulation seems to
work in the beginning but will lead to sloppy and unclear playing.
5
MUSIC FOR THE CHROMATIC HARMONICA
2
2
CHROMAT1C HARMON1CA 1S WR1TTEN
~ IN THE "G" CLEF OR TREBLE CLEF
~
THE MUSIC STAFF
staff
Some notes are
Some notes are
space notes
line notes
ALL NOTES ARE EITHER LINE NOTES OR SPACE NOTES
~
Study the following notes and mark them
or space.
f egOr
j
J d'
r
o
D W D D
j
r
D
D
r
o
ffi]
or
n
F
for line
r
n
J
r
DO DO O D D D
4rJrJJJroJJrrr J J ro
IT
e
DDODDDDDDDODDDDDD
Study the following notes and write the number of the line or space.
~
~
[IJ
4D
o
j
r
D D
J
IT
D O
F
D
u
o
[]]
~
r
n
O D O
~
~
o
F
r
o
D D D D O D D O
D D
J r
r
o
o
u
w
r
j
rrj g
D O D O D D O O D
6
CHAPTER 1
The 5th, 6th, 7th & 8th holes are played more often than any of the others.
These holes respond easier than the other holes for the beginning harmonica
player. Chapter 1 will concentrate on these four holes.
TRIS IS A WHOLE NOTE. (o) IN MOST MUSIC TRE WHOLE NOTE
RECEIVES 4 COUNTS OR BEATS. THE SOUND MUST LAST 4 COUNTS.
o = 4 Counts
C ount: 1 - 2 - 3 - 4 Tap: ~ t • t ~ t ~ t
6
7
8
9
10
11
12
DDDDDD
THE U8E OF THE TONGUE TO BLOCK THE HOLE8
18 NECESSARY! ! !
The tongue*
covers holes
2, 3 and 4.
MIDDLE
c
C is on the leger line or added
line below the staff. It is a
BLOW note on the fifth hole.
4
WRITTEN
C
-e~
Î
BLOW
4 COUNTS
PER MEASURE
~i
'\
=
Count:
Tap:
double bar
end of piece J
(BLOW NOTE, HOLE FIVE)
-e-
~
(Hold ..... )
1-2-3-4-
.t~t.t.t
5
5
5
5
t
t
t
t
7~ :11
r
two dots
means to
REPEAT PlECE
BE CARE FUL not to play hole 4. It will produce the SAME tone as hole 5, but
will produce a different draw note.
NOTICE:
Hole 5 of the chromatic is actualiy high C on the 3rd space. This book notates this one
octave lower or middle C. This is done for reading purposes. This helps to eliminate
ledger or added lines, as well as to allow for a greater variety of music.
* Your tongue may only cover holes 3 & 4.
7
ACCIDENTAL: It is a sharp ar flat that is not normally sharp ar flat. In the Key
of C there are no sharps ar flats. If any appear they are called
ACCIDENTALS. This is a sharp. (#)
6
7
8
rnoooo
9
10
Tongue must
cover holes
2, 3 & 4.
11
12
WRITTEN
C sharp
C#
#9"
C sharp is an the leger line
below the staff. It is a BLOW
note an the fifth hale.
Circle
i§L-Indica tes
f
Slide-in
BLOW
®
4 i#~
Count
&
Tap
(Slide out)
(Slide in)
1#&
1-2-3-4-
r r
I#~
I~
-e-
1Je-
@
5
5
@
r
t
f
t
-e5
t
WHEN AN ACCIDENTAL, SUCH AS C SHARP, IS INTRODUCED
IT MUST BE RE-WRITTEN IN EACH MEASURE OR THE NORMAL
OR NATURAL C IS TO BE PLAYED .
ENHARMONIC
WHEN TWO NOTES ARE THE SAME TONE OR PITCH, YET RAVE
TWO DIFFERENT NAMES, SUCH AS C SHARP AND D FLAT, THEY
ARE CALLED E N HAR M O N 1 C TONES.
THEORY TIP: C sharp is an Augmented unison with the tone C ar
a half step up from middle C.
8
II
C# (C sharp) AND D~ (Dflat) ARE THE SAME TONES OR PITCH KNOWN
A8 ENHARMONIC ! ! !
6
Tongue
covers holes
2,3 & 4
7
8
9
10
11
12
DDDDDD
WRITTEN
D flat
D~
&0
D flat is on the space
below the staff. It is a
BLOW note on the fifth
hole.
~
1
BLOW
, I~
®
Count:
Tap:
Isame tonej
I &O
Islide outl
-&
1-2-3-4-
fHliH
Ienharmonic I
'#-
1& O
I &O
@
5
@
@
@
f
r
r
r
r
-&
5
t
U8UALLY, IF THE TONE AFTER THE ACCIDENTAL 18 HIGHER
THE ACCIDENTAL 18 A 8HARP. HOWEVER, IF THE TONE AFTER
THE ACCIDENTAL IS LOWER THE ACCIDENTAL USUALLY 18 AFLAT.
THEORY TIP: D flat is a minor 2nd from the tone C or a half step up
from middle C.
9
II
TillS IS A HALF NOTE. (d) IN MOST MUSIC THE HALF NOTE RECEIVES
TWO COUNTS. THE SOUND MUST LAST TWO FULL COUNTS.
d
=
o
d
TWO HALF NOTES EQUAL
ONE WHOLE NOTE.
1-2-3-4 1- 2 -3 -4w hole note
half notes
Slide out
8
Tongue
covers holes
2, 3 and 4
\
9
WRITTEN
D
d
o
5
D is on the space below the
staff. It is the DRAW note on
the 5th hole of the chromatic
harmonica.
Ţ
THEORY TIP: D is a major 2nd from the tone C or D is a whole step away from
middle C.
Repeat sign
®
4i
c~nt}
Tap
J J
1-2-3- 4 -
5
j
IJ
5
5
5
5
5
5
r
r
r
r
t
t
5
~
1
'":11
IJ
J
IJ
j
IMPORTANT:
®
You will notice that note C can be played in hole 4 or 5. However
when air is being drawn in hole 4, it will not produce the note D.
4t J
Count:
Tap:
J 1~e-
1-2-3-4-
.t.t.t.t
5
5
I
t
1
J J
1 &o
1; J
1 - 2 -3 -4 -
@
f
5
5
l
J
@
r
ALWAYS TAP THE FOOT:
10
5
5
t
t
:11
~==~~~~~~~=6~=7~=8~~9~1=0=r=11=r=12:'-TI~
Slide il'.
DDDDDD
Tongue
covers
holes 2, 3 & 4
WRITTEN
D~
d#
~
D sharp is on the space below the
staff. It is the DRAW note with
the slide in on the 5th hale of the
chramatic harmonica.
#0
f
DRAW
®
I
THEORY TIP: D# is an augmented 2nd fram the tone C ar a step and a hali up
from middle C.
WHEN A NOTE HAS BEEN SHARPED OR FLATTED, IT STAYS THAT WAY FOR THE
ENTIRE MEASURE.
!#J j 1; J liJ J IJ J I#J j
@
@
@ @
J
1-2- 3 -4 @
@
5
count
&
J
Tap
5
t t
J
t t
5
5
r
J
~
5
I
l-
II
t
®
A NATURAL SIGN (~) CANCELS ANY PREVIOUSLY SHARPED OR FLATTED NOTE.
4
:/1
i #J
Caunt
T~P
®
1- 2 - 3 - 4 @
5
t
@
t
t
t
SOME MUSIC WILL ADD THE NATURAL SIGN EVEN IF IT
JUST CLARIFIES THAT THE NOTE IS lNDEED NATURAL.
4!
Count
&
TaE
5
5
1
~o
1-2-3-4-
#0
@
5
l
1
1& o
1
~
rs NOT NECESSARY. IT
#0"
o
5
@
5
@
t
t
t
1
1#o
@
l
II
MUSICAL MEASURES
TRIS LINE RAS 4 MEASURES
1
2
4
3
I
I
II
tMeasure bars j
measure
measure
ROW MANY MEASURES ARE TRERE IN THIS LINE?
II
Answer
D
DYNAMICS
The Language of Musical Expression
The Italian language is used throughout the world to describe
dynamic expression of music.
LEGA Ta: Play smoothly and connected
ANDANTE: Slow; walking speed
MODERA TO: Medium speed
ALLEGRO: Fast
PP:
Pianissimo means very soft
P:
Piano means soft
MP:
Mezzo-piano means medium soft
MF:
Mezzo-forte means Medium loud
F:
Forte means loud
FF:
Fortissimo means very loud
12
E FLAT AND D SHARP ARE ENHARMONIC TONES.
6
8
9
10
11
12
DDDOLD
E~
e~
4
E flat is an the first line of the
musical staff. It is a DRAW
NOTE in the 5th hale of the
chromatic harmonica.
,
~o
f
DRAW
THEORY TIP: E flat is a minor 3rd from the tone C ar a step and a half up
from middle C.
~~TO~
®
SA~
~ i #0
I &0
I J &J
@
@
s@
C ount
&
II
Tap
@)
Mode
-l
ra
~ i
Count
&
Tap
1- 2- 3- 4-
#J
s@
t t
1J
t
~
1J
#J
1,..
s@
@
~
~
II
j
J)
TRIS IS A QUARTER NOTE: (
IN MOST MUSIC THE QUARTER
to NOTE RECEIVES ONE COUNT. THE SOUND LASTS ONL Y ONE COUNT.
f
~ ~
iT j
J
1-2-3-45
S
S
5
t t t t
J J r~
=:-:-,.
13 3 3 3 1&3 3
5
5
S
5
J
J
J
J
t f t t
@lModerato
mi'
, i ;0>
Va
a 1 J J 1 ; 1; J ~J
5
t
S
~
@
l J
faur quarter notes
equal one whole note
13
5
t
JJs:
5
II
5
r
II
o
Whole Note
d
Half Note
J
=4
=2
Quarter Note
=1
Slide out
1
2
7
8
9
10
11
12
DDDDD
D
Tongue must /
cover holes
3, 4 & 5.
WRITTEN
E
E
o
r
E is on the bottom line of the
musical staff. It is the BLOW
note in the 6th hole of chromatic
harmonica.
THEORY TIP: E is a major third from the tone C or two whole steps from
middle C.
@
Quarter Note Value: One Count
~f-~I
Count
&
Tap
I J J Ij J I J JJ J 1) J J
I
o
o
1-2-3-46
6
6
,~ ~ ~
5
~
t t
1
1
5
6
5
~
I
5
5 S
~
5 5 6
II
5
tJt
!
CHROMATIC TECHNIQUE
@
Moderato
f iWS
Count
&
5
Tap
@
5
t t
I&YZ= J '&J J Es'
'J #J Ci)
5
J
@
J
~
®
6
l
t
5
J
°The tongue need only to cover the number of holes necessary.
14
®
5
t t
5
r
II
PHRASES
When reading or listening to the written page, a person does not concentrate
on each letter. We listen or read each complete thought. As with music, single
notes are meaningless. But when those notes are arranged in a musical thought
process, otherwise known as musical senfences called "Phrases", music develops
a definite meaning. Learn to THINK and PRACTICE music phrase by phrase.
MARY' S LITTLE LAMB
1 117-;-----------J 1; J J I J J J I Î)
®
ist phrase
Moderato
W
655
~
t
5
f
6
6
~
t t t
+
5
5
5
6
6
6
i 1
t
t
6
r
2nd phrase
jz7Jj
f
5
5
6
J IJ J J J I J J J
t i t
5
6
6
+
t
t t t
5
6
5
5
6
+
+
t
JOs:
5
5
+
r
II
HOT CROSS BUNS
, i J'f]j
@
Moderato
p
Ist phrase
2nd phrase
IJ J
..e-
a
5
5
6
t
J
I
t 1
5
]ţs
I;jJ; I J JJJI j fl~
..e5
5 5 5 5
5555
6
ttt t i i i J t
I
5
l
II
5
1
AU CLAIR DE LUNE
@)
Allegro
phrase
'Of!
f i1 7 ;
2
5
5
5
J IJ
5
t t t i
1; J J
J
6
5
5
t
J
f
15
6
t
5
+
r L:
5
5
+
r
Repeat
~
:11
i
STEM MAY
GO UP OR
DOWN
f
~
J J JJ i
I
~
r
I
Middle line stems
may go up or down
Below the middle line
the stem goes up
r r
F ~
~
II
Above the middle line
the stems go down
CHANGE TRESE WHOLE NOTES TO QUARTER NOTES
o
"
o
o
"
"
o
"
o
o
o
o
II
()
o
RESTS
(SIGNS OF SILENCE)
Whole Rest
Half Rest
-
-
Equals 4 counts or
equals a whole measure
Equals 2 counts
E quals 1 c ount
3 counts
per measure
Draw the bar lines:
- -
Quarter Rest
î i î -
II
16
- i -
- î i
L
1/
{
Slide in
~=1~==2~~~~~~~=7~==8~=9~;10~=11~=12~~
O
DDDDD
Tongue
covers holes
3, 4 and 5.
E~
WRITTEN
E#
E Sharp is on the lst line of
the staff. It is a BLOW note
in the 6th hole of the chromatic
harm~~mica .
®
Î
BLOW
THEORY TIP: E# is an augmented 3rd from the tone C or two and a hali steps
up from middle C .
@
f
f #0
Count:
Tap:
I#J
J
I,W J
@
@
®
® ®
1
r
t
i
I
J I,e
1-2-3-4-
.t.t.t.t
®
®
t t
t
t
SLIDE IN
@
, i a/4
1#;]
j
@
@
I,J J 1#;]
j
Count
.fap
@
@
t
t
! 1
®
t
®
t
@
==----
'1:
@
@
1 l
t
II
E# AND F ARE ENHARMONIC TONE8.
8lide out
1
7
2
8
9
10
11
D
Tongue covers
holes 3, 4 & 5
WRITTEN
F
f
I~
n
F is on the lst space of the
musical staff. It is a DRAW
note in the 6th hole of the
chromatic harmonica.
t
DRAW
THEORY TIP: F is a perfect 4th from the tone C or two and a hali steps up
from middle C.
THE DRAW F I8 U8ED MORE OFTEN THAN THE E# BLOW NOTE!
@
4
i
Count:
Tap:
-=
;[
LJ
1-2-3-4-
j tJt ~ tJ t
6
6
1
I
r
Count
&
J6 t Jt 6Jt 6~ t
6
l l
J
I
i,
6
6
1 'I
1
JZY J
W J IJ
IJ
#J
il@ @
t i t 1 t 1 t t 1 1 t J f
1 - 2 5
J IJ J J
3 - 4 -
6
6
5
6
5
5
6
6
6
11
5
I
5
~
I
FLATS
Andante
4i J/iJ J J n~
Count
Tap
S
SHARPS
5
Tap
&
I J J ---I
Moderato
~I
@
J7lJ
i
1-2-3-4-
1-2-3-4-
~i~tlt~t
6
®
J J?J
1 - 2 - 3 - 4 -
6
1
@
~
5
5
t I
~
IpJ
@
5
@
6
6
t
IJm J
5
I
i I t I
18
~
$)
@
5
t t
II
DOTTED NOTES
J.
= 3 counts
IN MOST MUSIC A DOTTED HALF NOTE RECEIVES 3 COUNTS. THE SOUND
MUST LAST A FULL 3 COUNTS.
Rule of the Dat: The dat is worth hali as much as the value of the note.
10 = 4
o . = 6/
td = 2
d.= si
EXAMPLE
J.
