DATE: Thu, 13 Jan 1994 17:32:15 CST From: Jack Ely 466-0458 Subject: Diatonic Tips - C scale etc.
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Attached is "Diatonic Tips". Comments welcome.
I have had some private mail regarding my Basic Harmonica "courses" and feel there is enough interest to post them here. The one on diatonic needed the least cleaning up of the two so here it is. I have replaced the auto page numbering control blocks with hard page numbers. This is created on a VAX using ALLIN1 WPS+. I figure some of the attributes would be lost going to other systems anyway. You can add your own page markers, if necessary, for printing. Warning - this is rather looong, 9 printed pages - but the list has been sort of slow today anyway. Hope you don't mind.
Jack Ely ely~ecn.ohio.gov
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From: "JACK EL~rgate.mec.ohio.gov Subject: Diatonic Tips - C scale etc.
SHORT HARP TIPS
(Getting Started on the Diatonic Harmonica) by Jack Ely
(Also known as - Marine Band, Blues Harp, Short Harp, Richter Tuned, 10 hole, Tin Sandwich, French Harp, Pocket Piano, etc.)
All these terms refer to the little 10 hole diatonic harmonica. There are many styles, brand names, models, special tunings, and keys available. Costs vary from $5.00 to over $60.00. Many of the lower cost harmonicas are good values.
HOLDING THE HARMONICA:
The harmonica is held in the crotch or "V" formed between your left thumb and index finger. The highest note (tone), or hole # 10 should be to your right. The heel of your right thumb rests and pivots on the length of your left thumb and raps around under the harmonica forming a sound chamber, left fingers lay along the length of the harmonica, the right fingers form a cup, meeting or slightly overlapping the left finger tips.
The sound of the harmonica can be altered by opening up your hands (sound chamber). Open hands give a brighter, louder sound. Closed hands give a mellower, richer sound. Rapid opening and closing of the hands or fingers will produce a wavering sound (hand vibrato). The hand position can infinately vary the sound of the harmonica. Hand position is not he only thing that can change the sound or tone of your harmonica. (See VIBRATO).
PLAYING A SINGLE NOTE:
Playing a single note comes with great difficulty for some. Relax, you may be trying too hard. Embouchure (the method of placing the lips and tongue to a wind instrument) must be precise yet supple). There are two methods prescribed and much debate over which one is proper. Method #1, Tongue Blocking, is where you place your lips over four holes and block the air flow to the left with your tongue, allowing air to flow into only the rightmost hole to produce a single note. Method #2, Pucker, is where you cover only one hole with your lips as though you were going to whistle. The tongue does not touch the harmonica. I suggest that beginners use the method they find easiest and most comfortable. However, I strongly urge you to learn both methods as you develop. Method #1, Tongue Blocking, seems to produce a better (or at least different) tone. You may or may not be able to hear the difference. Tongue blocking lends itself to playing double stops (3rds, 5ths, and octaves) by blocking out unwanted notes with the tongue and allowing air to flow past the tongue on either side to play more than one note at a time. These are more advanced techniques you will want to develop later. CRUTCH: Blow a mouthfull of notes and tilt the harmonica upward while still blowing (relax). This will produce a clean, single note. Not the prescribed method, but it proves that it can be done. Some players do tilt their harp upward.
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LEARN TO READ MUSIC:
If I may borrow a tip from a recent seminar by harmonica virtuoso Stan Harper. Stan strongly urges us to learn our instrument. The tone, vibrato and all the other neat stuff will come later. All these techniques are worthless if we cant play the instrument. The best way to learn our instrument is to learn to read music then practice scales and drills. Then you will truly progress and improve your playing. [A distinguished gentleman carrying a violin case asked a scruffy looking hippie how to get to Carnegie Hall, the hippie replied "Practice man, practice".] Why learn a half dozen play by number systems, or continue struggling along playing by ear, when there is an international standard for reading music.
