How

To Hold The Harmonica

Breath

Kansas City Blues Solo (&.41) 27 Empty Streets

Control 4 5

Solo (&.42) 28 5010 (Ex.43) 29

Notes On The Hormonic",

Ploy A StZole 5 The 'C' Scale (Ex. I) 5

Down In New Orleans

fbe 'Wah Wah' 3Q

'Wah Wah' (fr.44) 30 'Wah Wah' Blues Riffs (Ex.45 • IExA8) 31 B To A Bend (Ex.49 • &.51

C Scale E.xerelses (Ex.2 - Ex.5) 6

Straight Playing 7
Michael Row The Boat Ashore Solo (&.. ) 7 6

J 34

Full Tone Bend Riffs (Ex.52 • Ex.SS) 35 The One Hare Harp Solo (&.56) 36
Southside Blues Solo (Ex.57) 38 G fo F 8end (Ex.58 & &:59) 39 Slues Riffs (&.60 - Bx.64)

When Tfle Saints Go Marching

Ih Solo (Ex.7) 8

Toke Care Of Your Harmonica B Ohl Susannah

Solo (Ex.8) 9

Frankie And Johnny Solo (Ex.9) 10 B/u\,s liiarp - Some HlJtory And Some People 1 I Cross Playing 12 Cross Playing Riffs (Ex. 10 - Ex. 13) /3

41 4_h

Wal:l Bash Blues Solo (£X.65) Chicago 81uesStomp

Solo (Ex.66) 43

Riffs Using Tone Control (&.67· Ex. 75) 44Detroit 80und Solo (Ex.76) 46
"Triplet Tonguing (Ex.7'7 & Ex.7~) 48 Triplet

Note Sending 14 A To A~ Bend (Ex. 14 - Ex. 16) 14 . A To A~ Blues Riffs (Ex.17 - &;20) 15 . Sad Mon Blues Solo (&.21)
J6

Riffs (Ex.79 • Ex.B:V 49

Sllles For Elmer Solo (Ex.83) $0 Hear Me Calling Solo (Ex.84) 51 Good Time Blues Solo (Ex;85) 52

Uttle Blues Solo (&.22) 17

F To E. Bend (Ex.23 - &.25) I B . Bllies Riffs (Ex.26 - Ex.29) 19

Rainy Days Solo (&.30)20

farly Morm~ng Blues Solo fE;f.86) :54 Pink Blues Solo (Ex.87) 55
Bessie's Blues Solo (&.88) 56 Rockin' 8/ues $010 (Ex.89) :5 7 Train E.ffect 58 Maldng Tracks Solo (Ex,20)· 58 I Can't Keef' From' Crying Solo (Ex. 91) 59 Blues For Jo Solo (Ex:92) 60

Tone Control 21
Money In My Pocket

Solo (Ex.3 I) 22

It Don't Come Easy Solo (Ex.32) 23

"To

Db

Bend (Ex.33 • Ex.35) 24

alues

Riffs (&.36 - &.39) 25

No Way Out Solo (&.40) 2'6

~--------------

,--~~~-

You will notice that your harmonica has the numbers 1 - lOon one side, Hold the instrument in your left hand with the number one, which is the lowest note, to the left. Place your right hand in the position shown below.

BREATH CONTROL
VVhenfirst learning to play the harmonica, or 'harp' as it is called by blues men, it is important for you to know how to breathe properly while playing ..A lot of harmonica players use breath control to great effect as it enhances their playing. As you progress through this book you will find that your breath control ability will improve, at least for harmonica playing.
It is quite simple. All you have to do is inhale through your nose on a draw note,

and exhale through your nose on a blow not note ..

4

NOTES ON THE HARMONICA

~' '*
1

Upward arrows indicate: blow into your harp (blow notes)

Downward arrows indicate: draw in your breath (draw notes)

C.
~

£ ~.

A_

t.~ t>
-H-_

~"*(;' ~ \\ C b>
6 7 8 9

:::\l..-...........

r~ A
10

leD lEG IGBICDIEFIGAIBCiDEIFGIACI

i l. i ~ i ~ i ~i ~i ~i ~t ~ i J. i l

PLAYA SCALE
VVhenthe sign 8 appears over the Treble Clef it indicates that the music is played an octave higher than written. The first thing we will learn to play on the harmonica is the C scale. Try to play each note clearly without interference from neighbouring notes. This may be tedious at first, however with a little practice you will soon be able to play each individual note.

