blues harmonica lessons

7/26/2019 Blues Harmonica Lessons

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AKNOWLEDGEMENTS

Blues Harmonica Lessons cover page artwork Dave Brewer

Blues Harmonica Lessons CD cover artwork Dave Brewer

How To Read Music book cover Sleigh and Sheppard.

The Complete Idiots Guide To Playing The Harmonica book cover William Melton & Randy Weinstein

The Harp Handbook book cover Steve Baker

Kentucky slave poster, 1853. - The Story of the Blues Paul Oliver

Loading plan of a Guinea - man slave ship. - The Story of the Blues Paul Oliver

Sing Along, extract from Do Re Mi Rogers and Hammersteins The Sound of Music.

Key To The Highway, Hate To See You Go, Shes So Fine - Harrys Blues Lyrics Online

The Worlds Best Mouth Organ advertisement - J Albert & Son Dance Folio Programme No.2

Hohner Harmonica That Musical Pal Of Mine - Hohner brochure

The Story Of Hohner Harmonicas - Hohner brochure

The Story Of Hohner Harmonicas - Early History and Development. - Hohner brochure

How to Play the Harmonica - Hohner brochure

Everybody Plays The Harmonica - Hohner brochure

Music for Everyone, Everyone for Music - Hohner brochure

How To Play The Hohner Harmonica - Hohner brochure

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CONTENTS

Music for Everyone Everyone for Music - Hohner Brochure ..... 5

Introduction .... 6

The Story of Hohner Harmonicas - Early History and Development - Hohner Brochure ... 7

Kentucky slave poster 1853 - Loading plan of Guinea man slave ship ... 8

The Comprehensive Five Fold Approach to playing the harmonica ... 9

Foundations of Playing .. 10

Practically everybody has the urge to make music of some sort - Hohner Brochure ..... 11

CD Cover - Blues Harmonica Lessons - Tracks 1 - 28 .. 12

Harmonica instructional CD printed notes 13 - 18

CD Track 21 transcription . . 19 - 20

The Story of Hohner Harmonicas and How to Play Them - Hohner Brochure ... 21

Bending diagrams 22

12 Bar Blues . 23

Keyboard Illustration of the Chromatic Scale ..... 24

The Worlds Best Mouth Organ - advertisement J. Albert & Son ... 25

Note Layout Chart for 10 Hole Diatonic Harmonicas in Major Tuning - 12 keys ... 26 - 28

Note Layout Chart for C Chromatic Harmonicas - 12 hole and 16 hole .... 29

Major Scales - Cycle of Fifths - Keyboard Illustration .. 30

Everybody Plays the Harmonica - Hohner Brochure ..... 31

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CONTENTS

Juke - Little Walters 1952 recording ..... 39

Sing A Long - Do Re Mi 40

Blues Lyrics .... 41

How To Play The Harmonica - Hohner Brochure ...... 42

Resources - Internet Web Sites .... 43 - 45

Resources - Look Listen Learn ... 46

Recommended Reading .. 47

Roadmap for the Path of Progress ... 48 - 49

Qualities of a Master Player ... 50

How To Play The Hohner Harmonica - New Easy Method For Beginners - Hohner Brochure 51

Blues Harmonica Course Checklist 52

Practice Journal ... 53

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INTRODUCTION

Mass production of mouth organs began in Vienna in 1829.

In 1857, a German clockmaker named Matthias Hohner, began manufacturing harmonicas full time,turning out 650 instruments that year with the help of his family and a single workman.

In 1887, the annual output exceeded 1 million with demand coming from North America.

In 1930, Hohner's yearly sales topped 25 million.

Over the years, the Hohner Company has offered over 1500 different harmonicas, ranging from the smallLittle Lady with 4 holes only, to the very large chord harmonica which has 96 double holes.

You have a 10 hole diatonic harmonica in C major tuning.

The harmonica is a free reed, wind instrument.

It has multiple, variably tuned brass ( or alloy ) reeds.

The reeds freely vibrate to produce sound in response to the outward and inward breath of the player.

The diatonic harmonica has 10 holes with 20 tuned reeds ( 10 blow reeds and 10 draw reeds ).The 20 tuned reeds offer 19 different notes ( one note is repeated ) in a three octave range.