IMHO (In My Humble Opinion) you should develope music reading & theory skills in order to play the diatonic harmonica just as you would to master the chromatic harmonica. Serious chromatic students should learn to play scales in any key, including chromatic scales, on a "C" harmonica. This is not easily done on the diatonic. This does not make the diatonic any less of a musical instrument. There is more of a need for a knowledge in the areas of chord make-up and progressions, blues scales, modes, etc. (Stuff I don't intend to cover in this document). Not to scare anyone but I believe it is more difficult to learn the diatonic, properly, than chromatic.
Even the most accomplished diatonic players use harmonicas tuned in different keys. Want to change keys? Change harmonicas. So a tune, progression, scale, riff, etc. learned on a diatonic can be played in any key by changing harps. This does not make the diatonic any easier to learn or teach. The diatonic harmonica (normally) is tuned differently from a chromatic. The diatonic scheme is called Richter tuning after the man who developed it. This tuning, developed in the 1800's lends itself to blues and country/western playing. This, I'm sure, was not Richter's original intent. Maybe it had something to do with the way stringed instruments were tuned. I do know that it gives us blow and draw chords on the low and high end of the harmonica. We'll get more into that later.
There are many techniques or styles to learn on the diatonic harmonica and it can't all be written down in standard music notation. With all that said I still believe one should be able to play the "C" scale and some simple melodies on the diatonic by reading standard music notation. Developing this ability as beginners will only help as we learn more about the layout (tuning) of your harmonica. For those who would eventually study the chromatic harmonica it will be a step in the right direction.
PLAING THE "C" SCALE
(You will need a DIATONIC harmonica in the key of "C").
The first thing you need to do is locate the "C" note above middle "C" on your harmonica. This is easy, the first blow note is middle "C", THE SECOND "C" NOTE IS found in hole # 4 blow. (Note: count from the left up to hole 4). The holes are numbered from 1 to 10 on the top cover plate). It may help if you cover the first three holes with your finger or even a piece of tape. Practice until you can play this note clearly. Soon you will not need to use your fingers or the tape. Now look at the chart below.
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DIATONIC HARMONICA LAYOUT KEY of "C"
__ Middle C __ C above | (blow) | middle C V V
1 2 3 4 5 6 7 8 9 10 +---++---++---++---++---++---++---++---++---++---+ BLOW | C || E || G || C || E || G || C || E || G || C | | || || || || || || || || || | draw | d || g || b || d || f || a || b || d || f || a | +---++---++---++---++---++---++---++---++---++---+ ^ ^ |__the "C" scale __|
Holes 4 through 7 contain the C major scale. That is the notes... C (do), D (re), E (mi), F (fa), G (sol), A (la), B (ti), C (do) - or C, D, E, F, G, A, B, C (just like the ABC's except you start with C).
It will help if you take the time to draw the following exercises on a piece of blank manuscript paper (Music Work Sheet). You will find a blank work sheet at the end of this lesson.
Hole # 4 | THE FIRST HOLE (4) V Notes C & D +---+ | C | <--- blow Draw this diagram on a |---| blank music work sheet. | d | <--- draw _ +---+ Now play the C (blow) & | ---------------- the D (draw) notes. | Alternating C, D, C, D etc. | ---------------- until you can play them | clearly and smoothly. The Staff-| ---------------- | Look at (read) the music, | ---------------- don't play by ear only. | Think the notes as you play. |_ ---------------- O Ledger Line --> --O-- DO NOT PROCEED FURTHER UNTIL YOU HAVE MASTERED C D THIS EXERCISE.
Note the line below the staff in the above diagram. This is called a ledger line. You will have to draw this in so you have a place to put the "C" note. Ledger lines are used to locate notes which fall above or below the standard five line musical staff.
Now draw a diagram for hole # 5 beside your picture of hole # 4. Practice the E and F notes until you can play them clearly.
Now play holes 4 through 5 in sequence. Play (and read) C, D, E, F. Practice these two holes until you master them, do not proceed until you can play C, D, E, F clearly and smoothly.