THE 'C' SCALE

~'::> EX.1

,J
i
4

J
4
~

J
5

J
5
~

i
5

6
~

rr
7
7
~

II

Here are some, exercises to help you become familiar with the notes on the harmonica. They will enable you to move easily from hole to hole while playing single notes and also help you with your breathing.

02."2.0

EX.2

c r2r c 51 E rl C 5±E
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5555656666 76 77

~ ~ ~ ~ ~ ~ ~ ~ ~~ iiiiiiii ~~ i
Ex.3

,
EX.4

This exercise features two draw notes and two blow notes,

II

ttllitl

5
~

7
~

i i J,. J,. i

This time we play an ascending exercise using the C note as the "pivot note",

i ~i i
Ex.S

444

4 546

ilii

464

i l i ~i i

This time we use the G note on the 2nd hole as the "pivot note" in this descending exercise.

, t j r j [I J F J [ IJ F j r I j ~i J, J,
2625

II

l i ~~ J,. i
s

2'5 2 4

242

3 ~J,

2
~

ThiStwe <9fplaying is called 'StraightPlayingi because the tunes are played in'tbe natural key of the harmonica. For example, with the C harmonica we will play in the key of C.

Although this is ¢l;' blues book which features mainly note bending, we have included four straight tunes, this, is just to allow you to become, familiar with the notes on the harmonica. All of the exercises and solos in this book will be played on the C harmonica.

Here is a very easy tune to start with. It is played on holes 4, 5 and 6, O~. :-./(
Ex.S

IJ
4

j
i
5

J. l J
i
6

12
6

j
5

j
6

In
6
~

6
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656

] ] IJ
6

J J ]1
5

j
4

1 J IJ
4 4

j
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4

11 II
4

iii

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ro4,~Y;

You will find this famous tune quite easy to play. It is played on holes 4) 6) and 6. Make sure you can play each note clearly and distinctly, so take YOUy time with it.
EX.7
8

!J J J IJ.
4

............

J
4

3 J I J. a
=
,

J
4

3J
5 5

jj
6
8
~

i ~. ~
5

J J Ij J J J J 11 J J
i
4

"'--'"

J J J IJ
L

:J
i
5

J J IJ *
4

7.

II

As with most wind instruments there can be a build up of moisture in your harmonica, so after you have finished playing it is advisable to slap it against the palm of your hand. The accepted practice is to tap the mouthpiece side since the reeds converge towards the reed plate at that end. My advice is to tap it on both sides.
J

VVhenyou are not playing it, keep the harmonica in its case. Never carry it loose in your pocket. Dust is one of the great enemies of a 'harp' and yours will sound much better if you keep it clean.

OHSUSANNAH
I

This popular tune is played on holes 4, 5 and 6. Although it is played on only three holes you may find it slightly more difficult than the last two tunes, due to the fact that it involves constant blow and draw notes.

Ex.S

4!JO IjJJJfJiO
44566665445544444

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i ~ i i ~ it i~

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4

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4

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4

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6

~-]
6

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4

....

a IJ J
4

6
~

J J 1 II
4 4
~ J._

FRANI{IE & JOHNNY

Here's a bOWlCY little number played on the four holes 4, 5, 6 and 7,

AE this completes the last of our 'straight harp' selection, please make sure
that you can play these solos clearly and distinctly before moving on.

Ex.9 8

, .1;3 J J"S J ·.·1 J j #

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7

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7

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1
7 6

J1 I
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16

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5

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10

The harP, was much. ill evidence as a part of a mUBiaoo traeUtion Whlch flourished tp: the rutal'$'outb .of the 1J8Ainthe 1@20"g and 30's·-'thejugoanct,
,

"

Playjog OP street cornets, in saloons ffild at oountr~ ~up:p:et~JtheSE ]:rands usually consisted of'b<a;njo, ,

Q1;iltar, ~>(iis~Qard'8Ild kazoo, and sptrJ;e1~es"fiddle" jugs'anGi haI1>, Ivlt:>'stoften the hallP was used.for
"~'n the U}?¥,e,Iire§ister so the sound <would 0aTr"y: ~ i

melQ~iQ!4h¥ilirnic supp~o.rt,Niith much of the playing ~

'.