-1-2-3-
J.
-1-2-3-
J J J
1 - 2 -
J
1
J
3 -
Count:
Tap:
J
- 2 - 3 -
II
1-2-3-4-
.t.t.t+t
r
6
+
TONAL SHADING
The melody of a piece of music can be constantly changed in "thickness ".
This is the beauty of the harmonica. With more ar less air pressure applied ta
the harmonica a distinct "thickness" ar "thinness" of sound may be obtained.
This change is sometimes called the intensity of the tone. By using this effect
(contrast of "thickness" and "thinness" of the tone) you can add "color" ta your
sound, making it more interestingfor playing and listening. Also by changing the
shape of the mouth cavity (embrochure) tonal shading can become an important and
exciting part of tone development of the melody.
19
FUNWITH 3+1
J I J.
C ount
?
-e-
1 - 2-3- 4 -
&
5
5
t
Tap
-=
~ J. J
?
+
r
I j.
------
5
5
~
6
5
5
6
1
t
r
I
f r
......-:::
I
t t
r
J J.
I
t
5
5
5
5
37'1
6
6
~
-----........
Z
5
6
J 1d.
5
1J j. J I J.
6
~
J
6
6
1 -----J~
• l
l
J
s,
I -eS
6
5
f
t
I
ALL IN THREE
@
~-----71
Andante
Count
1 - 2 - 3
5
&
Tap
-
5
r
1
»II
~ '1 J J I } J=--g Ij
7
6
5
5
t l
~ -;1 J )
t
5
5
f t
5
l l
t
-.
6
of rest
------------~--
p
Ii
j?§
5
~
6
6
6
6
6
t
t
l
J
1
J I î J gSI
5
t
J
t
i
IJ
W
J Ii
rO
6
5
5
5
t
t
i
6
t l
ALWAYS TAP YOUR FOOT
20
~
5
6
f
count
6
6
l
II
Slide in
~=1=v=2~~~~~~~==~8~=9~1=O~=11~1=2=!TiJ,
D
DDDDD
F#
WRITTEN
f#
II
F sharp is on the first space
of the musical staff. It is a
DRAW note with the slide in
on the 6th hole of the chromatic
harmonica.
DRAW
@
THEORY TIP: F# is an augmented 4th from the tone C or three fuU steps up
from middle C.
3 1#u
c~~~gt·:I. #"1~ -t 2~ -t 3+-t 4+-t I#d. 1~ -t 2+ t- d3+ t- 4+ -t 1#31+ -t 32+ -t 33+ -t 34+ -t I#J.
1- 2- 3 - 4 + t + t +t + t
@
@
@
®
@@@@
®
1
1 r
+ + + +
1
mi
~ ! i J Ij
COE nt
Tap
l
Co~nt
_Tap
J Ij
1-2-3-
5
t
@
~
5
6
i
t
6
1 t
p
El
I~
...--
r f
6
t
~J
6
l
@
@
~
1
Ij ul
I
). I
6
5
5
t
+
r
mi
t J/ ---- j
1 - 2 - 3 - 4 5
6
I
1
J #J ijJ &J IJ
6
,
6
f
f
5
II
5
r
21
F# AND G~ ARE ENHARMONIC TONES
Slide in
1
2
7
8
9
10
11
12
,
DDDDD
D
Tongue
covers holes
3, 4 and 5.
G~
g~
II
G flat is an the second line of
the musical staff. It is a DRA W
t
note with the slide in on the 6th
hole of the chromatic harmonica.
DRAW
THEORY TIP: G flat is a diminished 5th from the tone C or 3 full steps up from
middle C.
@
G flat draw in hole 6 with slide in.
4i
bo
Tap
@
Count
&
IpJ J J J I~J
®
~p
@ @
®
®
i i i l
(enharmonic)
same tone
, i 'o
Count
I~J·
®
®
1
1
J I~o
I
1-2-3-4-
1
@
J
1#0
®
1
1
t
@
1
DOWN BY HALF-STEPS
I~n
1-2-3-4-
®
l
®
o
6
6
1
t
I.~o
o
@
5
1
22
1
1&O
-&
@
5
t
t
I
NOTE VALUES
,.
J. I d r J
O
1 Count
2 Counts
3 Counts
4 Counts
Quarter Note
Half Note
Dotted Half Note
Whole Note
IDENTIFY THE FOLLOWING KIND OF NOTE: W for Whole Notes, DH for
Dotted Half Notes, H for Half Notes, Q for Quarter Notes.
-
-
r r
" j
r
-.lL.JL _ _ _ Y:L _
4 r. J
n
j
J
F J
o
n
n
DH _ _
r " r' j r " j
J
o
r j. r "
II
-----------------IDENTIFY THE FOLLOWING NOTE VALUES. (Counts)
"
J
r
J
o
J
r r
o
" r r
o
J j.
4
1
3
2
-------------
J
r r J " J r J J r' j r j
o
23
o
r J r'
II
2
1
3
8
10
9
12
OOD
DO
Tongue
covers 4, 5
and 6.
11
~
,.-----------.
G
WRITTEN
G
f
G is on the second line of
the musical staff. It is a
BLOW note in the 7th hole
of the chromatic harmonica.
II
o
7
T
BLOW
THEORY TIP: G is a perfect fifth from the tone C ar three and a haU steps up fram
middle C.
@
G IS A BLOW NOTE
fi
Count
&
Tap
@)
':j
o·
1-2-3-4-
lid
J
I J.
J IJ J J J I o
Jt~t~t~t
7
7
7
r
t
t
1
7
4111 IJ
J
I(J
1-2-3-4-
5
5
6
6
7
=--
6
S
'
(§) @
5
ap
@
1
SLIDE OUT
IJ qJ p'-e-
®
7
I
5
6
t 1 t 1 t t r
'»fI
4I iJl J I J J J J I J J J ilo.
Co~nt
T
7
7
t t t t t
W;J I#J #J
J I-e-
t 1 t 1 t t r
@
7
SLIDE IN
SLIDE OUT
Count
&
Tap
7
7
II
1- 2- 3- 4 -
, ,
= Breath
b~J
t;;;\.
5556667666665
tt!t !l tl t t~ t r
24
\91
~
5
viJ
@
l t
--
5
r
I
TIME SIGNATURE
3 2
{ tells the number of }
counts per measure
4
{ tells the kind of note}
that equals one count
Of
Il
LI-
ACCENT (:::»: To help the rhythm (pulse of music) move along use an accent
(::» (to make louder) on the first count.
::>
.
ONE,
two, three,
four
@
ro(
~ i ]1
eount
&
Tap
@
::>
~J
1 - 2 - 3 - 4 -
5
5
i
J
1
I
two three, four
,
=
IJ
1::>
ONE,
::>
1]1 ~J
)
ETC.
5
5
5
5
r
f
f
+
T)
J I~J
1t 1
7
5
5
J
1
I
::>
THREE TIMES (ONE, two, three)
Accent (::» first count
~
~
== ! jfj J IJ
Count
&
Tap
>
1 - 2
5
5
f f
-
w
J I~ J
3 5
6
6
6
J
f
i
J
7
7
t t
~J
::>
1
6
6
5
J
f
J
::>
TI
&
Tap
,
-J
=::.--,
Count
1 - 2 5566
t
J
t!
l
776
f
r
::>
I ONE, two IONE ,
two)
'eY
14 fl7J3---1J"""'-W-I
II
5
::>
PLAY IN TWO (O NE , two
t§'A\ (Accent on the first count)
Modera to
uTIl
IJ J
t
::>~::>
I id I J J I J J IJ) I
::>
6
6
6
7
t
i
J
t ! f
AL WAYS PLAY TO YOUR TAPPING! !
25
::>
6
6
5
5
J
f
1
2
3
DD
8
9
10
11
12
DODO
~--------,
Tongue
covers 4, 5
and 6.
Written
G#
~
G sharp is on second line of the
musical staff. It is a BLOW note
in the 7th hole with the slide in.
G#
II
10
r
BLOW
THEORY TIP: G# is an augmented 5th from the tone C or up four full steps
from middle C.
@
~ .! .le1- 2 - 3 - 4 - Ii J
J 1,;;;
J 1,;'1 - 2 - 3 - J4 - I,e
1 - 2 -3 - 4 1 - 2 - 3 - 4 ~ t ~ t~ Î ~ t ~ Î ~ t ~ Î ~ Î ~ t ~ Î ~ t ~ Î t Î~ Î ~ Î ~ i
C o~nt:
Tap:
f
t t " ff f t T
SHARPS GOUP
@
4i 1.
C ount
&
Tap
Ip
I j.
@
5
@
J
r
1-2-3-
5
t
t
4~ ,;.
&
Tap
I J.
I#J.
I j.
I,J·
6
6
@
7
(j)
I
J
J
t
I
It]. I j.
I
FLATS GO DOWN
@
Count
I
I~J.
IbJ·
I d.
I j.
I&;J.
I J.
I&J.
11.
@
6
6
@
5
@
5
J
f
J
r
I
f
1-2-3-
(j)
t
7
t
1
26
II
REVIEW OF THE HALF REST
@
-~ -
j
i
Count
,
&
Tap
1 - 2 silence
IJ
3 - 4 -
I
-
IJ
J
5
1 - 2 - 3 - 4 silence
5
Î
J
I
e
7
t
t
I
o
I
6
I
FIRST AND SECOND ENDING: Play the first ending and repeat then skip the first
ending and play the second ending.
@
~
nt:j? J J
Am
Ij
5
5
f t
5
~
t t
t
Am7
'»fI
5
6
t
t t
Dm7
rlU J
7
5
5
G7
IPa
J IJ J J J
10 J
6
pDm7
6
i
5
6
6
6
f
~
t J
C
Em
~
1 KNOW
Andante
777
t t t t
I 1st ending
G7
O IJ J J J
7
5
5
5
6
6
t
t
t
+
t
+
6
mj
6
t t
t
II
:117)
5
5
J
•t
THE TIE NOTES
I
2nd ending
t
5
Tied notes are two ar more notes of the same pitch connected by a curved
line that can lengthen a continuous sound.
J. J=
""'--'"
4 counts of continuous sound
J. J = 5 continuous counts of sound
J. J'-'d =
}'~J~J
'---"'" ""-"""
---
J
=
J=
o
'-""
_ _ _ _ counts
_ _ _ _ counts
_ _ _ _ counts
ONLY THE FIRST NOTE 1S SOUNDED. DO NOT RESOUND THE SECOND NOTE,
ONLY HOLD FOR THE TOTAL VALUE OF BOTH NOTES.
27
II
1
2
3
00
8
9
10
11
12
DODO
~----------,
Tongue
covers 4, 5
and 6.
,
G#
G sharp is an second line of the
musical staff. It is a BLOW note
in the 7th hale with the slide in.
Written
G#
II
10
~
I
BLOW
THEORY TIP: G# is an augmented 5th from the tone C ar up faur full steps
from middle C.
@
~ :1'0
1,;];]
I.J J J J I,J1 - 2 - 3 - J4 - 1'0
. 1 -2 - 3 - 4 1 - 2 -3 - 4 - 1 - 2 - 3 - 4 COg;nt:
Ta p :
~ Î ~ t~ Î ~
(!)
t
~ t 1î ~ Î ~ t ~ i
(j) (j)
(j)
(j)
t t i ~ î~ t ~ î ~ î ~ Î ~
t
(i)
(!)
t
t
Ci) (j)
t t t
f
t
f
~ i J. liJ. I J. I#J. I J. I d. I#J.
&
Tap
1-2-3-
5
@
t
t
5
r
, i Il
&
Tap
t
@
1
I j.
I,J·
®
6
6
®
7
t
1
1
t
I
II
FLATS GO DOWN
@
Count
(j)
SHARPS GOUP
@
Count
I
I_J
I~j·
I d.
I j.
I~;j.
I J.
I&J.
I~J
®
6
6
@
5
@
5
r
f
r
J
r
I
1-2-3-
(j)
t
7
t
J
26
II
REVIEW OF THE HALF REST
@
:~ i -
Count
I
&
Tap
1;
j
1- 2 - I 3
silence
- 4-
ti
IJ
1
7
6
5
5
t
i
t
J
-
II
o
2 - ,3 - 4 - ,
silence
6
t
FIRST AND SECOND ENDING: Play the first ending and repeat then skip the first
ending and play the second ending.
@
:~
1 KNOW
iJtr J .J
Andante
Am
n/
5
5
f t
5
~
t
5
t t
7
7
5
t
t
7
t t t
i
6
6
t t t
6
~
5
6
t
J
C
j
7
6
t
Am7
mf
7
5
5
6
G7
1 IJ J J J lE]
IJ J
, J':J7J J IJ
Em
pDrn7
Dm7
I 1st ending
i
G7
1 IJ J J J Q?j
5
5
t t
6
~ t
6
6
6
5
+
t
t
J
II
fn
I
2nd ending
5
i
5
~ t
THE TIE NOTES
Tied notes are two or more notes of the same pitch connected by a curved
line that can lengthen a continuous sound.
J. J= 4 counts of continuous sound
J. J = 5 continuous counts of sound
""'--"'"
J. d--d =
J~J'-/J
~-----
_ _ _ _ counts
= _ _ _ _ counts
J--------o J =
_ _ _-'-o
'-'"'"
counts
ONLY THE FIRST NOTE IS SOUNDED. DO NOT RESOUND THE SECOND NOTE,
ONLY HOLD FOR THE TOTAL VALUE OF BOTH NOTES.
27
I
NEW WORLD
@
A. Dvorak
Allegro
Dm
rfJ~q
10
~
Count
&
Tap
6
7
f
t r
6
5
~
r
567
1
! iri 1
6
7
t
f
I J. J I -e-
7
6
1
r
~
5
r t
1
::::-----..
II
-------
5_____.5
f
r
r\
-e-
~
5
5
6
1
C
IJ J I J. 1 I
5
5
6
G7
Dm
o
G7
5~
5
C
~ ;<1 I
Dm
I j J I J J 10===-tt
I J. J I-e-
7
G7
1
1
JESUS, LOVER OF MY SOUL
, 2 J'z J IJ
@
Moderato
mpC
Count
&
--=
6
6
r
t
Tap
1
J Ij
6
5
r
f
G7
C
~?f
G7
5
l
J
d.
o=-
5
5..--
r
r
r
6
+
r
r
~3,
Ij?Q
5
6
r
f
6
IW
7
t t
---
Ej
i Ij?
-...5
J IJ
J 'I
6
6
7
t
r
G7
C ritardando _ - -
J
I j.
I (J.
6
6
5
t
1
----...."
J
G7
Ij
6
t r
f
28
W
6
6
G7
i
G7
mpC
(slow down)
C
IJ
~.
5
------t
6
~~
5
C
1).
wtfC.c:::
1 IJ
12,
---
5
5
J
J
- -
- - - -
5
i
C
- - - - - - -
TlJ
----
5""---""'5
f
1'1
1
î II
G# AND Ab ARE ENHARMONIC TONES
1
2
8
3
DD
9
10
11
12
DDDD
Tongue
~
covers holes
4, 5 & 6
Ab
~
A ilat is located on the second
space of the musical staff. It is
a BLOW note in the 7th hole of
the chromatic harmonica.