The length and thickness of the reeds determines the note that is produced.

The reeds sit over the open slots of the brass reedplate and are secured at one end by rivets or screws.

The top and bottom brass reedplates are fixed onto the comb.

The comb has 10 evenly spaced chambers of different lengths.

The comb chambers direct the player's outward and inward breath to the individual reeds.

The top reedplate is secured to the comb with the reeds sitting inside the comb chambers.

The top reeds are riveted or screwed to the reedplate near the front edge of the harmonica.

These top reeds respond to blowing.

The bottom reedplate is secured to the comb with the reeds sitting outside the comb chambers.The bottom reeds are riveted or screwed to the reedplate near the rear edge of the harmonica.These bottom reeds respond to drawing.

The reeds secured to the reedplates are protected by the outer top and bottom covers.

Disassembly / Assembly of your Harmonica :

Top cover

Top reedplate with 10 blow reeds sitting inside the comb

Comb with 10 different sized chambers

Bottom reedplate with 10 draw reeds sitting outside the comb

Bottom cover

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THE COMPREHENSIVE FIVE FOLD APPROACH TO PLAYING THE HARMONICA

Created by Gary Collinson, 98 Essex Street, Wembley 6014, Western Australia. Tel. 08 93873030 ( tuition, performance, recording )

1 2 3 4 5 6 7 8 9 10

PLAYING TECHNIQUES

Eg. Playing single notes.

Bending techniques.

Playing octaves using tongue blocking.

REPERTOIRE

Eg. Rhymes, melodies, tunes, riffs.

Scales, scale patterns, arpeggios.

Improvisation. Singing.

HARMONICA CONSTRUCTION & PHYSICS

Eg. Covers, comb, reed plate, reeds.

Note layout, scales.

How reeds respond when bending notes.

MUSIC THEORY

Eg. Scales, chords.

Cycle of 5ths.

Harmonica positions / modes.

FORMAT / STRUCTURE OF MUSIC

Eg. Chord progressions.

12 bar, 8 bar, 16 bar and 32 bar blues.

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1. Harmonica And Guitar Duo

2.

Introduction3.

Pep

4. Lets Play

5. Simple Exercises and Patterns6.

C Major Scale

7.

Mary Had A Little Lamb

8. Jingle Bells

9.

Twinkle Twinkle Little Star

10.

When The Saints Go Marchin In11. Holding The Harmonica And Using The Hands

12. Warble / Trill13.

Tongue Articulation / Dit Dah

14.

Puck / Lip Lift Off

15. Glissando / Sliding

16. 12 Bar Blues

17.

12 Bar Blues Progression

18.

Bending

19.

Octaves / Split Notes20.

Tremolo / Vibrato

21.

Harmonica And Guitar Duo

22. Now What ?

23. Guitar Only Play Along

24.

Harmonica And Guitar Duo

25.

- 28. Track 21 at various track speeds for playing along

PLAYINGTECHNIQUES

using

C major

diatonic harmonica

Gary Collinson

harmonica

Dave Brewer

uitar

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PLAYING TECHNIQUES - Blues Harmonica Lessons - Instructional CD - Gary Collinson.

Track 1

Harmonica and Guitar duo.

Track 2

Introduction.

Music is an endless journey of discovery.

My name is Gary Collinson.

Listening to and playing music offers a lifetime of enjoyable activity.

This course focuses on the 10 hole diatonic harmonica played in the blues style.

So get on board and lets ride that music train.

Track 3

Pep.

All you need to succeed is PEP practice, enthusiasm, perseverance.Remember the musicians mantra practice makes progress.

Keep a harmonica in your pocket. The harmonica is a very portable instrument.

Keep it handy so you can practice when spare moments arise during the day.

Track 4Lets Play

Playing the harmonica involves the hands, lips, tongue, mouth, throat, lungs and diaphragm.

A relaxed upright posture and good breath control assists.

Holding the Harmonica.

Hold your harmonica with one hand, either the left or right hand, whichever feels more comfortable.The harmonica should be held with the low notes to the left hand side and the cover plate numbers 1 10 on the top.

Posture.