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To save space I have drawn all four holes needed to play the "C" scale below. Continue drawing and then practicing each hole separately.
Draw hole # 6 now and practice. Play holes 4, 5 and 6. Can you play them smoothly and clearly now? O. K. proceed to hole # 7. This will complete your diagram. It should look like the one below. Practice hole # 7. Now Play holes 4, 5, 6, and 7 in sequence. Read from the music you have just written. Play smoothly and with an even tempo. Think the notes as you play. Tap your foot to keep time. Not too fast, speed isn't important here. CRUTCH: Look at the music (your diagram). Notice that BLOW notes are on a line of the music staff and DRAW notes are on a space. So, if a note is on the line you BLOW. If it is on a space you DRAW. Easy, huh!
OOPS! What happened when you got to the B note, it's on a line! Well. this is where the crutch breaks, or at least bends a little. The rule flip flops here. The BLOW/DRAW/LINE/SPACE reverses. So when you get to the B note you just reverse your thinking. You Draw A, slide up to hole 7 while continuing to DRAW and you get the B note. Then BLOW C and you have played the C major scale. Practice this EVERY day.
Below is a diagram of the C scale on the diatonic harmonica which is tuned in the key of C. Complete your drawings mentioned above from this diagram.
Keep in mind that holes 1, 2 & 3 and holes 8, 9, & 10 are not shown here. We are not concerned with them just yet. Later on we will study the layout of these holes and find out that they are tuned differently and why (or at least what can be done with them). This tuning sets the diatonic harmonica apart from the chromatic harmonica. This is what makes the diatonic harmonica unique and a very versatile and interesting instrument.
Hole # 4 Hole # 5 Hole # 6 Hole # 7 +---+ +---+ +---+ +---+ Note: C, E, G | C | |---| |---| |---| |---| | d | +---+ +---+ +---+ +---+ are DRAW notes ----------- ----------- ----------- -----------
----------- ----------- ----------- ----------- O ----------- ----------- ----------- ---O------- O ----------- ----------- ---O------- ----------- O ----------- ----O------ ----------- ----------- O --O--
C D E F G A B C
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PLAYING DIATONIC HARMONICAS TUNED IN OTHER KEYS
Now if you pick up a diatonic harmonica which is tuned in another key you can "read" the C scale notation above and it will come out in whatever key the harmonica is tuned to. For instance if you pick up an "F" harmonica and play the scale in holes 4 through 7 in the same blow-draw progression as above it will come out in "F". This is not exactly "reading" music. You are reading "C" but the harmonica is making it sound like "F" or whatever key it happens to be tuned to. Pick up a "G" and you'll be playing in "G", pick up a "Bb" and you will play in "Bb", etc. Keep in mind you are really reading or thinking in the key of "C".
Needless to say, diatonic harmonica players eventually own a whole boat load of harmonicas tuned in various keys. There is nothing wrong with this. There are many tunes that can be played in the diatonic scale and there are many music and instruction books which contain music written in "C". You can play songs from "C" music by reading in "C" and it will come out in the key you desire by using the proper harmonica. This is nice if you want to play along with recordings in different keys or play for a sing-along in keys which are better suited for the vocal range.