&0
II
ifL
1
BLOW
THEORY TIP: Aflat is a minor 6th from the tone C, ar up a fuU faur (4)
steps from middle C,
,t
@
I&j
Iz"
J II,J J J J lud,
J Ibn
II
1-2-3-4-
Count
&
(î) Ci)
r
enharmonic
1 same tone I
@
4 ilz
n
®
f
®
f f ft tf
(7)
Tap
1'0
f
(Slide out)
1_0
t
f
fi)
r
(Slide in)
()
1'0
1&0
O
7
7
(î)
(?)
7
J
f
r
t
f
TEMPO
The definition of TEMPO is tirne. A steady, even tempo is
mandatory for the rhythm ta work. You cannot stop in the midst of
a musical piece, Therefore, it must be practiced until it can be played
without any hesitation.
29
II
2
9
3
10
11
12
DODO
Tongue
covers holes
4, 5 and 6
WRITTEN
A
a
II
()
A is on the second space of
the musical staff. It is a DRAW
note on the 7th hole of the
chromatic harmonica.
7
T
DRAW
THEORY TIP: A is a major 6th above the tone C, or 4 and a haU steps higher
than middle C.
@
,t
Count
&
Tap
DRAW IN HOLE 7
Ci
IJ
IJ J J J I J.
j
j
il
7
7
II
1-2-3-47
1
7
7
7
r
r
~
7
~
7
~
7
7
~
1
~
1
MUSIC FORM
Music patterns are very important for m'J.sic to make sense. Without this,
organization of tones becomes individual sounds without direction. Look for these
musical patterns, it will help sight reading and musical interpretations.
A MUSICAL PATTERN
~ J J J II J J J 111 J
30
J
II
J J J II J J J
II
REPEAT
AS SEEN IN MUSIC
D.C. al fine
To the beginning
{ To the tap
To the Head
Da Capo
D. C. al fine means: Return
ta the beginning of a selection
and play to fine.
{ Finish
End of piece
fine
CHROMATIC ETUDE
@
Andante
E7
Am*
C
p
~2 II: fa J ~J J J 1; J J I#J
6
t
6
6
~
t
,
6
6
6
f i
6
t
t
+
D
,
6
1..-:=
6
f,
____
~<I
IJ J
6
6
t
~
6
6
~
t
" f 7f7 '67666 '66
C
EJ
,
liJ
6
6
6
t • f
6
t
E7
1
Ifa J IJ
6
t
~
,~
6
t
+
#J ,J
t
fa
6
6
f
i
II
7
1
J liJ J J I J J J I#J J --a
f
C
1
i
P
666
~
Fine
--sFj
E7
1 f?3
~
6
6
6
Am
t
Am
f
6
f
6
6
l
t
Am
rit. _
E7
6
~
6
f
- - - - -
,
E7
- - - -
6
6
t
l
- - - D.C.
B~J
J
bJ
,J
J
I
&J
I
I
#J
J J
- - ~
t
~ ~ f t
f
t
6
* Guitar Chords
6
,
7
31
7
,
6
7
al Fine
:11
@
, fi
---
Pattern #1
~
J J
5
5
6
5
6
~
f
J J I J J J I J.
t t f
f l
1
IJ
i
f
6
6
6
7
6I
Pattern #2
~
J§] J IJ J J
7
7
7
1
t i t
7
J J
IW
6
6
6
J J II
t ~
f
IJ
6
5
6
J
t l t ~
EIGHTHNOTE
t
JJ=
1/2 count
--
~
J ~.
JJJJ =d
1
=
&
SAME
1&
n
TO EQUAL ONE
QUARTER NOTE
1 & 2 &
=
&
AN EIGHTH REST
lS A HALF COUNT
OF SILENCE., =
1&
JJJ~=J
1&2&
J
t
-+N
J
1
5
5
IT TAKES
TWO EIGHTH NOTES
THE BASIC COUNT or BEAT may be sub-divided
into two parts: a down-beatandanup-beat
j) +)J
I
1 &2&
J
j
1&2&
@
~ i
Count:
Tap:
WWWWW
1 & 2 &
IJ J J J j
IJJJJJ
3 & 4 & 1 & 2 & 3& 4 &
IJJJJJ
1 & 2
& 3 & 4 & 1 & 2 & 3 & 4 &
7
7 7
t
+
t +t + t + t • t +t • t + t • t • t +t + t + t
7 7
7
7
+
7
7 777 7
f f t f r
7
7
7
7 7 7
f t f ff
US1NG THE TAPP1NG FOOT YOU WILL RECOGN1ZE THE "HALF" COUNT
WHEN THE FOOT (TOE) 1S UP.
J
J
J
J J
J
J
J
~~~V~VQ:::,V
q
&t
2i
3~
&t
32
II
&
t
4~
&
t
~
7
t +t
EIGHTH NOTE STRATEGY
@
t lJ
Count:
J BJ IJJJJJ J IJJJJJJJJI
1
& 2 & 3
* t
Tap:
7
~
t
7
&
~
4
&
1
~
tit
777
, J nj
&
2
& 3 & 4 &
~
t
~ t ~
t
77777
1 &
~
t
7
&
& 3
~
t
&
* t
t
nlu
~ t
1 & 2&3& 4 &
UJj
1&2& 3&4&
1&2&3
7777
7777777777777777
~t~t~t~t ~t~t~ t~t
4 &
77777777
IJ J JJJJIUJJ J
&4
2
I
1 &2 & 3&4&
~t~t~t~t
~t~t~t~t
I l ll++ ftf r lS f tfr
f tfr
SIXTEENTH CENTURY
@
Andante Am Em
Am
Em
B
iEm7lZ1'5
)
~ i J~ J ~ I J #3
Em
J
U
Count:
66677'67
t t ti
1
Am
,-----
E
J
9
1
Am
B7
l'1J
Em
J J
#J
D·
-
6
7
f l
B
Em
7
,t t,
6
lia J
î
7
6
I
t t
Em Am Em Am
Am
----.....
J J J ,J I J.
7
t t
t
6
6
6
f t t
7
7
f t
33
Em
B
Em
J I J #J J
7
7
J
f
Am
uil J
f ~
r
E7
,
7
~
J
7
l
f
7
t t
Am
J J tJ 3"i·
7
6
EI
7
1
II
1
2
DD
8
3
Tongue
must cover
holes 4, 5
and 6
9
10
11
12
DDDD
WRITTEN
A#
a#
A sharp is on the second space
of the musical staff. It is a
DRAW note in the 7th hole with
the slide in.
DRAW
THEORY TIP: A sharp is an augmented 6th above the tone C, or 5 full steps
above middle C.
@
,t
(Slide in)
Count:
Tap:
,i
#0
I#J
,
I#J j J J I#J JJJJJJJI#J J a~
1 &2 &3 &4 &
r
+
I ~: I ~l I~: I
SLIDE
6
5
#-e(5)
I
II
t +t • t +
j j 9~19 '9m?T9 111
®
,i
j
,
1#o
1
#0
1
I~5
1
#"
1
j
f
SLIDE
@
7
(6)
j
IN
I
E
f
6
I
~I
7
#0
1#0
f
J
o
"
OUT
o
"
5
6
6
7
7
J
t
1
r
1
-&-
o
5
1
34
I
II
A SHARP AND B FLAT ARE ENHARMONIC TONES
1
2
8
3
9
10
Slide in
11
12
DODO
DO
~
T ongue covers
holes 4, 5 & 6~-----~---------.
B~
WRITTEN
bb
~o
B flat is on the 3rd line of the
musical staff. It is a DRAW
f
note in the 7th hole with the
slide in.
T HEORY TIP: B flat is a minor 7th from the tone C or 5 full steps above middle
C.
(NOTE! ! ! B flat is used more often than A sharp)
@
.,
t~ ..
I~r
1&2&3 &, 4 &
Count:
Tap:
1
j
~
~~
mf
X
Count
&
Tap
r r r IT j j rre rr 11 r r
11;
IJ
.f.t.f.f
1&2&3&4&
.f.f.f.f
1'~1 ~'fr
J I J.
I~r'
IJ
W
J Il)
7
7
1-2-3-
5
5
6
6
t t t
t
t
5
II
7
7
7
t t t
r
35
6
5
t 1
1/
INCOMPLETE MEASURES
The first and last measures are incomplete.
Count:
IJ J J
J
IJ
IJ
W
4-
1-2-3-4-
7
7
7
7
t
t
I
i i t t
1-2-3-4-
1- 2 - 3 - 4 7
7
7
I J.
J
II
1-2-3-
7
7
7
t
t
t
I
When the FIRST measure does not contain the number of counts as shown
in the time signature the remaining counts can be found in the LAST measure. Even
though the music begins on the 3rd or 4th beat, be careful to ACCENT the first
beat of the next measure.
ACCENT IN THREE
@
fine
(stop)
Moderato
flJGJJJ
C ount
&
3 -
1 - 2 - 3 -
1-2-3-
5
6
7
6
6
! l l
t
Tap
II
7
t t
;::,.
7
7
J
J
t 1 t t t
~& J'iJ IJ J 11 J J
Count
6
Tap
6
7
t t ~
7
;::,.
5
6
t t t
1-2-3-
7
J.
6
6
7
r
t
!
r
7
i
-; .- -tiT
1-;]·
5
6
;
!
;
f
t
D.G. al Fine t
rit. _
::::.
::::.
1
6
6
I
;'1
t r
Repeat) i
:111
I
- 2 -
I
i
f
.~
SHORT BOOGIE
0
~I J J
t l
5
5
Cm
I~J
i
G7
Cm
j
IJ
5
5
!
1 36
Cm
G7
J 1 J J J ~J 1;
5
J
6
7
t t
5
J
,
5
r
:11
PATTERNS IN THREE
@
Moderato
p~~
~2
l
J
W .J
IW
6
7
5
7
7
t
J
t
JJ
J
6
7
J
t
J
t J t
W
j
6
6
6
6
5
J
t
J
1
t
1
5
t
l t
w
J
J
J J IJ J
5
1
'~
D
5
)/8
6
6
J TI
mf
J J---------I~
IJ
7
,J
6
6
W
IJ
i ~ t
l
7
~
J J
,..--......
6
Iw
6
6
6
EI
7
l t
t
J
I
J J 2D
II
6
7
7
7
5
7
7
6
7
6
6
6
J
t
J
t
t
J
j
J
t
J
t
1
BANKS OF THE OHIO
@
Modera to
C
Tradi tional
j+ J I -
mf
:4 i
Count
2
5
-~
5
4 -
U J J 1 I~
--
6
_6
6_
6
t t tIt t
rn
l z@
5_
c
~ J ) J I ~ 3)
_5
~ ~~
___
5
6_
11 1§35J
6
_6
6
7
~ II j
I
5
~
tIt t t t
6
.
5
-.......7
--.....7
5
7
7.-
t
G7
6
6
5
6
6
7
t t II
C
t t 1J
37
5
fU J ~ fj
fU J J J
f
5
iJJ I ~=
.
7..-
__5
f
t t t t
0=
--
5
C
m-P
7______....7
1
5
1 j t ~!
1
F
5
--
5__
la 11 r"1
-8-_____
5..--
f
?ta
_
__......5
t
I
Slide out
1
2
3
DDD
9
4
Tongue
Covers
holes 5, 6
and 7
10
11
I
12
DDD
WR1TTEN
B
b
o
B is on the third line of the
musical staff. It is a DRAW
note in the 8th hole of the
chromatic harmonica.
8
Ţ
THEORY TIP: B is a major 7th above the tone C or 5 and a half steps above
middle C.
IMPORTANT'"...
UNT1L NOW THE PATTERN WITH THE SL1DE OUT HAS BEEN:
Hole 5
BLOW-DRAW
Hole 6
BLOW-DRAW
I
Hole 7
BLOW-DRAW
AT THE E1GHTH HOLE TH1S PATTERN 1S REVERSED:
5
EXAMPLE
@
6
8
Draw-Blow
b
C
7 .f
Blow-Draw
a
G
Blow-Draw
E
f
Blow-Draw
d
C
Hole 8
DRAW-BLOW
,j,
Draw in hole 8
4i
o
Count:
Tap:
8
r
I
r r
8
r
8
l
l
Ir r r r IErEFErEr
4
1 & 2 & 3 &
8
8
; ;
38
8
8
~ ~
t +
I
I
II
&
•+•+•
*+ t • • • ~ t
+
o
I
88888888
8
J
I
@
~
t
A
Draw
o
'i
G
Blow
B
Draw
I
o
Io
7
II
1-2-3-4-
Count
&
Tap
@
B
Draw
8
7
8
1
1
1
Allegro
I
Draw
J I J 'J Ir J I J J I J Iqs~
4I jq IJ
t1i
I
Count
&
j
Tap
@
Moderato
Draw
wf===
4t i g
Count
&
Tap
IJ
I t
@
r
7
6
5
1 j IIi r j r
f
~I~
iz
J IbJ J J~J IJi]
~ 1,
8
t
I~r
J
, l t,
6
6
i
6
5
II
(5) 5
l tI
Andante
~4 i
j@ J J Ir J IJ J Ir J Ir r I J ro
Count
&
Tap
1 - 25
6
7
iti
7
8
7
J
1 J
7
1
8
i
J
-1 1
39
7
8
8
J J
7
7
7
~ t
r
I
DOTTED NOTES
R ULE: A dot following a note lengthens the note by one half of its original value.
DOTTED HALF NOTE
DOTTED WHOLE NOTE
==
2 ==
0(+).
dc+)o===
+
4
3 counts
2 (+) 1
O •
6 counts
DOTTED QUARTER NOTE
ro
1 ~ counts
COUNTING
J.
1&2
SAME VALUE
= 1 -!
counts
J.=j)j)j)
J. = J j)
1&2 1
'-"
Tied
&
2
J.=J j)
1&2 1 & 2
Jo
Up
Down
~
~
&t
1~
UP~
COUNT
AND
TAPI
(ALWAYS)
q
Down
~
'§)
'4
~
Count:
Tap:
J.
lJ
1& 2 & 3 &
• 1 ~ 1 ~ 1
7
t
7
7
f
t
J.
J. li J; J. J ,W ~~
~ .
I
• 1 • t • 1 • 1 • 1 • t • t • t • t +1.t.t
i t t t t t t t t
t
IJ
1
1 & 2& 3 &
1
& 2 & 3 &
7
7
7
7
7
40
7
1 &2
7
7
& 3 &
1&2&3&
7
7
A WALTZ FROM SCHUBERT
@
Moderato
~~-G7----8~-~
J--- I J.) J------ I
7
6
7
6
t
t
t
t
1&2& 3&
655
566
t
t
J
t~
t J
c
'7f1 J
5
5
1 t
5
6
5
J
t
f
C
4;
7
7
6
t
t
t
5
t
+
5
~
5
t
in J.
)J I J J J7'1
6
5
6
5
t • l
t
G7
J 1;
6
G7
I J . 11)
~
F. Schubert
Jg)
~I ilD. J)J IJ J J I~
6
G7
5
6
6
J
t
J
C
Jill.
J)J IJ
6
6
5
t
f
t
5
~
5
J
J J IJ
il]
5
6
5
t
t
5
t i
I
5
"
t
MICHAEL, ROW YOUR BOAT ASHORE
@
eFe
Moderato
41 ia IJ.
~
F
lJ J I J J J I
7677
t t
f
tt
G7
7
~
t
C
:~>g:lIJ S I J 1 J IJ
F
l f
t~ t
C
~
7
7
67
t t
1
t
t t
F
55567677767
t l
t tt t t
G7
~ -:-D· jJ3 I J.