CROSS PLAYING
'Cross Playing' means playing in a key other than the natural key of the harmonica,
We can, by bending notes, play in many keys. However, throughout the rest of this book we will be playing' crossed' mostly in the key of G.

The 'Cross Playing' method is widely used in Rock, Country Folk, and especially the Blues, as it allows for more tone control and individual expression. One of the main reasons why the 'Cross Playing' sound is so exciting is because of the constant use of 'note bending', which is what this book is all about.

CROSS HARP POSITIONS

Although it is possible to play in many keys on the harmonica

as shown on this chart, you will find that the second position is the one most often used, We have used the 'C' harmonica for this book.
STRAIGHT HARP 1st Position CROSS HARP POSITIONS

HARP

KEY
A Bb

2nd Position

3rd Position

4th Position

5th Position

6th Position

A B~ B
C

E
F F#!Gb
G ~/Gi
A

B
C C#/Ob
D

C#!m
0 Eb
E

F#/G~

G
G#lAb A

E~ E
F

c
Db
D

O~/C#
D

Eb
E

F Fi/G~
G m/Ab A
B~ H

Bb
B

F#/Gb G Ab/G~' A

E~
E

E~
E

B
B

F
F#/Gb

C C#!Db D

F F#
G

F F#
G

C C#!m
0

G
AI./G# A

Bb
B

E~ E
F

C C#!m

Ab

Ab

Eb

Bb

The 4th, 5th and 6th positions are seldom used.

l?

CROSS PLAYING RIFFS

These riffs are designed to get you playing in the cross key style, you should find them quite easy to manage as they don't feature note bending. This is a bouncy boogie riff in the key of G.

r
Ex.11

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3
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4
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5

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3
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06 ='2

l
Ex.12

il

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4 5 4543
432 1 2

~i

l ill

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This rift only uses two holes of the harp,

Ex.13

'~tJ J J J I J J J J I J J J J I J * ~ T lit
2212221222122

II

i~T

T~T

13

'Note bending) is an essential part of playinq the blues, You may find this teclmique slightly difficult at first. However with a little practice it will get easier. 'Note bending' may require the use of the tongue in much the same way as whistling. While drawing in your breath, try whistling a scale from the top note down to the bottom note. You will notice your tongue moving backwards as you descend the scale. Try whistling the scale a few times and you will see what I mean.

For this exercise we are going to perform the halftone bend 'A to A~'. Drawing in your breath on the sixth hole of the harmonica play the note of A. Now using the "note bending" technique try bending it down a halftone to A~. It is important that you master this bend and that you can play it with ease before moving on to the solo. Try the following exercise. The encircled numbers
O<;Y,Q?_
EX.14

@ indicate the bend notes.

I~d , ~-~~6

It,
6

~~

;-4 go
6

II

o~ }

,'---.1

Ex.15

, d- bd
6
EX.16

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1

f9d
6

J
6

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6

II

6
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6
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5
~

6
14

6
~

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6
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5
~

These riffs which feature the A to A~ bend are designed to help you with your note bending.
This riff is played on holes 6 and 7. You should find it quite easy to play.

oa . So h

Ex.18

tr
.
6

Here is a very soulful riff.

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~ ~

6(§)6

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l ~lili

6@6556

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EX.19

'i C E [1U * I C F [Tf rEF IfF F F E! F II

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Here we have an ascending run before playing the bend.

2345

@6

2346

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6556544

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This is quite a lively little riff.

l! r r FE IRt (1EX.20 ~ ~

IRt r f ElF
6@65

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Ell * II
554

6@65

~l

rr

6@6

1 li

L l 1i

Lii

15

SAD MAN BLUES

This slow solo features the half tone bend A to A~,which is played
on the sixth hole of the harmonica, Although you can now bend a note

on its own, you may find it a little more difficult when you try to play it as
part of a solo, However it will get easier.