Aim for a relaxed upright posture without tension in the face, hands, arms and shoulders.Contract the muscles in the face, hands, arms and shoulders, hold that tension, then relax.

Now you are ready to play.

Blow the 1 hole, draw the 1 hole. Blow the 10 hole, draw the 10 hole.

Single Notes

There are 2 ways to get single notes.The tongue blocking method, where air is directed between the tongue and the lips to the desired holes,

with the tongue blocking air to holes not required to sound at that time.

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Track 5Simple Exercises and Patterns.

Blow, draw, move. Playing consists of blowing and drawing the notes whilst moving across the holes of the harmonica.

Tablature Note.For this instructional material, the number indicates the hole of the harmonica,

b indicates a blow note, d indicates a draw note.

Please refer to the notes accompanying the c.d. for the tablature of exercises, patterns and tunes.

Try these simple exercises.

1d 1b 1d 1b 1d 1b 1d 2d 2b 2d 2b 2d 2b 2d 4d 4b 4d 4b 4d 4b 4d 6b 5b 6b 5b 6b 5b 6b

Repeat this last exercise but try sliding between the notes whilst maintaining a continuous stream of blowing.This produces a more fluent sound.

4b 4d 3d repeat. Try sliding between the 4d and 3d to increase fluency.

Control is more important then speed. Play it slow and get it right, then increase the speed.

Repetition results in muscle memory. It imprints the pattern in your brain.

You can use your tongue to punctuate the notes instead of using individual breaths.

Draw on the 1 hole with a continuous in breath and then use the tongue to punctuate the notes. 1dddddTry the same on the 4 hole draw. 4ddddd. Then try the 2 hole draw. 2ddddd.

You can use the same technique on blow notes. Try 1bbbbb, 4bbbbb, 2 bbbbb.

Utilize the technique in these simple exercises 1dd 1bb repeat 2dd 2bb repeat.

Combine the preceding exercises for this effective rhythmic pattern. 2dd 2bb 1dd 2bb repeat

Track 6

C Major scale. C D E F G A B C4b 4d 5b 5d 6b 6d 7d 7b

do ray me far so la ti do

Play the ascending scale starting on 4b. Play the descending scale starting on 7b. Combine them.

Track 7Mary Had a LittleLamb.

5b 4d 4b 4d 5bb 5b 4dd 4d 5b 6b 6b

Ma-ry had a little lamb, little lamb, lit-tle lamb

5b 4d 4b 4d 5bb 5b 5b 4d 4d 5b 4d 4b

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Track 9Twinkle Twinkle Little Star.

4b 4b 6b 6b 6d 6d 6b 5d 5d 5b 5b 4d 4d 4b

Twinkle twinkle lit-tle star, how I wonder what you are

6b 6b 5d 5d 5b 5b 4d

Up a- bove the world so high

6b 6b 5d 5d 5b 5b 4d

Like a diamond in the sky

4b 4b 6b 6b 6d 6d 6b 5d 5d 5b 5b 4d 4d 4bTwinkle twinkle lit-tle star, how I wonder what you are

Track 10

When The Saints Go Marchin In.

4b 5b 5d 6b 4b 5b 5d 6b

Oh when those saints, go marchin in

4b 5b 5d 6b 5b 4b 5b 4dOh when those saints go marchin in

5b 4d 4b 4b 5b 6b 6b 6b 5d

Lord I want to be in that number

4b 5b 5d 6b 5b 4b 4d 4b

Oh when those saints go marchin in

Track 11Holding the Harmonica and Using the Hands.

Hold your harmonica with one hand, either the left or right hand, whichever feels more comfortable.The other hand is cupped at the back to create an echo chamber. This enhances the tone and allows for hand

movements to create a variety of sounds. Try to create the largest, sealed echo chamber possible with your hands.

There are 4 main ways to use the cupped hand. The 4 techniques are demonstrated using the 4d note.

- finger flutter using small rapid movements of the fingers.- hand wah wah with the cupped hand pivoting outwards to create a wah wah effect.

- wrist wah wah using the outward movement of the wrist to create the same wah wah effect.

This technique is useful when holding a microphone in the hands for amplified playing.- whole arm wah wah using an outward movement of the whole arm for a flamboyant effect.

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Track 13Tongue Articulation / Dit Dah.