C
JB).lf] IJ. JjJ j 1; sJl
766655565
t
67
f
G7
p
3tJ
II
1&2& 3 &4&
56
an
C
t
C
JyJ J IJ 1 J IJ
t J t t t
G7
J 3)
7
766776665556
5
1
t tt t t ti t 1 t
J
41
+
f
C
5
t
I
WATCH THE EXPRESSION MARKS
-=======Means CRESCENDO, a gradual increase in tone volume.
======-Means DECRESCENDO, a gradual decrease in tone volume.
~
~~_ _ _ _~~_ _ _ _ _ _ _ _ _ _ _ _mp
~~~zart
Moderato
i~ ~ "If~
Jd)J 19:j
6
I
6
6
7
+
t
t
IJ
li ']
J
Ir
J
6
6
J
1
C
C
~~
i
1
?~ I ,
1'i'
5
5
I
t
!
1
I
t
I
!
"If~----jl
I J. j J I El
~ II
I El
1
5
5
6
l
J
r
~ ZŢ lJ
6 5
t ~
J
@
Moderato
~I
~C
6
i
6
t t
G7
F
G7
5
6
7
t
t
J 1;
J3l)~
6
6
6
5
1
J
r
1
Ij
l))1 El
J.
6
7
6
7
I
6
7
6
!
r
7
I
6
1
42
6
5
6
1
1 t
I
5
I
I
G1f---------- ,
1; J. J 1 I~
Mt:
7
IIII
Folk Song
__- - - - - - - - - - - -__
îV I j
i
!
5
LONG, LONG AGO
11].
7
-------
5 ______ 5
1 r
1
i
6
!
t
f
!
Slide in
1
2
3
DDD
9
4
Tongue
covers 5, 6
and 7th holes
10
~
12
DDD
WRITTEN
B~
b#
4
B sharp is an the third line of
the musical staff. It is a DRAW
note in the 8th hale.
@
11
le
t
THEORY TIP: B sharp is an augmented 7th from the tone C ar 6 full steps from
middle C.
DRAW IN HOLE 8
4i 'e
I'p p Iir r
r r 1, r r r Lrr riIe
"
B SHARP AND CARE ENHARMONIC TONES
1
2
3
9
4
DDD
T ongue covers
5, 6 & 7th holes
mGH
11
12
DDD
WRITTEN
High
C
C
()
C is an the third space of the
musical staff. It is a BLOW
note in the 8th hale.
@
10
t
C is used
more of ten
than B#
THEORY TIP: C is one Octave above Micid.le C, ar 6 full steps apart.
11
u
Ir
r
8
8
t
f
Ir
8
r r F I rE rr err rl
8
8
8
8888 8 8 8 8
n
II
a
t t t t tt tt t t t t 1
43
C DIATONIC SCALE
@
f ! 1 J IJ
5
5
I<j J IF F: Ir- F I J J IJ J IJ 1 I
j
6
6
7
7
8
8
"8
8
7
7
6
6
5
5
t 1 t 1 t 1 li r 1 It 1 t j t
C SCALE EXCERCISE
@
fiJJJIJJ~IJJJI~JJIJJFIJrrlr5
5
6
t
J
t
5
J
6
6
6
6
7
6
7
7
7
7
7
8
t 1 t t l t 1 t 1J
8
1 J
J
II
8
8
t t
C BLUES SCALE
®
G
C
4t ti ~J
J #J IJ
C
~r
,
,
,
i
i
5
6
7
J
G
r
I~r
C
F
J bJ J
I~J
, , ,
8
Î
1·
7
6
5
Î
J
r
II
The BLUES SCALE can be played with any combination of C chord, F chord
and G chord. (The chords to be pla ved an another instrument. guitar. piano. etc.)
Any part of the scale ar aU mav be used as a blues tune. The following is an
example. Try it, then experiment wi[h -other combinations of the- fones from this
BLUESSCALE.
EXAMPLE FOR BLUES
c
Br
î f j tj
7
8
t
r
II
44
1
2
3
DDD
9
4
T ongue covers
holes 5, 6 & 7
10
11
12
DDD
HIGH
Written
C#
C#
C sharp is an the third space of
the musical staff. It is a BLOW
note in the eighth hole with the
slide in.
t
THEORY TIP: C sharp is an augmented octave from Middle C
@
BLOW NOTE IN HOLE 8 Slide in
41
count}
Tap
r r F It r r r rr r r 1#0
#u
I#F=
(ij)
@
@
(ii) (a)
r
t
t
t f
F I#r
l' """'~
I
@
r
SHARPS
(C# SCALE)
® I
Hale
42 il.
5
Iti].
I IHale
1#;.
6
I#J.
I!Hole
7
II Hale
8
I
I,J·
I,J·
11ţ'
Ij~·
1/
t i r 1
I
1 1 r
®
t
FLATS
(SLIDE IN)
@
li r'
8
t
"1
ISlide in
lI~r'
I&d.
I~J.
I J.
(jJ.)
!
®
~,
6
(6)
r
l (ţ)
45
I~J.
I&iJ.
1 1
II 06E.
5
t
II
NATURAL
OH, SUZANNA
(SLIDE OUT)
~ Alle gro .
C
f ! TI I J J J J
G7
I J J J J I J J J J 1J.
556777
t~
tit l t t t
C
4J J J
6
7
7655
7
j
7
t t t 1
1
Foster
nI
6655
5
55
t t
1
tt
J
t
G7
C
I a J J J la J J J IJ
7
6
5
6
5
6
5
t t l
t t i l
5
II
5
~
r
SHARPS
OH, SUZANNA
(SLIDE IN)
@
i
Allegro
Foster
c#
~ 1 ma I,J,J J #J I,J #J #J
@@ @ (?) Ci) (J)
t~
4
c~
J
#J
Ci) (j)
CV
#w ,J
@
t t t l
t i t
l
1,;
®
J
@ @ @
t t
G#7
I#J J il! #l I#J.
® @
t t
Î 1
@ @
@
@@
Î
1
t+
J
G#7
#J
#1
#J I~
(j) @
@
@
t t t 1
46
PiJ I
c#
J #J J 1#1.
® ® @ @
1
t t
!
@
!
1/
NATURAL
CAMPTOWN RACES
(SLIDE OUT)
@
Allegro
~I J IJ J J
7
W
7
7
7
t
t t t t
6
IJ J J
7
7
J
i t
6
7
6
i t t
7
7
7
t
J
t t
6
5
6
t
J
t 1
G7
~ J J J J IJ J J
7
5
t
C
Ij
6
; I
IJ J
IJ J.
C
7
Foster
G7
C
5
W
J IJ.
6
5
5
t l
l
I
ţ
IMPORTANT: The harmonica is designed with the slide to sharp or raise each
note one-haU step. Therefore, to create a "flat" you have to move the harmonica
to a lower number or hole and sharp that note which is enharmonic to the flat.
Such as B to B flat, you move to A and push the slide in and play A sharp which
is enharmonic to B flat.
FLATS
CAMPTOWN RACES
(SLIDE IN)
Foster
G~7
I~J &J.
,!
@
c~
Hole 4
slide out
C~ 1enharmonic!
G~7
~ ~J J bJ J I~J bJ bJ
I&J
@
t
~J
J IgJ.
,t
AÂ
®
HOWEVER, it is best to "think flats l ' by moving the harmonica so that you are
actually flating or lowering the tone rather than sharping the tone below. As you
become more aware of the harmonica and the placement of tones, most of these
beginning problems will be resolved through practice.
47
I
CHROMATIC SCALE
Twelve half-step intervals
This scale should be practiced DAIL Y:
@
J #J I J J #J J . 1,; J #J
41 J iJ
(5)
5
,
5
t t l
,rr
&r J I&J
a
a
~
t
,
(7)
7
~
î
6
6
t
J
f
(-i)
7
î
t
J
r
~ l
8
,
t
7
6
6
J
t
f
5
(5)
J
t
n
8
r
la
J I W pJ J &J
t7J
W
7
I
1
-
II
5
t
I
COVENTRY CAROL
English
:
J
6
,
t
t f
-
Iti wlj.
7
6
Am
mi
6
t
B7
~i.
I{i]
t ,
6
t
6
,t
7
t
Am
J I#J
7
7
+
J
t
Am
W
1
6
e
Em
, -nf
I W #J J I
D7
, 7fîJ
r
7
' ::: Breath
E m . . - - - : ________
IJ
6
7
f
1
48
B7
#J
J I#J
1
7
t
1
131
6
t
E
I,J~
, r--
D·
--®
r
II
Rerninder: (q) A NATURAL (Cancelation of the sharps or flats)
,
O
IJ
#JqJ J~J
_5
cr16~
. . t .
----5_
l
1
7
7
i
C
~
7
7
7
7
1 ~ i 11
J
~
O
I
--------
u
_5
5.--
7777777
J ~ J
1
J
l
J J J
J J J J I J J J J I ii; J J J IJiJ J J J I J,; J J J I
~
~:i
I
..---'
7
7
J J
J J J I J &J J
7 (1)7 7
1t1
W
70 7
7
7
7
J J
ttJ
J
J
ttl
I J~W J J I ()
7
7
J J
------'___
liS tcLm:n }ime, :aJe a} ~ t t
'=:
C?2 7
7
1
J
I
0
I
ABa Breve - Cut tirne rneans twice as fast as Cornrnon tirne. (Two counts or
taps per rneasure)
f Written
,"
EXAMPLE
@
7
1
Plared
Written
Played
Written Played Written
Played
It IIJJJJ IJJJJIIJJIJJI:J j IJ J
7
77777777777777
77
t tt t tftt tt tt t r
t t
49
DARK EYES
@
, 2;!r1J. lJ----IJ J
,
'i r
Moderato
E7
E
I J.
#J
6
6 ____6
6
t t
Em
r
6
t
~
I~I
W
,!
IT]
-----
I
6~6
•I
6
I
7
t ~
tI
1
I
E7
t
t t
l
+
l
'-17 t J-----J
)
6
6
+
t t
6..-
Am
I ro
i
J
8
8
1
t
I
t
8
1
Am
I
r r
_6
8
8
8
1
t
1
t
1
II
J
E7
I
il
l
t
r
l
k.
6
6
t
Russian
Am
50
I
r'
r
~
4 5U
7
7.--.......7
t
+
1
I
III
SHARPS
This is F#. It is on
the tap line.
The SHARP raises the
pitch of a tone onehalf step.
This is C sharp. It is
on the 3rd space.
Sharps are either line or space sharps.
Observe the keyboard below and LABEL the following sharp signs using their
letter names.
#
#
I
#0
I
I
#
#
#
I
II
#0 #','
I
#
#
II
YOU CAN SEE
SHAR PS ON THE
PlANO KEYBOARD.
RAlSES for SHARPS
(
4J
~ J
iJ
C to C sharp
is up one-half step.
#J
to F sharp
is up one-half step.
F
NOTE: to SHAR P a tone on the chramatic harmonica just press the slide button
@
=$ i J ,J
FILL
..Q... to
Ij
#J
__ to __
IJ
I
#(J
_ _ to _ _
OUT.
51
I IT
'r I r
_to __
#r
_to __
II
FLATS
The FLAT sign lowers the
pitch of a note by one-half
step.
@
~
This is B flat. It is
an the third line.
This is A flat. It is
Flats are either space ar line flats.
an the 2nd space.
Observe the keyboard below and LABEL the following flat signs using their letter
names.
h
~
i
~
b
ti
~
b
~
~a
&0 b"
-&&0
.
I
I
~
~
b"
b~
~n
ba
b
iz
~
II
YOU CAN SEE
FLATS ON THE
KEYBOARD.
II
I
I
b
LOWER for FLATS
D
C
~
j
E
F
A
G
&J
D ta D flat
is down one-half step.
~
B
j
D
C
bJ
G ta G flat
is down one-half step.
NOTE: Ta FLAT a tone an the chromatic harmonica you must move the harmonica
ta the right and press the button. Sharps are enharmonic ta flats.
@
FILL OUT.
~ i J bd
A
to_
I F ~r
__ t o _
IJ
_
~J
to _
52
Ir
~F
_ to _
I J &J
_to _
II
NATURAL
The natural sign is
used to CANCEL a
sharp or flat.
This is "F" Natural.
It is on the lst Space.
LabeI the follawing natural with letter names.
q
q
~
~
q
~
R
q
q
g
II
LabeI the following sharps, flats and naturals by their letter name.
&
#
#
&
#
F#
REVIE"W
A sharp RAISES a tone one-half step. (slide in)
AFlat LOWERS a tone an-half step. (slide in)
A Natural CANCELS aflat or sharp.
II
CHAPTER II
NOTE: C, hale 9 is the same pitch as C, hale 8, Hawever,8 DRAW praduces "b"
and 9 DRAW praduces "d" ta begin a new actave.
Slide out
/
1
2
3
4
5
6
7
8
9
10
12" ~
11
DDDDDDDDEJGDD
"~
______________________________________-J/
NOTE: The tangue remains in place as befare. (Always cavering the left ADJACENT
hales.)
Written
Written
c
d
C is an the third
d
d is an the 4th Line
of the Musical staff.
It is a DRAW note in
the NINTH hale, slide
out.
space of the musical
staff. It is a BLOW
note in the NINTH
hale, slide out.
o
9
T
NOTE: This third ar upper actave is the same as the lawer twa actaves. This actave
is used for extended ar higher tanes and for variety of saund.
Wl'itten
E
E
E is an the 4th space
of the Musical staff.
It is a BLOW note in
the 10th hale, slide
out.
4
Written
f
o
f
1:1
4
f is an the 5th line of
the Musical staff. It
is a DRA W note in
the lOth hale, slide
out.
10
T
10
T
TONES "C", "D", "E" & "F"
@
41 "
9
o
"
o
9
10
10
1
1
I
rr rr
9
9
J
Î
I c: r el t;
r
10
10
i Î
1
II
PLAY WITH EASE
@
41 ecrrj r r
9
9
10
9
Î Jt J
10 10 10
t i t
10 10
9
10
9
9
9
9
9
t
J
10 10 10
t~
9
9
t l t
Infarmatian
Hale 8 & 9 bath cantain C. Hale 9 is used when playing the upper actave ar moving
inta the upper actave. (see page "7 )
54
II
EXERCISE 1
@
Different holes
{
t
f i J ti J J IJ.tia J Iti r J r Ir r r r I
5
6
t f
5
~
6
6
7
6
7
J
f f J J
7
t
8
7
8
J ~ f
8
9
9
10
J J f t
re re
r ro
9
9
10
l J
I
10
J J
Different holes
:, r r r r IFJ r IJ a J J IJ J J ti I J J 1 I
W
109988787
t t
J J
f
J -J f
7676
~ J
f f
6565
J J
555
i
t f
HANON 1
@
f
J
change
t
t
, fi sa i] un IţJ iJ lJ J] Ifi sa .Q JJ Ii1J J~ cr rt I
56677766567787766778887767889987
ff.ftf.f t.t ••• f. ff •• f.lt ••• t.1' ••
7 8 8 9 10 9 9 8
7 9 9 10 1010 9 9
8 9 1010 11 10 10 9
11 1010 9
a
9 9 10
1.f. fl1l lf+fJt.t .ifJf.1. 1 f. 1Jt.t
change
1 Cr fu; te fii
10 9 8
8 7 8 9 9
.+1t ••
l
I
EE U Jj J3 Ee U JJ ia J) 3] nia
I
1
10 8
8 7 7 7 8 8
t. t1 •• 1.tt
9 8
7 7 6 7 7 8
~ttf~ftt
8 7 7 6 6 6
8766566776655566765555565
~
l f iti
t. t t J t • t • 1
Practice the above hanon until memorized!