Another feature of the diatonic harmonica is the ability to play in the "close enough position". Someone coined that phrase, but I don't know who to credit for it. Learning to play a single note is important but this might be fun for you to try. Play a melody but don't worry about single note. Rather, play two or three holes at once. You must include the melody note of course but you will also hear harmony and chords. This will sound good, you will be able to distinguish the melody part from the other notes, and those other notes will seldom, if ever, discord. This is because of the tuning of the diatonic harmonica. There are some other diatonic harmonicas available which also sound good with this technique. The tremolo or echo harp has two reeds for each note, one tuned slightly off pitch. This gives a natural wavering or tremolo effect and sounds very pretty. Another is the octave tuned (Auto Valve, Full Concert etc.). These harmonicas have two reeds for each note, one tuned an octave (8 tones) apart from the other. The sound is dynamic and has greater volume than a single reed. Some of these are Richter tuned and some are solo tuned (like a chromatic). [Note: There is a Richter tuned chromatic made by Hohner, the KOCH model 980/40]
The items discussed so far are for beginners and ear players. The intent is to get you started in the right direction and let you have a little fun with the harmonica while laying down some basic understanding of music and your instrument. We have only scratched the surface of the diatonic harmonica. The possibilities of this instrument are virtually limitless. You will surely want to go on to learn about bending notes (a technique for playing notes that do not appear on the tuning layout). This technique is necessary to play blues, country and other styles. You will find that it is possible to play in a key that the harmonica is not tuned to, i.e., playing a "C" diatonic in the key of "G". This is called cross harp (also called second position or suck harp due to the abundance of draw notes used). I will not atempt to cover note bending or blues harp, etc. here. There are many good instruction methods (books, audio tapes, video tapes) already available for this.
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TONE
Producing a clear, pretty tone on the harmonica requires proper embouchure and breathing. Before you worry too much about tone you should master your technique of getting a single note consistently across the full range of the harmonica (See PLAYING A SINGLE NOTE). If your tone is weak try this. While playing a note, pinch your nose shut with your fingers. If the note suddenly gets louder you are letting air pass through your nose. Pinching the nose forces more air to go through the harmonica, producing a louder tone. No air should be passing through your nose while you're playing, save it for the harmonica. This is where breath control is important. You will eventually learn to keep a reserve of air in your lungs and actually be doing most of your breathing through the harmonica.
EMBOUCHURE
Embouchure also affects tone. Tone is affected by the way you hold (shape) your tongue, the way you blow or draw through the instrument and the way you position your jaw. Dropping the lower jaw opens the air passage and allows air to flow more freely giving a rounder tone. Try dropping your lower jaw while playing a note and hear the difference. You should be bringing the air from way down deep. The force (power) comes from the diaphragm. Remember how it feels when you are fogging a mirror or your glasses; or how it feels when you are blowing the last few breaths into a large balloon? This is how it should feel when you are blowing into your harmonica properly. Blow hard through a straw. This is how it should NOT feel. Now, blow hard with your mouth open wide. This is how it SHOULD feel when you are playing the harmonica properly.
VIBRATO
Vibrato, the slight lowering and raising of the pitch of a note, also affects tone. Throat vibrato is what vocalists use. Well controlled, light throat vibrato can produce a very pretty tone. Heavier vibrato can be used for emphasis on a note or passage. Vibrato should not be over done and it probably should not be used at all on some songs. Of course this is a matter of personal taste. Throat vibrato should not be done too fast. (see METHODS/VIBRATO).
TONGUE BLOCKING
Some say that tongue blocking (See PLAYING A SINGLE NOTE) produces better tone than the pucker method of playing. Tongue blocking sounds better (or at least different). If you are coupled (embouchure) to the instrument differently it is going to sound different. You should learn both methods but as a beginner I suggest you choose the one that works best for you.
Record your practice sessions and play them back. You will hear what you sound like. The tape recorder is very unforgiving, it repeats mistakes right along with the good stuff. Using a recorder will help speed your progress. Save your tapes and compare later ones with your beginning tape so you can hear the improvement. Use an amp, a practice amp may be a good investment. You can hear what your doing and it will give you experience using a microphone.
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METHODS of PRODUCING VIBRATO
HAND VIBRATO (the simplest method, not really a vibrato) This is easy to master yet it can be effective. Many pros use it. The hands form a "cup" or sound chamber around the harmonica. (See HOLDING the HARMONICA). Vibrato is achieved by opening and closing the hands. If your hands form a good seal around the harmonica you can get vibrato by just wavering your bottom two fingers on the left hand. Vibrato should be smooth and not too fast and should not be over done. You can get vibrato by moving the right hand as well.
TONGUE VIBRATO (also simple) This method is also fairly simple to learn but should be used sparingly. Tongue vibrato is achieved by swelling and relaxing the tongue which changes the air flow. Say the words yoy, yoy, yoy. Try it without the harmonica, you can feel your tongue change. Now try it with the harmonica. Vibrato can be used with blow & draw notes.