We have previously discussed using the tongue to punctuate notes.

Now we will use the tongue to articulate the notes we are playing.Use the tongue to articulate the sound Dit, with the tip of the tongue starting and ending behind the front upper teeth .This starts and ends the word sharply.

Use the tongue to articulate the sounds Dah, with the tongue starting on the roof of the mouth and ending in a neutral

position in the mouth. This ends the word gradually.

Now apply the same articulation to the notes you play on the harmonica

Play 1b 1d ( dit ) 1d ( dah ) . Then play 2b 2d (dit ) 2d ( dah ).

Add an extra dit to the above phrases. Play 1b 1d(dit)d(dit) 1d(dah). Play 2b 2d(dit)d(dit) 2d(dah).

Track 14Puck / Lip Lift Off.

Loosen the lips from the pucker method used to create single notes.

Draw the 1,2 and 3 holes simultaneously to create a chord of 3 notes. 1d-2d-3d chord.Using a Key C diatonic harmonica, this chord is G major chord, comprised of the notes D, G and B.

Leaving the harmonica resting on the bottom lip, rapidly lift the top lip off the harmonica whilst playing the

1d-2d-3d chord. It can be repeated rhythmically for effect.

Track 15Glissando / Sliding.

Glissando is achieved by sliding rapidly across the holes of the harmonica, either blowing or drawing,

then landing on a particular note.

Try the following examples 3b glissando to 6b, 2b glissando to 5b, 2d glissando to 5d.

Combine the blow glissandos into this melody 3b-6bb, 2b-5b 4d, 3d 2d, 2d repeat

Track 16

12 Bar Blues.The most common blues form is the 12 bar blues consisting of the I IV V progression.

This progression is a blues in the Key of G. It consists of 12 measures or bars.The chords are G7 (I), C7 (IV) and D7 (V)

These are the I, IV and V chords in the key of G.

There are 4 beats per bar with accents on the 2ndand 4thbeats.

Try tapping your foot 1234 for each of the 4 beats per bar. Continue evenly for all of the 12 bars then repeat.Try snapping your fingers on the accented 2

ndand 4

thbeats.

You can play along using the 2nd

and 4th

holes of your Key C diatonic harmonica in second position.

Track 17

12 Bar Blues Progression.

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Track 18Bending.

Bending is a technique which flattens the pitch of the played note. It is achieved by moving the tongue.

Bending increases the range of notes available on the harmonica. Bending produces that "bluesy sound."Start by playing 1d. As you draw the note, move the tongue down and back in the mouth.Saying the words Eeeee Ooooo replicates the tongue movement associated with bending.

Do Not - draw the note louder or more vigorously

Do Not - move the jaw,

Do Not - tighten or loosen the lips from the single hole position,

Do Not - tense the face, hands, shoulders or other parts of the body.

Bending the notes is a difficult technique which requires practice to master. It's all in the tongue movement.

Try 1d bend again.Once you have mastered the 1d bend, move onto the 4d bend, 2d bend and 3d bend.Play 4d and bend 1 semitone.

Play 2d and bend 2 semitones.

Play 3d and bend 2 semitones.The lower the pitch of the draw note, the greater the movement of the tongue.

Thus the tongue movement and technique varies as we play across the different holes of a harmonica.

It also varies with the different key harmonicas.

Refer to the Note Layout Chart for Diatonic Harmonicas to see the selection of blow and draw notesthat can be lowered in pitch by bending.Using standard note bending technique, the 1d and 4d notes can be lowered by 1 semitone,

the 2d note lowered by 2 semitones and the 3d note lowered by up to 3 semitones.

Advanced bending technique.

The next stages of draw bending technique focus on moving between unflattened and flattened notes.

Commence playing a note and then stop drawing once the note has reached its flattened pitch.

Try this technique on the 1d, 4d, 2d and 3d notes.

The next step is to commence playing a note in the bent position and release the bend as you draw the note.Try this technique on the 1d, 4d, 2d and 3d notes.

Once this is mastered, the next step is to play the unflattened and flattened notes directly with no soundbetween the selected notes.

Try this technique on the 1d, 4d, 2d and 3d notes.