55
7 7
t~tittft
fJJ]/JUQliJ31;;JlSIf]J3i1JJlj
• f J t • t.t
I
r
t -
I
THE WATER IS WIDE
Folk Song
aEr
Ii fEF-r1-'iJ7J-t-r-r
7 999
i
nif
10
tt~
f
G7(G)
7
9997
7
+l
f
f~
aa8
8.....-....9 9 10 1QjO 9
t ttl r t~ftt l
=========-- mp
(change)
C
liOiiT'~ 1l@113 Un 5*
i~
~ lf~
9 9 1010 11
101010 99
f f f.t
10
9 9 7
7_
_7 7 7
f f11
t f
4fî J r. I f Ej rJ.
;}) I ,:
~ J JJJ I
7
8
5
f
6
t
7
f
9
f
f
9
9 8
8 7
ftfi
J
f.f
8
~
+
~
f
8 7 7 8
78
8
ttt.fJ
r-°m ' wal
8....-..8
t
•• f ••
II
7
7
f ff
==~~--~~~~-m~~~==~
43J JJ f.J J1 JJJJq JJ IJ JJJ JJJJ rAŞ· li
G7
I
1
.t ••• t ••
6888876558888766688887788
4r
7
t
C
~J S#J J I W
Jn.
7 7 7 (â) 7
7
f.ttt
6
6
+ ••• +f ••
$jj )J
7 7
t ttt
F
_----_
f'TJ
5
+tttt1tt
77
f .f f
sa J IGJ JJiJ]}1
7
7
7 7
t
f
f.fTf
7@ 7
5
7 7 7 6 6 5
l ttf.t+
G7
~---;::;;;;;~(c:;--~
1:\
7
JEli r r rJ!' ~* ~ J JJ aJ IfW '"
7
8 9
9
9
8
8
7
8
56
8
8
8
7 7
8.....-....8
o
GRACEFUL WALTZ
Johannes Brahms
( 1833-1897)
Teneramente e grazioso
poco cresc.
An~
C
I J. JEg I 2g@ I
6__...5 5..-6
tf t
r
ttf
r
4 J~Jn I QSJ
6---5 5~6
6- 6 --""'5
~
fff
G
N.C.
rit.... _ ... ... _
G7
1
~
~
f
i
D7
m-l!
G li
t
Ş----S---5
6__...5 5_6
a tempo
C
G
P
Am
I J~Jn I ~@n I ~d8 I
..7
f 1 ff l tf f 1 fff
"'If~ c
6 - 5 5_.
7""'-""6 6 ...........7
7.--..6 6-...7
PG7
C .
cresc.
7...--.....5 5._...7
7.....---...6 6..--...7
8...--...7
JJf
fff
~
4 ffiP)J8 1J@n 1€f)81r7S?JiBI
8
7 6
5
~
ffl
F
5 _ 6 6--.7
ft1
f
'
JJ22
~
f
G7
~
rit.
4 pi) E?= IrJ S' IfrG
8--..7
t
7_9
J ff
9 ____7
1
7.......8
~~f
8 8 7
f~~
t
t ft
C
P
G7
a tempo
I(jgg I J. jJj I QsJ I
7
6-...5 &-..6
t
f
Am
C
t
~5
5_6
6--S---S
fft f f1f
rit.
G7
poco cresc.
~
~~=--
J
t
f+f
7___...6
l
6..-.7
f ft
7 _ 6 6 ..........7
J
ttt
57
a
7
6
ft~
S
t
f J
C
4 LJD I b n lun IA J]3)
6 _ 5 5,..-..7
7..-..8
S
t
1
I
Slide in
./
1
2
3
4
5
6
7
8
9
10
11
I
12 "
DDDDDDDD8BDD
"
~
/
NOTE: Tongue use remains same throughout.
C#orD~
C sharp is located an
3rd space of the Musical staff. D flat is an
the 4th line of the
musical staff. Both
are BLOW in hale 9.
E# ar F
E sharp is an the 4th
space of the staff.
F is an the 5th line
of the Musical staff.
Both are BLOW notes
in hale 10.
d# or e b
Written
C# Db
~
~a
~"
d sharp is an the 4th
line of the staff. e flat
is an the 4th space of
the staff. Both are
DRAW in hale 9.
®
1
f#org ~
Written
Eţ
~
F
#n a
~
1
f sharp is an the 5th
line of the Musical
staff. g flat is an the
space above the staff.
Both are DRAW notes
in hale 10.
Written
d# eb
~
Izu
la
®
T
Written
f#
gb
#a
~
ba
t
SLIDE IN
0
,i
C~
d#
E#
#n
1la
1#"
1
T
f#
#e
I#m #r
,
Gf
r 1
58
'r
#r
@)
@
~
t
II
UPPER CHROMATIC
@
!r
f4
f
#Q
I
'r
Ir
9
(9)
t
t
!
!'F
r
I~r
j
9
1
9
,
10
t
,
10
l
lE F LOt rlzE ~J
r
i
l
I r jr
t
lE
9
f ti
I
J
r
10
10
l
i
I~r
l'
t t
9 10 9 10'10
Iiţ
9
II
F
®
'9
I
r
t
CONCERTO NO.I INC
P. 1. Tchaikowsky
@
f
Andante
if
C
m~
2i
j
( 1840-1893)
Dm
ebn IJ
---- IJ r·
r· Pil DU
D~
I .
7 6
5
5
10
10
tt
+
t
9
10
~
l
7
9
l
t J t
J
,....
8
10 8
J
9
7
8 7
t 1
~ +
9
7 11 10 9
t
C
IJ
f'+
J.
l I J.
7
5
6
t
l
t
c
f 1+
jJ*J I J.
7
5
t
J +
5
f
Dm
.
7
6
P I r DCf I w
6
10
11
t
r
t
t
c
~
7
5
8
r·
10
~tr
7
t
9
rit.
D7
J
:f ~ J J J adi ~ r r E r r I El ti:
. D7
9
(ill
8
a
j j t
6
7
8
t j j
7
t
7
8
8
9
10
j j t j
t
59
9
10
7
It 1
I
8
8
1 1
AN EVENING PRAYER
"HANSEL AND GRETEL"
0
Am
Andante
F
C
J IJ
w7J
7
7
C P con espressione
$ e iT W
6
5
6
7
t t t i
--J J
G7
~
J J
6
1
! t t
___
6
7
E&
5
1
C7
(7)
7
(TI
i i i t
Pc
~ l
5
z
Am
Tw
6
6
t t t t
7
5 5
~ t
Em
A
Er
Am
J J J IJ
7
t
i i i
---!
+
7
7
6
r
! t 1
G
*
1
i i 1 t
F
Em
7
7
1 i r
5
6
1
ar r Ir RtI~
D7
~ ~
7
1
6
8
Wd
5
t
5 5 6 6
J t
6
6
7
J IJ
7
fin
t t t t
A~ IJ
;<1
IJ
6
D7
J J IJ
7
8
1 t r
&J J J J I~r
~j
F
®
r
J
G7
6
B~
~
C
A,:,~
E. Humperdinck
Em
8
8
8
9
IFO J J 1;
7
l f
1
Am
7
9
9
D7 G7
C
8
Am
6
t t t t
6
C
JaD
5
6
II
5
t i tf
EXPRESS
I~F ~J J IJ
5679®1®,1088
i ff f t
t
~) f
am
P.D.
II
CHAPTER III
Slide out
./
1
2
3
4
5
6
7
8
9
10
11
+
12 "
DDDDDDDDDDBEJ
, ,________________________________________-r./
NOTE: Tongue blocking remains the same.
Written
G
~
G is on the space
above the musical
staff. It is in the
11th hole and is a
BLOW note.
,
Written
a
o
a is on the first
leger line above
the Musical staff.
It is a DRAW note
on the llth hole.
11
T
-e-
11
T
NOTE: These tones require very Httle air with much warmth of sound so as
not to sound shrill.
Written
b
i
b is on the 200
space above the
musical staff. It
is a DRAW note in
hole 12.
Written
.a-
C
...fi...
C is on the 2nd
leger line above
musical staff. It
is a BLOW note in
hole 12.
T
f
12
T
NOTE: Leger lines are added lines to extend the m:Isical staff.
§
ON THE RIGHT SIDE
1 i r r ţ ţ Ir r ţ r Ir r r ţ It t f t It
11
11
11
11
t t
J
J
11
11
t t
J
11
11
11
11
12
11
11
t t t t
J
.f.
61
J
+-
draw
12
12 12
J t
J
r
11
11
l
t
II
SCALE AND ARPEGGIO
5
9
9
5
6
8
7
6
7
7
7
8
9
5
7
8
11
11
12 12 12
10 11 12 11
10 8
11
6
j
t II t tI ttt It t tI
~
6
10 10
6
1 ti 1 t
5
8
7
11
6
10
10
5
1
HANON II
~
, !jJ J J J J IJ J J J JJ IJ~JJ....-...J~JJ Id J J JJ J I
588878
t
786868
t i t t t. t t
+
599989
t t t
J +
t
+ J
797969
J
+
t t
J J J
, J J J J J J Ir r Er r r Il f f r el I[ E r r r r I
6
10 9
t t
J
10 9
10.
t t t
8
10 7
t
~
10 7
10
6 10 10 10 9
t t t t J
J
t l
10
JJ
9
10
t t
8 10
7 10
J l
t
J
f c[ [ Eel Ir f Ef r fie FrrrJ IrFG ~ rFI
7
11 10 11 10 11
t t
+
t t t
9
11
+
12 11
12 11 12
11
t t t
~ Ef r f el I r
8
9
8
11
7
t
+
11
11 11 10 11
J J tl
+
10 11 9
J
t
J
+
rEf j r I LFf TI ţJ I r"
10 12 10 12 9
62
12
9
12
12 12
12 12
9
11
9
11
J J +
I
Slide in
/
1
2
3
4
5
6
7
8
9
10
11
~
12 "
DDDDDDDDDDBEl
H
Note: Tongue bloeking remains the same.
G#or A~
G sharp is on the space abave the musieal
staff. It is a BLOW
note in hole 11 with the
slide in. Aflat is on
the lst leger line
above the musieal staf .
WRITTEN
f
I
#0
~
fi
r
a# or b ~
a sharp is on the first
leger line above the
staff. b flat is on the
2nd spaee above the
staff. It is a DRA W
note in hole 11 with
the slide buttan in.
WRITTEN
,
~ ~.Q.
l-
Note: These tones require very little air with mueh warmth of sound so as
not ta sound shrill.
D
D is an the 3rd space
above the musical staff.
This is the highest tone
an the chromatic
harmonica. It is a
DRAW note in the 12th
hole with the slide
button in.
WRITTEN
..o.
4
C#orD~
C sharp is on the 2nd
leger line above the
musieal staff. D flat
is on the 3rd spaee
above the staff. It is
a BLOW note in the
12th hole with the
slide button in.
~
j
63
WRITTEN
,
#-9- ~.o..
f
SIXTEENTH NOTE
n
=.~
J Jj j = J
(
~ count)
(1 count)
16th Rest
1
=
)
(1/4 of a eount of silenee)
SIXTEENTH note equals 1/16 of a measure or 1/4 of a count.
It takes 4 sixteenth notes to equal ONE count. A sixteenth rest is 1/4 of a eount of silenee.
When tapping the time or teml'Jo two sixteenth notes equal one tap and
two sixteenth notes appear on the rise of the toe.
In counting verbally you can say: le&a 2e&a 3e&a 4e&a
Practice verbally first then play the
harmonica with the same tempo.
~
~ 1 e
TWICE AS MUCH
@
'i i
J
J
2
e
Count {
&
·a a
7
3
e
&
a
7
r 1
4
e
&
a
4
e
&
a
1&2&3&4&
eaeaeaea
1e&a2e&a3e &a4e&a
7
7 7 777777
7777777777777777
f t t t f tttffff
1 111f1ft1t tt ttf1
e
&
a
2
e
&
a
7
7
1
3
e
&
a
7
64
UPPEROCTAVE CHROMATIC
(MEMORIZE THIS CHROMATIC PATTERN)
@
,1
u I#u 1°
rr!
9
,
In 1° ,#0 I
1.
10
9
t
-&
b.o.
..o.
I
12
12
f
r
~
10
10
f
r
~
I
I
,#0
-&
I
le- ..Q.. -&
I I I I
1r ?r ?r
11
ba
I
O
I
11, ,
11
a
12
11
1° 1"
11
10
10
f
r
1
Ibn
1°
12
f
In
Iba
! rr
9
9
1
CHROMATIC FANTASY
Q
~
always count
f I J {.t
1 e&a2e &a
J #J I J ~J J &J
ItI I t
f
3e&a4e&a
, P#:t$J_lJqJ&J IJ J
f
t
f
t
f
f
f
l
65
1 I
fti
~
~
II
7 6
5
6
7
8
c
f r r J IJ J
6
9
t t
tt t t t
7
10 9
10
10
Î
t t t t tt t
J
10
99
t it !
Dm
J JtJt
10 10
11
7
++
1
G
8
7 8
t
7 7
9
10
10
l
t l
~
F
G7
C
a Ir- Dr I r
t
t Il I
[Uit
9 10 10
10
78888777
9 9
11
t .tJ t
Î J tt
10
J Ir r glJ J J I
C
8
8
C
78861
1t
9
~t ~
t t
D7
, r uUlr r JJ Ir10 10 9 9
11
IJ
G7
9
9 9
t .t
tt
ni r J #J
Am
8
10
rrlr r r IL ca-Ir r re le r I
10 10
, r- ~ r Ir
7 7
G
8
G
7
6
t t
8
C
5
6
10
10 9
I
9
j
COO-KOO BIRD WALTZ
@
Ir EJo1lr r lţ r
~
t t
~ l
t t tt t t l
t
,
,
,r
CJ;
r
r
r r Ir F
tf r
C
'i i
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1
, r lcotlr
r Ir
10
8
9
r Ir
10
9
10
J
J
G7
11
t
1110 9 10
ttt t
G7
9
1
F
9
11
10
11 10 9 10
9
10
9
10
C
10 9
8
9
JJ J J
10
9
•I
t
10
9
t
t
r Ir r Ir
e le
10
9
8
J
l
9
l
J
10
i
66
10
J
I
10
9
t
t
C
trair10 9
iJ
8 9
9
J J
I
II
CHAPTER IV
Slide out
/
1
2
3
4
5
6
7
8
9
10
Il
12 "'"
DDBElDDDDDDDD
~
H
/
NOTE: Tongue blocking remains the same. (AIways block ta the Ieft.)
Written
C
C
C is on the first
leger line below the
musical staff. It is
in the 4th hole, slide
out. It is a BLOW
tone.
f
Written
b
b
f
b is on the second
space below the
staff. It is in the
4th hole and is a
DRAW tone.
~
î
-O-
!
NOTE: Some music shaws these tones up an octave so as to avoid lower leger
Lines. This book avoids the upper leger lines. Later aU octa ves are
treated the same.
a
Written
a
a is on the second
leger line below the
staff. It is in the
3 rd hole and is a
DRAW note, with
the slide out.
f
G
G is on the 3rd space
below the staff. It
is a BLOW note in
hole 3.