THROAT VIBRATO (most difficult) This is the most difficult method to learn and also the most desirable. This is how good players achieve that beautiful tone. It can be used constantly yet subtly for good tone and emphasized for a pretty or "schmaltzy" effect on certain passages. It can be combined with hand vibrato. Heavy "schmaltzy" vibrato sometimes sounds pretty but should be used sparingly, it too can be overdone.
Throat Vibrato is really controlled by the diaphragm, however, you feel it mostly in your throat. That's where it seems to come from.
Here is an exercise you can do daily. It in itself will not give you vibrato but it will exercise your diaphragm, improve your breath control and also improve your speed playing. (1) Take a deep breath. (2) let it all out. (3) Take a deep breath again. (4) Now, while keeping the lungs inflated, exhale and inhale very rapidly as long as you can. You are exhausting and replenishing your air rapidly while maintaining an air reserve in your lungs. (Don't do this too long at first as it will probably make you dizzy - practice this daily and gradually increase the length of time you do it). The rapid exhale and inhale is controlled with your diaphragm. Your chest should not be puffing in and out but you should be able to see and feel your stomach (lower abdomen) moving in and out rapidly. Kind of like a dog panting. In fact, now that I think about it, it's exactly like a dog panting.
EXERCISES FOR VIBRATO:
Example #1 - Play a single note at a slow tempo while tapping your foot in time, play one note per tap. Now play two notes per tap, (keep the same tempo). Next, while keeping the foot tap constant, play three notes per tap. Finally, smooth out the note so that it becomes a wavering sound instead of three separate notes. To get the vibrato you must flat the note slightly. It is the repeated lowering and raising of pitch which produces vibrato. This exercise should be done in one breath. You can think of it as playing a half note, then two quarter notes, then triplets and finally a constant, smoothed out, wavering tone. Practice the exercise below.
(Without the harmonica) Say AHhhhhhhhhh. Now chop up the AHhhhh with little coughs. AHhAHhAHh etc. Practice this while exhaling and inhaling. This will probably make you choke or gag and cause your eyes to water, especially on the inhale. If it does, you're doing it right. Gradually increase the speed of the "cough" and concentrate on smoothing it out and eliminating the cough sound. (Maybe this is where the term throat vibrato comes from because you can feel it there). As you smooth out and eliminate the cough sound you can feel that it is your diaphragm that is doing the work. Now try this while playing a note on the harmonica. It is easiest in the low register, high notes are harder to get vibrato on, so start out with the low notes and you will see (hear) results quicker. An E (blow 5) and F (draw 5) on a 10 hole are probably the easiest to get vibrato on. Notes lower or higher come with a little more difficulty. Eventually you should be able to get vibrato throughout the range of the harmonica, then you will have good tone. Vibrato should not be too fast, moderate speed gives best results.
Experiment with both methods above. Find out which example works best for you and then practice daily. Good luck and good vibrato!
SUMMARY
This completes this section of DIATONIC TIPS for now. Many of the techniques you learn through study of this material will be useful on the chromatic and other harmonicas. I have attempted here to give you some information not available in most other harmonica methods. This is by no means a complete method in itself. Study from other harmonica methods, listen to recordings and develope your style. I don't think there is any single method and there are no shortcuts to becoming a musician. Remember the three rules of musicianship; practice, PRACTICE, P R A C T I C E !
I hope this material helps you. I would be interested in any comments or suggestions you might have.
SPECIAL CREDIT
I would like to thank my favorite mentor, Julian Hall, of Chicago, whom I met and studied under at a Murad - Pedersen Harmonica Seminar in Akron. His teachings and encouragement not only improved my playing but gave me the desire and ability to pursue teaching harmonica myself. A dream which was a long time in coming true.
Jack N. Ely
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(Use this MUSIC WORK SHEET to draw your practice exercises)