Practise this solo until you can play it at an even tempo from start to finish without hesitating at any of the 'bend notes' .

os. >- \

Ex.21

4~!J~bJ-ijtJ 4~J_~J-9tJ
6

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i
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5
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i
6

.,
i

Music by Don Baker

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6

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5
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6 6
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6@6 6566@6 6@6 655

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5

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T
5

J J Ij j
4 4

J
5

j
t
5

I0
4

II

J..

J..

J..

J..

16

LITTLE BLUES
Here is an up-tempo solo using the same bend A to A~. The tempo for this solo is a little faster than the last OTIe, and is slightly.more difficult to play but don't be discouraged, Remember, it is more important to play with accuracy than speed, so therefore play it slowly at first, and then, when you can play it with ease, gradually increase the tempo.

EX.22

,C : J_&£PJ J J J IJ&kR) s ·IJ-~kR) J J J

6@6 666 6(§)6 6(§)6 656

Music by Don Baker

'~Js 6

J. J. J.

jlT

J.l

III

ili

I J-kEiitJ J J J I LkJ ~J~ ~ ~ I

l
6

1 J.

6566

ill

6456

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@6 l1l
6

ili

ll

656

i1i

,~ J-k!jj3) 3· J j ILk$;tfJ J J IJ
6

*-

II

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l

6566

i 1 ill

655

il

This exercise deals with the half tone bend F to E which is played on the fifth hole of the harmonica.
Drawing in your breath on the fifth hole play the note of F. Then using the 'note bending' technique, bend this note down a halftone to E, Practise this bend before moving on to the solo.

A.A. .17

EX.23

, r-r
5
~

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r- Ir(j)

F
@

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5
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r
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II

(j)
~

J.

5
~

J.

A,\.~ ~

Ex.24

r
<f

If
l
5

IF
6

r
l
5

IF
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l

II

5
~

I\~,lr~

Ex.25

,r
4

r
4

IF
l
5

IT
(I)

J1
l
5

I[-r
l
5

II

J.

G)

J.

18

This riff features the F to E bend.

EX.26

V2

'

.,

'W!
Ex.27

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3

___,.
j
4
~

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C it:
5 6

5
~

5
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II

'2 € I
6

This lively riff is played on only one hole. ~

fr f r f r I ~frr r r r I r~r~r ~ II
6@6666

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This ascending Ex.28

~

riff contains both the F to E and A to

Ab bends.

~! J

JJf J
5 6

J kJ gJ U
3

5 G) 4

ll~~

i ~ III

r
8

II

This descending riff should be played with a soulful feel. It also features the two bends we've dealt with so far, F to E and A to Ab.
EX.29

~~E f r '~i
6

r
l

i"~

I • LJ

L-.,

b~
5

F
4
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l

G)

II

19

RAINYDA.YS
This is a slow blues solo which features the bend F to E, and is played on holes 4) 5 and 6. Make sure that the bend and all the notes are played clearly.
Ex.30

4& 2r-r-r
5
~

1°
5
~

1*

r-r==-r
5

Music by Don Baker

1°
5
~

G)

J.

.1.

W
~

SONNY TERRY
The most country - or 'Folk' - styled harpman was Sonny Terry. Born Saunders Teddell, on October 24th 1911, near Durham, North Carolina, he was nearly blind from childhood and began playing music on street corners and later in recording - studios with guitarist Blind Boy Fuller. Around the time of Fuller's death in 1940 Sonny met his partnerto-be, Brownie McGhee. Together and separately, they became the folk-blues musicians - recording and gigging with people like Leadbelly, Woody Guthrie and Rev. Gary Davis. Sonny died in 1986.