Blow bends.Blow bends are also achieved by moving the tongue in the mouth.

To flatten a blow note the tongue moves very slightly forwards.

Blow bends are usually played on the higher holes ( 8b, 9b ) of lower key harmonicas ( G, A, Bb )Using a Key C harmonica, try blow bends on 8b, 9b and 10b.

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Track 20Tremolo / Vibrato.

Tremolo / Vibrato is the pulsating effect that embellishes a played note.

It is achieved by various techniques :the movement of the hands using the finger flutter technique.

drawing a note with a rapid and rhythmical quick succession of breaths centred in the diaphragm.

blowing a note with a rapid and rhythmical quick succession of breaths centred in the upper airway.

blowing or drawing a note and bending the note rapidly, rhythmically and smoothly.

Try the techniques on the 4d and 4b notes.

using hand movement play 4d then 4b

using the diaphragm play 4dusing the upper airway play 4busing the tongue to bend rapidly play 4d then 4b

Track 21

Harmonica and Guitar duo.

Basic harmonica technique with guitar accompaniment.

Track 22Now What ?

Once the basic techniques are mastered, you have to incorporate them into simple runs and tunes.

Next you have to learn to play along with the format of the music, for example a 12 bar blues.

The next challenge is to learn to improvise.

Listen and play along.

Listening to the recordings of harmonica players and then playing along with them, is an effective way to learn.

You need to be using the same key harmonica as the player on the recording.( use the Artist Song Listing Harmonica Masterclass internet resource )

Listen for the various techniques being used, try to work out the runs being played, count through the bars to

understand the structure of the tune.

Positions

Choosing the key harmonica to use to accompany another instrument involves the theory of Harmonica Positions.The positions commonly used are 1st, 2ndand 3rdalthough there are a total of 12.

One guide to positions involves the Descending Circle of 5 ths. Another method involves counting intervals on the

chromatic scale. Refer to chart Diatonic Harmonica Positions.

Track 23

Guitar Only Play Along Track.

Pl l i h hi i i 12 b bl f d b h l d i i D B

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TRACK 21 HARMONICA and GUITAR DUO - PLAYING TECHNIQUES CD

Key of Music = G Harmonica = C in 2nd position 12 Bar Blues Instrumental with 6 verses

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

Degrees of Scale 1 2 3 4 5 6 7 8Chords of Scale I IV V

I = Tonic = G = 2 draw IV = Subdominant = C = 4 blow V = Dominant = 4 draw & 1draw

Verse 1@ 0.04 minutes

2dd 3d 4b 2d2b 2dd 3b 3d 4b 2d4d-5d trill 4d-5d trill

4b-5b trill

2dd 3d 4b 2d

5d 4d 4b 4d 3d 2d

2b 2dd 3b 3d 4b 2d

Verse 2@ 0.28 minutes

5b 6bb

5d 4d 4b 3d-4d trill

4d

3b 3d 4d 2d

3b 3d 4d 3d 4d 3d 4d 3d 2d 2b

3b 3d 4d 5b 3d 4d 5b

2dd

Verse 3 @ 0.53 minutes

4d wah wah 4d wah wah 4d wah wah 4d wah wah 4d wah wah

5b 6b wah

4d 5d wah

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Verse 4 @ 1.18 minutes2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2b 3b 3d2dd 2bb 1dd 2b 3b 3d

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb

2dd 2bb 1dd 2bb3dd 4bb 4dd 5bb

6bb 5bb 4dd 3dd

2dd 3dd 4bb

4d 3d 2d 2d// 1d

Verse 5 @ 1.42 minutes4b 4d 4b 3d 4b 4d 4b 3d

4b 4d 4b 3d 4b 4d 4b 3d 2dd

1d-4d octave 2b-5b octave 3b-6b octave

1d-4d octave 1d-4d octave 2b-5b octave

1d-4d octave 1d-4d octave 2b-5b octave

1d-4d octave 1d-4d octave 2b-5b octave1d-4d octave 1d-4d octave 2b-5b octave 1d-4d octave4b 4d/ 4d 4d/ 4d 4d/ 4d 4d/ 4d

4d/ 4d 4d/ 4d 4d/ 4d

4d 3d 2d

2d 2b 2dd 2b 2d 2d// 1dd

Verse 6 @ 2.07 minutes

3b 3d 4d 5b 6b

3b 3d 4d 5b 6b

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BENDING DIAGRAMS 22.