~
3
--r
,
\Vritten
G
"U"
1
LOWER OCTAVE
fi
444
f
~
4
3
f 1 1
433
~ ~
f
3
4
4
4
l 1 t 1
333
~ J
3
344
t t
Notable
Hole 5 & 4 both contain C. Hole 4 is used when playing the lower octave or
moving from the middle octave into the lower octave. (see page 7&54)
67
A SONG OF INDIA
@
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f +t
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565
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dolce
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t
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(7)
l
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t
e
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355
3
5
5
69
6
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tlll ti l *tll t r t r
433333
t
tt
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B07
=
F
565
5
I
morendo
f lf i
8___
r
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i
1 II
WHISPERING HOPE
DUET
c
1\
F
-
.
~
7 7
7
Har 1
t
t
I
8
8
Har II
......
t ~ t
6
6 6
t
t
7
7
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r
1
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6 6
6
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,g.:
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6
5
5
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6.....-
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1
r
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8
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5 5
6
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6
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7
8
7
7 7
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t
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6
6
7
6
6 6
t tt
t
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t
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7
1---8
7 7
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6
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7
(6)
t
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t tt t
r
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6
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Alice Hawthorne
mid-19th century
--
____ --'J.
6 6
6
6
J J
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--
Am
I
6
8
t
r
I
,
~-
4'
5
5
6
6
J
t tt t ~ ~
70
,
7
l
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-- .
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I
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G
I
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1-
r
a a
t ~
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7
7 7
7 __
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•
5
5
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4
5
.
t
jI\
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t.
6
.
-
Ic
t
t
6
t
8
a
a
a
t
t
-'
6
7
t
t
t ~ t
+ + +
-
I
-
4-
8
6
5
c
I
8
8
a
9_
9
9
9
10
t
J
t
!
~
t'
J
......6
I
I
.-....7
8
8
~ J
t
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1'1
6
6_
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f
7
7
6_
t ! t
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I
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7
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7
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6
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5
ri i
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.
5
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6
t t t
8
t !!
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6
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7
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5
6
6
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t
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7
6
76
i ! tt
6
1
~:
t
.--
6
t
··
FUR ELOISE
@
ci
*
A MINOR
=======--
-=::::::=
Poco moto
1P~
t . t
pa I r'
~
t
10 B
~ 10 8
t
9
p ~
·-----:-A-m-/-------=E:-----
6
1
9
7
5
J J t
J
t t J
9
9
t J t t
5
7
~
6
7
JJ
NC~
J
1
=-
Am
N.C.*
J J J Ij~
t t J l
6
8
8
~
Ejl
7
Am
N.e.
p ...---.....
Am
fiJIij· J J,J
10 ,
t
10 8
9
9
7
5
J
t
J
t t
tJ
6
7
8
J
J
®
6
8
8
J
r
t t
=
6
10
t
t
8
9
9
J + t
7
l
5
t
6
t
7
t
J
Am
~
8
6
J
t t
8
8
7
+
J
I
10 ,
=
J~ J -!
-- I J.
10 ,
I
j=
8
8
t t J
Am
JlJ!li. .j
=
10
(1770-1827)
-====
==
~ 2 El ICir f rIr r 10i.
10
L. V. Beethoven
899
~~----------~~~---~~~-----~
~ L'
/' C
10
t
g.'
J
t r1 I r ~ - - I r'
G
7
10
10
t J t
Am
J
=
1 1
j
ÎI
"-
'1
9
6
10
9
9
6
9
9
8 ___--__....
J.
J
t
J
t.
t
J
t
r
pp
9
t
(*N.C. No Chord)
If
E
72
7
5
6
t t
7
N.e.
8
8
6
•I
.I
p
10 ,
10 ,
mi
9
+
t
t
+
t
l
t i
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+
pp
10
9
8 __
t
7
+
6
10 9
J t J
N.C. _ - - - - - _
'rm r I r'j r j r r I
6
-----
'lf' 10'
t 1O@10,
tit
-.....8
I
t
1
6
CJffI
10
t
t
t t
7
8
9
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10
7
9
5
9
8
6
7
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8
9
9
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4'1f j
9
t. tii t
t t
--=========
8
a
10
N.e.
Am
r r I J.
~,Cj EDE
10'10899
7
t
t l
t 1
+
5
6
t t
7
8
J
1
6
(7)
8
8
t t J
t
t
t .
rit.
\1
10 ,
10
t
t
8
9
+ +
9
7
t
J
7
8
5
8
8
7
t t t
J
+
t
+
1
5
6
NOTICE:
*Relative minor scale is "related TI to the major scale by the use of the same key
signature, no sharps or flats in the key signature. Aiso this tune could be played
one octave lower, (holes 1 thru 6)
~11 ~
10
B
~
B
10 9
7
f
74
5
,
f,
It
j,
I
t
J
t
J
1 ~
t!
75
J
r
t
VALSE LENTE
@
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619
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J J J IJ
5
6
6
J
tJ
6 6
l
t
':J $O IJ.
l
3 4
----J:J' r &Iel jOlJ
6
c
@
61
l t t li t t t t J+! J!
1
JJ
~
4
ij I el
ro
98787655667998787
t
t t
Leo Delibes
ro
f f Ni-=--;-ij-.,-j---:lj-,-w-J7D
Tempo di yalse
sf
J
l
7
8
J
t
II P&
6
-3
6 1
tt f
t
Il r
9
45
J
~~
b?
IJ
(j)7
7
J
tJ
l
iJil
3 4
5
3 4
6
tt
r
gJh
l
t
J
UIdAI J J iED
ro
9
6 1
8
7
8 7
6
5
6
il t t
1 Jt
JJ
5
tt
G7
f'f[
UIJ J) IJ J
9
9 8
t
+
7
l J
uITI rur
8
7
6
6
J
t
5
J
t
J
6
t J
1
G7
"1
10
t
nu
@
9'
J
9
t
6 7
6
tt
!
6
6
c
't i
76
J
10
'f'
r
11.
r tIn
6 6
9
t
r
1/2.
fi
J
--------
~J? I~J Jiîrj.
5 7
ehr: I
5
t f
I
:II~.
7
3
6 7
5
t tt t
J
1
II
IRIS" FOLK SONG
§
Moderato
C
F
mp
= = --
C
-=-
_
,CJjJTJ wU JJ lwiG:tl1U
w
4 5 5
6
5
I
)t)
6 7 7 6
5 5 3::=::::-3 5 6 6
7
=
c
F
6
8
a
7 7 6
7
6 5
r 1 Jltt t ti
CI
C
a
7 7
JIJJJWI~]jJJ'1
7
7 6 5 6
6
a
8
C
7 7 8
----1 ltlt
7 7 6
*C allarg.
mp
~--------5~5
6 5 5 5
a
lill
.
=
5...-......5 7 7 7
tiI t 1 lltt
Cm
5...--5 4 4 5
G7
6
a
G7
I 1 fttl]
1 tltt lt) lll)
c
=
F
G7
C
PP
'-15 r 1rrJr 1J;fl)~jJl J JJ IJJ4::± 1_ D) I
F
_
j
'--'" ..
10
I
9
9 9 7
a
_
7 6 5....--.4 4 5
5
• T
6 7 7 6
5
___ __
4...--
5 3 4
_4
1 llit ttl tlli Iltt III il
ROMANZE
~
I
L. V. Beethoven
~
(1770-1827)
~
~C::Ei:
~G7
f! r r r F r Ir rN Fli r r rIr rASC
G7
re
1
10 10 11
Am
9
9
9 9
9
10
9
10 10 11
Dm
1
9
9
a a e
~
I OCI
9
10 10 11
tit t t lt) t t tiI t t Ilt 1 Ilt
fi r IF
9
9
9
G7
re
FU
9
10
10
tII 1 t r
*allargando (slow down)
C
tfiEtr IF L Ir rE Ir71 i ţii
II 1 I tI lf I I
11
12 11 10
J
77
10
11
10 9 10
9......-....9
KEYOFG
r
I
F
r Ir r
10
11
10
r
t
t
778
8(9)
9
r
r
J
1
J
I
r
9
9(8)
I~
1
1;
8
7
J
1
6
5
5(4)
4
3
3
J
r
J
j
r
1;
IJ
j
7
a
5
6
7
I
1
I
t 1
8
j
4
j
r
J
o
8
7
7
J
J
I
Ir r Ir
4(5)
3
II
*NOTE: Instead of writing out every F sharp, most composers put a sharp sign
at the beginning of the piece. This is called the KEY SIGNATURE. You
play all the F's sharp.
MAJOR SCALES
A major scale is eight tones in alphabetical order, beginning and ending on
the same letter.
The major scale consists of a series of whole steps and half steps. A
pattern exists because the half steps are always between 3 & 4 tone and
the 7 & 8 tone of the scale. AU other steps are whole steps.
SCALE PATTERN
C
G
4
,
1
3~4
5
6
7~8
n
o
1:1
o
o
u
...eI
I
I
#
2
II
I
whole
step
I
whole
step
whole
step
half
step
I
·0
n
n
o
, whole
I
o
D
~
step
I
I
"
whole
step
(#)0
half
step
o
~
78
II
D7
c
*D.S. al Fine: Back ta the sign (~) then ta Fine.
.
79
Slide in
/
1
2
3
4
5
6
7
8
9
10
Il
/
H
12 "
DD88DDDDDDDD
"~_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _-J~
NOTE: Tongue blocking remains the same.
Written
Written
D~
c#
b#
Db
C sharp is an the first
leger line below the
staff. D flat is an the
space below the staff.
It is in the fourth hale
and is a BLOW tone.
a#
b Sharp is an the
second space below
the staff. c is an
the lst leger line
below the staff. It
is in the 4th hale
and is a DRAW tone.
b~
a~
~
f
a sharp is an the 2nd
leger line below the
staff. b flat is an the
2nd space below the
staff. It is in the 3rd
hale and is a DRAW
note.
@
I
Same
tone
G#
bb
A~
G s harp is an the
3rd space below the
staff. Aflat is an
the 2nd leger line
below the staff. It
is a BLOW note in
the 3rd hole.
~ &"ii
r
4
Ab
Gi
#rr
4
~
@
T
I
41il :lqJ J WJ ~ J I&J J J J 1J#J J #J IF
@@
C
@
4
t i t t
1
80
II
In keys other than C, the shifting of an octa ve to actual pitch becames
necessary for two reasons. FIRST, the reading of the music ta remove ar avaid
leger lines for easier sight reading. SECOND, for ease of playing. Playing in
the lawer octaves is much easier than the upper actave.
/
1
2
3
4
5
6
7
8
9
10
11
12 ""
For reading purposes in the key of C this boak used hale 5 as middle C.
As we pragress to ather keys, it becomes necessary
&
-&-
tJ
5
T
4
to designate hale 1 as
would
-&-
m~lddle
C (actual pitch). If this is nat done, leger lines
tend ta cause confusion.
1
T
§
EXAMPLE
Key of G
was
o
-~
was::Ţ
iS:t
II
is
was
In
was
II
-&~3
t
is
Ţ
atzb
is
n
1t
You can see that if the key of C was designed this way nothing below middle C
could be played. However, the key of G, hale 3, is not the beginning of the
harmanica allowing the written tone ta rest an the 2nd line of. the staff instead
of the 3rd space below the staff.
81
II
Generally speaking each octave of the chromatic harmonica is the same,
except for register change. That is, each octave is a complete actave and can
function without regard to written notational levels. Moving from octa ve to
octave, without regard to notationallevel demonstrates an understanding of
variety, musicianship, experience, expression and professionalism.
0
~
EXAMPLE
E
f
G
a
b
C
e
o
n
O
o
n
()
1
2
~
~
6
3
7
3
5
4
8
12
4
8
12
d
C
~
actual--+1
pitch {octave
.§..
change~
j
t
j
t
..L
11
10
10
9
11
-J
j
r
t
OCTAVE CHANGE
/
2
1
3
5
4
6
8
7
10
9
11
12 "
~Ga I~ y~11 b~h1IWJ~ I ~~I
"",
~
Cd
I
I
I
,
I
1
1
I
I
.
I
I
I
I
I
I
I
I
I
,
I
I
,
I
,
,
, ,
I
1
1
, ,,
, ,
,
I
I
..
I
,I
I
1
I
I
I
I
I
:
1
1/
I
,
1
I
I
I
1
1
I
.
I
I
ACTUAL PITCH
1
2
3
4
5
6
Cd
Ef
Ga
8J
Cd
Ef
/'
I
I
"\.1
I
I
I
1
I
•
I
I
1
,
I
,
I
1
I
I
I
I t i
1
I
1
I
,
I
I
I
,
I
,
.
7
Ga bC
I
I
I
I
I
1
1
,
I
I
I
I
I
I
I
12
11
Cd Ef
I
I
10
9
8
Ga bC
,
I
1
I
I
I
I
I
"'
I
I
/
I
I
I
1
I
I
I
1
I
I
I
I
I
I
IMPORTANT
As you have experienced, the upper octave is difficult to execute certain melodies.
At this point you may wish to return to the previous music and attempt to play it in
the lower octaves. If the tune does not descend lower than middle C, hale 1 of
the chromatic will become the lowest tone.
82
1/
CHAPTER V
Slide out
/
1
2
3
4
5
6
7
8
9
10
11
~
12"
mOODDDDDOrn b
~
/
The octave change is for aU keys for variety and expression. The music will
dictate the octave to be used.
Written
f
~-
f is on the 3 rd leger
line below the staff.
The octa ve change
s hould be noted ..
It is located in the
2nd hole and is a
DRAW tone.
E
f
f
2
T
actual
pitch
Written
d
d
~_.
d is on the 4th leger
line below the musical staff . Note the
octave change. It is
in the first hole and
is a DRAW tone.
1
1""""T
!
actual
.
pitch
octave
change
o
2
Y~T
T
actual
octave pitch
change
c
C is on the 5th space
below the musical
staff. Note the
octa ve change. It
is in the Ist hole
and is a BLOW tone.
o
~-
Written
c
d
E
E
E is on the 4th space
below the staff.
Note the octave
change. It is in the
2nd hole and is a
BLOW tone.
n
~?T
octave
change
Written
c
-e-
-
1
"'r?Ţ
T
actual
octave pitch
change
LOWDOWN
@
~ t jî~i@>111j1@) IfiJf111EJ~if le:;:
2
J
2
2
l t
2
1
1
t
J
J
1
1
1
1
1
i i i t l
83
1
2
2
2
2
J
i
t J J
2
1
II
Slide
in
I
/'
1
2
3
4
5
6
7
8
9
10
11
.J..
12 "
~~DDDDDDDDDD
~~----------------------------------------/
The Octave Change is for AU Keys for yariety & expression. The
wiU dictate the octave change.
m~sic
Written
E# F E# F
Written
f# gb f# gb
f sharp is on the 3rd
leger line below the
musical staff. g flat
in on the 3rd space
below the staff. Note
the octave change. It
is a DRAW tone in the
2nd hole with the slide
button in.
4
#<'~o
#&~t
t
actual
octave pitch
change
I--#t
E sharp is on the 4th
space below the staff.
F is on the 3rd leger
line below the staff.
Note the octave change
It is a BLOW tone in
hole 2 with the slide
button in.
#O"~
®
f
I
d#
d sharp is on the 4th
leger line below the
staff. e flat is on the
4th space below the
staff. Note the octave
change. It is a DRAW
tone in hole 1 with the
slide button in.
e~
Written
C# Db C#Db
d# eb
i __ #o~o
CD
#ol1cr
(DT
T
actual
octave pitch
change
actual
pitch
octave
change
Written
e~
2
4==~oCD
C sharp is on the 5th
space below the staff.
D flat in on the 4th
line below the stafE.
Note the octave change.
It is a BLOW tone in
the first hole with the
slide button in.
~~
CDT
Ţactual
octave pitch
change
, ! ~1 t1. ~ 1~1~~ ij I~$,a
II'jtl~ ~ f
f' l "t t ~~f~ t r
@
same tone
same tone
+
2
2
t
same tone
t
1
2
1
J J
+
84
t
t
(1)(1)
t
(1)
1
I
DANUBE WAVES
A MINOR*
Ivanovici
E7
Il. Am
.
~J J J I;t ~J
f:;JZ
4___
_4
4
4
3_
~ f ~
J
G7
J
g :11 J
+
Am7
~
777
6
î
___3
4 II:J J J 1J J J 1J ; #3
777
112.
r'
2
3
455667
t
1
J
1J
7
f
J
tt t
G7
Iq3 3 3 13 3 3 1
666666
gli:,s..:-",--
r -",""
E7
Am
11.G
112. Am
r 1J <~J.:J-=JJ J WJ :11 4
10
9
8
e
1 ~"J ti tit
1J 1 i II
1
*NOTICE:
Relative minor scale is "related" ta the major scale by use of the same key signature. Key of C has no sharps ar flats, A minor has no sharps ar flats.
85
I
HUNGARIAN DANCE
E MINOR**
Actual pitch:
o
f #1 ţ~
J. Brahms
(1833-1897)
Am
Allegro
B7
4
6
r
t 1
Eli
r "r'
1j
7
Em
*
li
1'"
5
5 6
4
t
I
Jt
1
ţţl ~m
fi JjJJa.
Am
B7
~ :
7
7 7
t
Am
Am
Am
Em
Am
B7
4 r r rr r ErrIr j r r JJJJI JJJf1
JJ.
$
5 5 6 4 4
5 5 4
3
4
4 3
3 3 4
3
3 3 3
1
t
1
E
~Ie
4
2
l
1
E
J Iţ'
4
4
l l
4
r
_
4
3
@3
1
J
E
Ir J
4 3
@4 3
t+ ++t+J
B7
Em
3
4
3
l l
Am
B7
r
**Notice:
Relative minor scale is "related~' to the major scale
by use of the sam·e key signature, G major has one sharp,
E minor has one s harp,
86
~
Em
#n I J~J Jti tir iri I F'
1
* see page llt
3
q
NAMES OF LINES ANO SP ACES
The Ietter names, A, B, C, D, E, F, & G are the only aIphabet letters
used. They repeat many times over.
Examine the following and memorize the letter organization:
Lines
Spaces
A
above
®
BeIow
® C-e-)
above
BeIow C
Lines:
Every Good Boy Does Fine
Spaces Spell: F - A - C - E
@
,
LabeI the following notes: (letter names)
o
r
o
J
n
r -r- -J- - - r r'
il
F
o
-- --
II
-- --
@
Write the notes:
II
D
A
D
FAC E
B A D G E
87
CABBAGE
MENUET 1
J. S. Bach
Actual pitch:
@
(1685- 1750)
E~_ _ _B_m_ _ _~c_ __
f #! CA r Ir r r IF D trei·
t 1 1 1 1 it. t l
6
4
4
62'33
t-
J
B7
3
Em
4 3
J
t
J
3
3
J
f t1 nffft
6
2'3 3
5
5
543
Î
J
t
1
4
t t tJ 1
J
i
Bm
7t~6
J
~44
J J
J
i
iti!
E7
B
I
Irr E Ir r fi
4333@
tt l
c
4
Em
fi'fgHIJ nnTI.
4
Ih$i
+
Am
4
A~Bm~
G
D7
G
100 u(; Bei lJlrtfjj.
5
6554
J
tJtJ t JtJJ J
5
5 543
4
6
3
:11
3
ti
t
MENUET II
t
t
t
tt
t
D7
________G
Em
B
E~ B7
t t
Em
J IJ n~ IplE!IE
3322147.
88
t,
Am
~
rTI
65644
,.
BOURREE
B
Em
G
J. S. Bach
(1685-1750)
A
B
m
A
#tJ E -OF I r SUn I
@@6
t
f
J
554
J
1 ~ t
t
t
+
:11
3
t
3
I
Saint-Saens
r
:11
4
tllt
I
G7
fr
f
f II
FO
E7
Am
J
IJ
~ ~ JpJ J I J
<='
3f2
t. . J
1
f
G7
j
I
Rr CI
43
t J ~ f~ î j
4
3...-3
l
J
c
J
r EE u. I J Rrr:rlJJJJ J J
3
6,...--6 6 5 5
•
2
2
j
5_5 5
2
f
Am
~
Dm
5.-.5 543
3 2 2 2 3
i tJ+ t i t
J
3
~
2
j
Ilti 1
3
I
G7
I~
2
l t
J
j
2
1
! j
c
c
I
f • r cr cr IJ RCUlJJJJJ r Ir r I
t
~
J
ti t
--...
t
J
Dm
Am
J
G7
C
Fm
n
3
6_6 655
t
J
2
5_5543
t tt t t J tt~
32223
J t ~ t
89
+
~
6
5
t t
5
r
5
1
II
m
~
THE AMERICAN P ATROL
Actual pitch:
F.
March
G
f #~ J IJ J JJ JJ IF F j#e j r Iţ ţ
1
3
3~3 3
3
4
4
4@ 44
5
5
r
w. Meacham
ţ#r C I ["
r
5 @ 5 7
4
5
I
t tt~ t l II I 1 1 t
t 1
1
-f j J J 3~33
ti J3J IF F r#r: r r Ir r r#6 r I ["
J
t t t t+ ~ ~ +t+t J J .tit l
i
C
D7
D7
G
~tr r r F IJ J J J IJ Ur J 1; .nnJJI
G
3
r
3
44
4\;!)44
55
5@57
5
3
5554331334443312f334
t
J
t 1
J
t
t l ttJ 1 t it
t~+
G
D7
r r F F I EJ r ~F I re r PE r r I IT"
r
@
It t t ti t t 1 l it It 1
1
D7
G
~ # E ErE I U F #E I r e [qc j r I F'
;
@
t t t t ti f 1 1 l j tit r
t
D7
4# E r LEle e OF lE E J r Ir r n;
i i t t J J + tJ t i . t ~ ~ JJt
D7
,tE ELE le rUF lE E J J IJ rJ~JJI
f
t t t t 1 J ~tJ i i . 1 i tt t ••
,
j
4444
445
5555455
4
5555455
3
4444445
C
G
55
7
5555544.4'444433
C
5
G
G
5
7
5
5
C
5
5 5 4
90
4
4
3
3
1 2 <f23 3 4
D7
4r
II
G
4444445'
It II
r
5
5
, F r E F Ir
6
6
7
6
t t t t
~j
c
l
J Il f J
I
D7
E:fr Ir
r
554
4
4'
1 i t~
t t
G
:3,
3 3
D7
G
4 r gJ r Ir
l1
4
j
4
5
5
4
4
4
433
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J J
J J I J.
3
5@ 5
7
4433
t tt1
t
1
4
3
3
3'3 3
t t t
c
Am
t+
4
~
4
32'
4'44
J ~
5
~t J
D7
4 r r r r 1J J J J IJ
11
rj rî îr
'i
91
t
J
1
J
r
4
J
D7
3
3
t.t J l t
t
r'
J ~ ~ J3J 1r r r#j Ei F' 1re r [#E ţ r1rr
G
~
5
BJ r IJ J J ~ 1';'
4
+
G
A7
4443
~
~~
44f3
4' 4 4
I
r
D7
4
3
Ir
t t I t r l +t J i i
l 1
~ ~ ~ J 3J 1r r j#r r Fir r ţir [ fir
t tI t+ ! l J il Il .tlt J
3
J
G
r
J
r r r r I r r Ori r r
3
J
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f
4
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@
t i l ~I.I 1
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I
G
~IF F r F lur
t t t t t. t
1"
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D7
ilie
r
#r I f r Eqr r Fir
r r r I CJ r
5
i
5@57
5
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Ur
J
1
J
~
3
t
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j
j1tî 1
1;'
i
i
I
CHAPTER VI
6
Time Signature
Values
~ =
J. = 6
j; =1
=
Counts per measure
Eighth note receives one count
Therefore,
J =2 J.=3
J)=t
C ount : 1
,~
2
n=l
3
4
5 6
1 2
34
5 6
IA quarter note equals 2 counts (J = 2) I
1 2 34 5 6
1 2 3 4 5 6
12 34 56
J J J JJ J I J ~J j) I J. J. IJ J J J J J I J.
ttt ttt t ft t f.. t
tttttt t
7777777777
@Andante C
mp
3
6
7
777777
LIEBESTRAUME NO.3
Octave change:
,g iO.
7
E7
Gm
A7
6.......-.....6
6
6
D9
6
6
tE7 l
7
Franz Liszt
J.
6
II
(1811-1886)
"
-=::::::
6
6
3
t
tA7
t:
Gm
IJ. J ~ IJ j)~ il
1
J
t l Jtt t
92
t
r tI
JESU, JOY OF MAN'S DESIRING
J. S. Bach
(1685- 1750)
j-
Actual pitch:
An~ante.----.......G
Dm7
Am
E
II
P.1. Tchaikowsky
(1840-1893)
~Gm
4...--4
Dm9
f
I
t
G7
Am
N.C.
223
3
t
t
N.C.
11123
Am
N.e.
3
2
t
JIJ J J 1;" ;1"1 J
r r r 1ţ"
--1 --1
N.C.
#J J#~ ~
,.
1
Em
r Ir-" r
3~'4
tI J
6
ţ
.......-.....G
4
6
444
t t
7
t
Am
7
Dm7
6
t
CO
E
Gm6
Dm9
Fm
C
r--
4__....4
t
t
93
3
4
t
I
4
J
1
CHAPTER VII
@
, p!
FLAT, B~)
KEY OF F (1
Actual pitch:
j,
j j 1
SCALE
r r 1r- r 1r r 1r f'
1
1J
J
:11"
I
ii l'iii1iiijlî i
8
SCALE EXERCISE 1
J J W r 1J
, pi
F
r r 1F F r r 1F r r r 1J rl
233 ,
3515
5656
6765
32
II t
1 t
t t
r t 1 t
J
@
l
l
J
I
l
EXERCISE II
fP! J J r r r J
iij' 11ji
W
I
W 1
JWJ
iir'
76655566
7
t
1
~
iî
t
~
titi
î' r
r
I
IF r r r I
II
5
f
5
t l t
556676655'332
t 1 f·
l
t
l tl
t
SCALE PATTERN
,~ F~~!~lw:§=e(,):~:~
94
6
~
t j
6
~
CIRIBIRIBIN
:'\ctual pitch:
Tempo di valse
@
'nff
A. Pestalozza
F
f bi EJ~n lE
4
t
4~ J
+
J?l
4
3
3
2
1
2
3
2
t
J
t
t
J
I
J
I
J
I
F
ţ"
2
J
t
J IF
3
3
3
l
4
J
3
l
3
2
I
J
J I W"
3
2
5
t
J
r
F
ţ'
6
t ~
1
I1
C~#c:r
;j
s,s
t
6
5
I
J
r
6
5
t
J
IJ J 1; J I
3
2
1
3
t
J
t
J
~
+
I ţ'
It
t~S
;;:j
I
6 5(5) 5
6
l
t Jt
+
F
I î S#R Ir
J
6
G
C7
3
2
1
Gm
J
l
W"
r
IV
6
l
f
t)
44'
ti 3
1
r
5
li QţdJ 1I J IJ J 1;
5
El! I r
+
J IJ
t
1
sfs,t
1
~
J IJ
3
It j ~r
J I f"
3
3
J
C7
J IJ
1
f~
J Ij
3
1
,~
J 1;
1
~~ F
'b
4'3t
I
J IJ
r't 1
J IJ
J I J,
2
3
t
95
3
l
t
---
2 ___
l
IiJ
_2
J
II
THE TRIPLET
~I
~
J J J=
J J J = one
~
quarter
1 caunt
Tri - pl - et
~
J
I
~
,.
= note
Tri - pl - et
~
~
~
J
~
~ ~
Triplet
1
Say : Triplet Triplet Tri - pl - et
Caunt:
1
2
3
,.I
~
Tri - pl - et Triplet
2
3
* HABANERA FROM "CARMEN"
@
3
2322232
3
tttttf
t f
+
G. Bizet
(1838-1875)
~
~
A
:;:;:p-
I~r'
2_5
pijr ~r
@
3
3
3
J
tt
2
222122
2
l
2322232
tfttJ
~
::::>
2 ____5
@
5
t It t
5 4
@
tj j
3
:;:;:p-
3
3
2
1 It)
2 2 2 1 2 2
t I
:;:;:p-
2
1
ti!J!) t 1
Relative minor is "related" ta the major key by using the same key signature.
Key of F has one flat, D minor has one flat.
96
TOREADOR FROM "CARMEN"
Actual pitch:
Q March
G. Bizet
(1838-1875)
G7 C
g
f p<r+F&J J I!iJUj[;P, 1~(.1~ I {Pil, I
V
C7
marcata
5
5
5
5 3
3
ttJj t J t J
@
F
3
3
33
3 3 __3
JJ I
t
3
3
j t
Dm
4 3...--3
j
2
t
I
1
3 (::::::::1
I lj
THREE'S IN F
4p! J J J Ir r r IJ r r Ir r re Ir r r Ir J J IJ
iii 't' 111 iii tii Tit r
97
/1
SERENADE, OP. 134
Actual pitch:
~
~
D MINOR*
Moderato
F. P. Schubert
cantabile
, ~ imJ7n~r-'-J-)l-mj1)~3~r·-fb--:11~.-:fil§8Dm
.D bLID.
(1797-1828)
3
3
3
3
t +
7
r
t
5
7 6
6
t--LI
@6
6
l tl
4~ au r
IGm
7@7(f)
t ~ t r
~
3
3
l
7
6
t
1
t t
2
2
+
t
2
j
~
6
3
3 3
3
6
9
9
t
t
1
.~.
1
,
+
5
.
laJr'
@6
1
D
'RfIA
3
3
65
3j
_______D
4
m~,nor
2
.~
~ 11t'
Gd'\
*Relative
3
1
F
C7
l
3 @3
5
t
3
3
t
6
"33
3
3
t 1
~
7
.
5
3
I
W t
t
1
is "relateci" ta tne major by use of the same key signature.
98
1
CHAPTER VIII
KEY OF D
Octave change:
@
, ~i j J
J
l(#ld
r
1j
(2 SHARPS F#, C#)
SCALE
r 1F r
IC#:'F:
J
J
WIj
:11 o
II
ii it Ii tiri 11 ii 1
§
D SCALE EXERCISE 1
'ia! J J J IJ J J IJ
5
6
~
,~
I
J
7
t
,
1
6
t
t
Ir
F
@
~
t
8
~
8
J
t
r r
,
9
l
Il! I tI !