Refer to Note Layout Chart to see which holes are available for bending.

Tip 1sthole bends 1 semitone, 2

ndhole bends 2 semitones, 3

rdhole bends 3 semitones, 4

thhole same as 1

st.

Practice on the 1 draw hole first, then move onto the other draw bend holes.

Develop bending proficiency on holes 1, 2, 3, 4, 5 and 6 hole draw. Blow bend holes 8, 9 and 10.

Bending technique varies across the holes of each harmonica and across the selection of harmonicas.

As a general rule, low pitched notes require more tongue movement than high pitched notes.

down and up down and stop start at the bottom bottom to top to bottom

one breath and go to the top one breath

no stops no stops

top then bottom then top straight to the bottom and repeat

nothing in between one breath

one breath

double notes double notes

Created by

Gary Collinson, 98 Essex Street, Wembley 6014,

Western Australia. Tel. 08 93873030.

( tuition, performance, recording )

12 BAR BLUES


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12 BAR BLUES

This is a framework for a swinging 12 bar walking blues. There are 4 beats per bar with accents on the 2nd

and 4th

beats.

Try tapping your foot 1234 for each of the 4 beats per bar. Continue evenly for all of the 12 bars then repeat.

You can also walk the blues with each footstep equivalent to a beat. Try snapping your fingers on the accented 2nd

and 4th

beats.

You can play along using the 2nd

and 4th

holes of your diatonic harmonica in second position (cross harp).

Schematic diagram of a 12 bar blues

D

C C C

12 BAR BLUES in KEY G = G G G G G G G

D

DIATONIC HARMONICA in 2ND

POSITION in KEY C = 2dd 2dd 2dd 2dd 4bb 4bb 2dd 2dd 4dd 4bb 2dd 1dd

G G G G C C G G D C G D

Check your notation chart for diatonic harmonica C major.

When listening to blues music, try to work out the structure of the song by counting and observing the chord changes.

The 12 Bar Blues usually uses just three Chords. These Chords will always have the same relationship to each other:

They will be Chords formed on degrees I, IV, and V of a Major scale ( also referred to as the TONIC Chord, SUBDOMINANT Chord, and DOMINANT Chord ).

These three Chords can be either Major, Minor, or 7th Chords depending on the type of character you want your music to have.

Other blues forms include 8 bar,16 bar and 32 bar blues.


Bar 1

count

1234play

2dd

Bar 8

count

1234play

2dd

Bar 7

count

1234play

2dd

Bar 5

count1234

play

4bb

Bar 6

count1234

play

4bb

Bar 2

count

1234play

2dd

Bar 3

count

1234play

2dd

Bar 4

count

1234play

2dd

Bar 9

count

1234

play

4dd

Bar 10

count1234

play

4bb

Bar 11

count

1234play

2dd

Bar 12

count

1234

play

1dd

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KEYBOARD ILLUSTRATION OF THE CHROMATIC SCALE.

Ascending chromatic scale commencing on C

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

C Db D Eb E F Gb G Ab A Bb B C

Descending chromatic scale commencing on C


24.

NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 26


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NOTE LAYOUT CHART for 10 HOLE DIATONIC HARMONICAS in MAJOR TUNING 26.

overblow A D F# A C E

bend 2 semitones E

bend 1 semitone A C F

Blow F# A# C# F# A# C# F# A# C# F#

F# harmonica 1 2 3 4 5 6 7 8 9 10

Draw G# C# E# G# B D# E# G# B D#

bend 1 semitone G C E G D

bend 2 semitones B D#

bend 3 semitones D

overdraw G B D G

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

overblow Ab Db F Ab B Eb

bend 2 semitones Eb

bend 1 semitone Ab B E

Blow F A C F A C F A C F

F harmonica 1 2 3 4 5 6 7 8 9 10Draw G C E G Bb D E G Bb D

bend 1 semitone Gb B Eb Gb Db

bend 2 semitones Bb D

bend 3 semitones Db

overdraw Gb Bb Db Gb

F major scale F G A Bb C D E F

overblow G C E G A# D

bend 2 semitones D

bend 1 semitone G A# D#

Blow E G# B E G# B E G# B E

E harmonica 1 2 3 4 5 6 7 8 9 10

Draw F# B D# F# A C# D# F# A C#bend 1 semitone F A# D F C

bend 2 semitones A C#

bend 3 semitones C

overdraw F A C F



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overblow F A# D F G# C

bend 2 semitones C

bend 1 semitone F G# C#

Blow D F# A D F# A D F# A D

D harmonica 1 2 3 4 5 6 7 8 9 10

Draw E A C# E G B C# E G B

bend 1 semitone D# G# C D# A#

bend 2 semitones G B

bend 3 semitones A#

overdraw D# G A# D#

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

overblow E A Db E G B

bend 2 semitones B

bend 1 semitone E G C

Blow Db F Ab Db F Ab Db F Ab Db

Db harmonica 1 2 3 4 5 6 7 8 9 10Draw Eb Ab C Eb Gb Bb C Eb Gb Bb

bend 1 semitone D G B D A

bend 2 semitones Gb Bb

bend 3 semitones A

overdraw D Gb A D

Dbmajor scale Db Eb F Gb Ab Bb C Db

overblow Eb Ab C Eb Gb Bb

bend 2 semitones Bb

bend 1 semitone Eb Gb B

Blow C E G C E G C E G C

C harmonica 1 2 3 4 5 6 7 8 9 10

Draw D G B D F A B D F Abend 1 semitone Db Gb Bb Db Ab

bend 2 semitones F A

bend 3 semitones Ab

overdraw Db F Ab Db



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overblow Db Gb Bb Db E Ab

bend 2 semitones Ab

bend 1 semitone Db E A

Blow Bb D F Bb D F Bb D F Bb

Bb harmonica 1 2 3 4 5 6 7 8 9 10

Draw C F A C Eb G A C Eb G

bend 1 semitone B E Ab B Gb

bend 2 semitones Eb G

bend 3 semitones Gb

overdraw B Eb Gb B

Bb

major scale Bb

C D Eb F G A B

b

overblow C F A C D# G

bend 2 semitones G

bend 1 semitone C D# G#

Blow A C# E A C# E A C# E A

A harmonica 1 2 3 4 5 6 7 8 9 10

Draw B E G# B D F# G# B D F#

bend 1 semitone A# D# G A# F

bend 2 semitones D F#

bend 3 semitones F

overdraw A# D F A#

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

overblow B E Ab B D Gb

bend 2 semitones Gb

bend 1 semitone B D G

Blow Ab C Eb Ab C Eb Ab C Eb Ab

Ab harmonica 1 2 3 4 5 6 7 8 9 10

Draw Bb Eb G Bb Db F G Bb Db Fbend 1 semitone A D Gb A E

bend 2 semitones Db F

bend 3 semitones E

overdraw A Db E A

NOTE LAYOUT CHART f C CHROMATIC HARMONICAS 12 H l & 16 H l 29


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NOTE LAYOUT CHART for C CHROMATIC HARMONICAS - 12 Hole & 16 Hole

Created by Gary Collinson

Blow slide in C# F G# C# C# F G# C# C# F G# C#

Blow slide out C E G C C E G C C E G C

C Chromatic 1 2 3 4 5 6 7 8 9 10 11 12

Draw slide out D F A B D F A B D F A B

Draw slide in D# F# A# C D# F# A# C D# F# A# D

Blow slide in C# F G# C# C# F G# C# C# F G# C# C# F G# C#

Blow slide out C E G C C E G C C E G C C E G C

C Chromatic 1. 2. 3. 4. 1 2 3 4 5 6 7 8 9 10 11 12

Draw slide out D F A B D F A B D F A B D F A B

Draw slide in D# F# A# C D# F# A# C D# F# A# C D# F# A# D

Blow slide in C# F G# C# C# F G# C# C# F G# C# C# F G# C#

Blow slide out C E G C C E G C C E G C C E G C

C Chromatic 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

Draw slide out D F A B D F A B D F A B D F A B

Draw slide in D# F# A# C D# F# A# C D# F# A# C D# F# A# D

29.

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