1
1
7
j
Ir
,
W
7
J IJ J
7
7
7
t l
t î
r r
I
9
l
9
t
j
It! t !
r
SCALE PATTERN
1
I
2
I
~
whole
8
l
ro
10
~~ş
r
I
I
Em
f
fi
~
?J
! f 1t
~ Irt§
(*7
~
[IT
t t +t+l t
25 li rJI7
r!
rf f
t
~
~
J I j7
3'1
!!
i
t
tttJ
ti
=
t
~t
J
t
tf
A7
A7
G
P
D
~ ##fffrrrr IEUrU I;J
DJ
EG
lenta
D
Ij1 J lE;) I
t
D
II
ARIA IN D
Octave change:
@
Andantino
...--n
~ #IJ IJ
V
=
'»f!cantabile
i.
nJ
r Ir r J J I~
A
77'779
1 l
J. S. Bach
tJ
----....
---D
@877
1 t
:=
r Ir r J J I
A
nJ
7'779
l
J J
(1685- 1750)
t~
J
----
---
@877
J
J ~
t
J
-====
9
@109
7
l .tl 1
8~8
J +. J
8
T
t
t
6
6
t
7
j
7
J
7
J
A7
II
9
@ 10
9
1 ~ fI
7
8
8 ~ 8
6
J
J
J
f
l
101
6
t
@7
J
î
7
J
5
l
'65
SWING LOW, SWEET eHARIOT
Actual pitch:
W
V
Andante
A7
f##it§f r Ir ~?J. ImrU t
,
5
15543
1
1
G
43
D7
~Il
5555"7
~l~~
it
---
f'
Spiritual
ltlţ" l"1
7
1 r
D
87j
Il
A7
f #q ~p. IHuUfIi"
II
+++
l r
l
~
++
102
*+~+i~
+~~+
f
r
@
SCALE EXERCISE 1
~ bb i J 1 J '1 J al J J J 1 J JJ 1 J J J 1 aJ r 1 J r r 1 e I
, t f ti fi' r 'i 1 i I j I1f r1i f
Actual Pitch: 2 3
@
3
3 3
@
3
@
®
EXERCISE II
~ pbt; 1 J J 1 J a J 1
1;
1 J al"
1
fiif 11i1 'ii1 j
JJJ r
1z
b
Fr J
a 1J J J riu
14
4@33
233@
1
4
2
JJ J r 1r r J J 1 J J J J I-u-
5
6
3
@
7
~
1
i'ji
SCALE PATTERN
1
3
1 J J 1J J J1
'tir
iTII i11f i
1
Îll'
Actual Pitch: 2
f
4
8
I
AMERICA, THE BEAUTIFUL
Actual pitch:
@
~b !
4
B~
F
Bb
J I J. J)J J I J. )))
2
2
1
l,
~
+
1
2
~
l l
4~h J J J J I J.
2
F
2
J
1
~
1
2
J
~
2
1
4~I, r· Pr r I r·
B~
5
J
4~
Eb
r"
,
F
5
~
5
t
~J
jJ
3
3
f t
f
,
Bb
r I r"
f 1
J
J
J
I J.
IJ
J
1
1
t t
l
1
f
J
+
~
2
r
J
1
F7
F
i
1 i
J
2
-"
-"-"
J
5
J
4
2
1
J
B~
r
,
I r J J J , F"
4
3
2
3
J
f
104
J
Bb
F
r
,
r
,
1
2
3
t ~ t
J)J J I J
2
l
3
4
Eb
2
t
5
t i
+
J
4
t
3
3
J I r·
1
3
3
r 'lr r r
1
J)J
2
r:
G7
))1
S. A. Ward
J
r I r"
2
4
~
t
C?J
~
II
UNFINISHED SYMPHONY
Actual pitch:
F. Schubert
(1797-1828)
~
@
f ~b~ fU
. j
f ~b r'G -
G
~ IIE" /: ţ'
~
4
5
45
4
t 1
45
3
3
4
+J
t
J
t
4
t
3
4
t
+
G
1(71
5455334
,
i
F7
C
4~ru
4
3
t
t
j
-~Cfr
4
~
4
t
B~
J
J 3+ ţ ,
2
3
l
105
t
3
~
j
1/
F ANT ASIE- IMPROMPTU
OP.66
Actual pitch:
o
~
F. Chopin'
Moderato cantabile
Bf'P~ _ 4~
tiP= I r
~'zf J
2
2~5
3
1
Cm G7
tt t
1
~ ~Iz j
2
3
1
i
~ ~Zj
I
J~~
----
J) I
IT
2' 5 1
t ~
5
t
r
>
Ir
j
6
1
F7
rit._ - - -
f
F7
1
C9
B~
~
t
a tempo
B~
ErOI j
Cm F7
~
J
F7
1Îr 1tf j
6
5
B~
~~
lE
t J t 1
1
B~ F7
F7
B~
r"
~î(J
5
5
l
t
F7
5
1
Bb
F7
G7
r r OI
J
5
2
3,..-.....
1
!
~
5
5
r
J
Cf
t [rr I E r
J J
---------
~
II
5
5
106
j
25
t
r
J
CHAPTER X
KEY OF A
8
(3 SHARPS F#, C#, G#)
'il J J IJ J lJeJ liflJ J Ir'~r IF~ rf'T Iţ BIFF I
3
@
4
5
®
6
(7)
7
8
@
9
3
@
ti #
®®
10
11
@
@)10
4
OCT AVE CHANGE IN A
!!# lJJ
J IW JJJ IlJJ J 1...
34@S
65@4
t
t
J
t
t
l#:;JJJI ...
3
4
f
a7~f
Il
1
1
l
6
J J
6@(7)7
t
J
t
J
t
IrJJJIJJJJI-&
6
S
J
34@5
6S@4
f l tI
3
1
SCALE PATTERN
2
*NOTE: The actual pitch and octave change allows for more pitch variance and
the use of more music litera ture .
107
J
II
PRELUDE IN A MAJOR
Actual pitch:
S
#
~
r],
=
RID r re î
O COME ALL YE FAITHFUL
Actual pitch:
Q
__ = =
(I'al t ţ It
Andante
p do_lce_E_7_ _
,~ 2J--- I c:a= r
F. Chopin
(1810-1849)
Moderato'
mi
E
i j # -1 :::=:;;A-i
~ # i ~Ad
J. ~ I r
::l:-::-::""
]
4
2
3323
F#l El lE 1
,~#g J J IL~
B
3
3
2
! l! 1
A
3 -..3
I
DA
IF r
c:
r r Ir )
@4'S@
fB7
! 1
Jlri
4 __ 4
2
3
j
108
2
(1751)
____
=-::l
n IJ
lt l!
E
~
43
I
l t"II L ~
Îr~1
2
t ţ I! 1 1
6
1
J.
SKATERS WAL TZ
Octave change:
§
4~#i Azq~
Moderato
8
l
@)
~
6
@
@
5
l t 1
tI
r
r
I
rrJ
E
l,a J J J I,J
î î t î î-----f-11 T 1 ~
4
j j j
Am
E
J
J J J IJ r
~
l l J r J t
3
3::--:::3
IN A MINOR*
J J J J IJ
3
4
RUSSIAN FOLK MELODY
Actual pitch:
Key signature
AllegroAm
fI
IrOJ a IJ~ j.
I LED.
j
@
7
Emite 'Valdteufel
A (1837-1915)
E7
3
3
r
4
3
4
3
J
l
@
4
,
6
t l l
3
3
1
r
~ r r r r Ir r r F Ir r r r Ir r
4
4
4
t t f t
~
5
6
5
5
r
t
J
t
4
J J J J IJ
~
3
3
l
J J
3
E
rr
3
4
J
i
4
~
4
4
l l
Am
3
J
J IJ
@
r
1
G
C
4
~
Am
rr
J I,W
3
J I,J
3
l
f
~
rr
4
6
J
t
4
4
l l
5
r
F
r
5
4
t ~
Am
J Ij
1
3
1
J
t
3
~
*PARALLEL MINOR SCALE has the same beginning tone (A) as the major scale,
but has a different key signature.
109
I
CHAPTER XI
KEY OF
(3 FLATS B~, E~, A~)
SCALE
Octave change:
o
4
bit" I
r If'r Ir r Ir J IJ J :11
@W J I W
J l(9)ţ
jj fi
@
ii i1 r i fI f!
I
e
1
SCALE EXERCISE 1
~ p·b i
J J J IJ J J IJJ r IJ r Fir Fr IFrEI r Eri
n
rf r ! tf f ff '1 t fir f r' rrr 1
@
~
E~
I
EXERCISE II
pb&
f J J J J Ir J J J IJ J J J I e
rfrr ffff !fff f
Ir r r r I
t
l
la J J J Ir J a J
~
! Il!
1
l
f
f
I
l
Ir r r r Ir Er r Ir J J J leII
199 '
110
1°f 99
1f76
1
NOCTURNE
OP. 9, NO. 2
Octave change:
m
~
AndanteE~
espress. dolce
F. Chopin
Bbm
C
4~1z&~Jlt HJJIJ.
J 1r J I~F·
1J J 1;;
4~1'& 1 î J ligJ JJ IJ J IJ JJ l~lJJJI~jJjJJJI:t
3
7_
t
-...7 6 7
t. t
6
rf
I
4~Zlz
Eb
745 5 56
6(l) 78
~
t ttt
ttt!
7
7
J J IJ.
f
j
5 5 6
em
G7
1
5
j
B~
1
5
t
A~
F
A~m
E~
UJJJIJ. 1;; J Id. 1;. IJJJIJJQoGlJ.
11iT r
f j
r
Gm
1
! f
f
em
i l J.
rf j
111
B~
F
IJ J J
D.C. al Fine
J. 1J :11
1
PRELUDE IN C MINOR
Octave change:
r.;;:;)..
Largo
f Fm
~ Cm ~
e-:i
!!!
i
~
i
~
Iî'b e
OP. 28 NO, 20.
A~ Db
GL Cm
Eb
P A~~______---.--~G!.-. G7
I Cm"'------ Bm Gm Am A.~ ~
Iî'h
I
W
r r re re
iir r
D
?
D!=G
IJ ;~
r "r -'ciA
i
5
7
66
I
t II tt
5
f tt
Fm7 G7
C4
99677
h PP...--------Bm----Gm-A-m-A~&-G-n;7
6
1t
a
7
t
J
7 7
~ ti
Ab Db G+7
::s
Cm
ha
ţst
Cm
Pa W IW J
76
t t t t1 f6'SS
i +t
I
8(7)
CmA~
Iî b
F. Chopin
( 1810-1849)
Ab
n J I J J 7ijJ
7f 76f , 6f fS
Wd
*
Fm7 G7
r r re re I r re -~ I
Db G+~
cresc.
_
fa ia7 I"j J ffljm I
i ii! r ! i r f
DEEP RIVER
Octave change:
Q
Andan.te
V
PE~
4 e t23n
lîb&
Eb
A~
W I
JG)
-::::::::::: A~
f 1 !~
....-1
'b\\~~. +
Eb
pp
7_________7
6 ,
6
5
@
f
+
1
f
1
t
IA
@ @
l l
B~7
Hymn
= Gm7
6
~
t I' r
8
(7)
7
Eb
IJ3) I D.
'S@S
Ţ ,
f +t
,
*RELATIVE MINOR SCALE is "related" to the major by use of the same key
signature. C minor uses the same 3 flats as E flat major.
II
CHAPTER XII
KEYOFE
(4 SHARPS F#, C#, G#, D#)
SCALE
Octave change:
~
f ~; i J,J I<tJJ j IFCir l' r Iţ F: Ir j
iT
fI
Îl
rrrr
ÎI
@
li
fI" J J
IJ
ESCALE EXERCISE 1
J J I J J J J IJ
i~fi
'#b
@7®@
~
J
t
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ETUDE IN E MAJOR
OPus 10, NO. 3
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1/
CHAPTER XIII
16 HOLE CHROMATIC HARMONIe
The 16 hole chromatic harmonica has an additional 4 holes or
one more octave. This additional octave is attached to the left
of the 12 hole harmonica. Therefore, it is the octave below
middle C, actual pitch level.
1
2
3
4
1
2
3
4:
5
6
8
9
10
11
12
BEJEJbC DDDDDDDDDDDD
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octave elef
o.e-
8
The 16 hole harmonica adds the lower octave so that songs
written below middle C can be played on the actual pitch level.
It takes less pressure and more air to the play the lower octave.
The lower octave does not respond as quickly as the upper octaves.
It will take practice, but a smooth, easy tone can be achieved.
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TRILL
Using the push button slide, rapidly push it in and out. The Trill consists of
a rapid alternation of a given note with the note chromatic or diatonic second
above it.
TRILL
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7
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GRACE NOTE
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see page 97
A note printe n in small type ta indicate that its time value is not counted in the
rhythm of the measure and must be subtracted from ("hat of the adjacent note.
hCf I o
56
II
4
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1
GLISSANDO
The execution of rapid scales by a sliding movement.
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see.page 85 & III
glzss.
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This book ls only the beginning. Now you must expIore other techniques by
listening. Records are excellent sources for listening. Collect them and use them
ta improve your playing. Concerts are inspiring and should be attended. Improve
your listening skills so as ta recognize interesting patterns and runs. This
technique of listening can be used ta improve every aspect of your playing.
117
EXAMINATION
1. A music staff is composed of ___ lines and _ _ spaces. Name the lines ._ _ __
Name the spaces. _ _ __
2. The top number in the time signature tells the _ _ of counts in a _ _ __
The lower num~er tells the kind of note that gets
count.
3. In
tirne a whole note ( o ) gets - - counts. In
time a half note (
gets
_ _ _ counts.
4. The musical alphabet is composed of __ letters. Theyare _ _ _ _ __
5. When a piece begins with an incomplete measure, we find the remainder of the
count in the
measure.
6. Rests are signs of
.
7. When two notes of the same pitch are tied,<LJ ) should the second note be
repeated? _________
What
are dynamics in music? _______________________
8.
9. Enharmonic tones are two tones of the same _ _ _ __
sharps and flats.
10. A natural
â
i
J)
DICTIONARY
A TEMPO . . .
ACCENT . . . .
ACCIDENTAL.
ALLA BREVE.
ALLEGRETTO
ALLEGRO . . .
ANDANTINO
ANDANTE . .
AUGMENTED
CANTABILE
CON MDTO .
CON ESPRESSlO)1E .
CRESCEN:JO . .
D.C. al fine
DECRESCENDO
DlMINISHED .
DOLCE . . . .
ENHARMONIC
FLAT . . .
FORMATA .
FORTE . . .
FORTlSSlMO
GLISSANDO
LEGATa
LARGO . .
LENTa . .
MARCATa
MEZZO FORTE.
MEZZO PlANO
MO:JERATO.
NATURAL
PlANa
PIANISSlMO .
POCO . . . .
PRESTO
RITARDANDO
to return to the original tempo
to make a note louder
a sharp or flat not in the key signature
twice as fast
tempo between allegro and andante
quick, cheerful, lively
quicker tempo than andante
slowly, walking speed
.' Larger than
· singing style, smooth
· with motion, quick
· with expression
· gradual increase in sound (louder)
Da Capo; to the beginning then to "FINE n
gradual decrease in sound (softer)
less than
sweetly
· two notes of the same pitch, but two different names
lowers a tone one-half step
to hold -:-.
loud (f)
SHARP
raises tone onevery loud (ff)
half step
sliding the scale
TEMPO
time
smooth and connected
TEMPO DI VALSE . waltz tempo
very slow tempo
TENERAMENTE . . tenderly
slow
March tempo
Medium loud (mf)
medium soft (mp)
medium speed
cancels a sharp or flat
soft (p)
very soft (pp)
Httle
very quick, brisk
rit ... , to slow down the tempo
118