20

TONE CONTROL
Tone control is one of the methods of playing which personalises the sound of the harmonica. Most harp players play with different depths of tone. Some people develop their tone almost immediately; others take years in developinq a tone which they are satisfied with. Technically tone control is achieved by applying pressure on the suction of air through the hole or note, thereby causinq a variation on the sound produced from the reed. It is this difference on the pressure of air which varies the tone from person to person. From now on the solos on the recording will be played using tone controL Don't worry if your playing does not sound the same, as it can take some time to develop your technique,

SOIULT T&:rIY_

PbOiO by David G;ilhr_

Here is an up-tempo solo using the F to E bend. Play it slowly at first. then gradually increase the speed, · ~~. 2. 0
EX.31 Music
by

Don Baker

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u E J=u
~

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5

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565

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5
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4
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5
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5
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4
~

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5
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r IC- E
4
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'5

5
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r
4
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F
4

r*
4

II

SONNY BOY WILLIAMSON I

Sormy Boy Williamson I (real name John Lee Williamson) was born near jackson, Tennessee in the
early part of this century. His style was more in the vein of the city blues, and when he moved to Chicago in the 1930's he worked as a sideman with many different bluesmen. In the late 30~sfie began to record as a featured artist. These recordinqs laid the groill1dwork for the Chicago style of rhythm and blues that was to dominate the scene in.the 40's' and. ,50's. His style of 'chocked! harp that broke into a half- , moan, half-scream was tremendously papular and influential. He was murdered in 1948.

This slow blues solo features the two half tone bends F to E and A to Ak Up to now the solos have featured only one bend, and if you can play them accurately you should be ready for this one. Most people find that playing more than one bend in the same solo is slightly difficult at first, so don't worry if you make a few mistakes initially.
Ex.3.2
MllB.ic by Don Baker

,~ iJ~OJ--t_J

4* J~~i-~J
4 ~

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l

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6

.l.

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J.

J.

J.

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DTOD~BEND
Drawing on the fourth hole of the harmonica play the note ofD,
now bend this note down a half tone to D k

Ifyou have practised all of the exercises up to now, "note bending" should be getting a little easier for you at this stage. However, do not get discouraged if you are still having difficulty,just go back over the last few exercises before moving on,

}.,<:;

,::-5

Ex.33

, E--~ft Pr
4

@)

IqE--~ft 1qr F
4 4

@)

II

A. '> .L\ '7

Ex.34

,r
4

r- -~r 1r r r~-~~ II
1

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4

r-~r1F· E F IE r-~riF"
4

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ill

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24

BLUES RIFFS
This riff has a bouncy feel to it and although it features two half tone bends F to E and D to D b. You should find it quite easy to play.
Ex.36
1\
1# '"
h ~

_
,...

h_
.. ,...

1oI_

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r:

,.... .. r-

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r_

...

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III III

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5<1>5

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11~

This is a great riff for practising your half tone bends.

3

16

@6

J,

11

(i) 54@)4
3

111 1~~1~

11~

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You may find this fast lively riff quite difficult to play.
It's short, fast and lively
~3

16 2, b

7
~

111111111
25

<»

Here is a slow solo which features the half tone bend D to D~.
It is played on holes 3,4 and 6.
EX.40 Music by Don Baker

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4

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L

r
4

•
4

Ie r
4

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4

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3 4 4

L
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4

r
3

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4

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4 3

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i
5 4
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rrrrr
4
4 3 4

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r- ... F

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rrr
L
3 4

i
26

This lively number

is similar to the last tune and aJso features

the

D to D ~bend. Take your time and increase the speed as.you progress.
Ex,41

,# i r:}E': qr='E
4 j,

Music by Don Baker

~8.0 s:

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4

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4 3 4 4

r
3

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4

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4 3

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4 4

r r -. j
4 3 4

f E1
4

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5 4
~

f
4

c'
i
5

J
4

,_

F IF
4

r
4
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c
5

r r J"
4 434 4 4 3
~

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4
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,...---.... ~

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5
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r
i
5 4 3

IF

F
T
5

ft
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4

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4

r r f If
4

.l.

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3 4

II

27

EMPTY STREETS
This is a slow melody which features the two half tone bends
D to D~ and A to Ab. It is played on holes 4, 5 and 6.

Make sure you can play this solo quite well, and that you can perform the bends with accuracy and ease, before moving on with this book.
Music by Don Baker

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This lively tune features the three half tone bends we have just learned, A to A~, F to E, and D to D~, It is important at this stage that you can play these half tone bends quite easily as part of a solo, The next section of the book deals with full tone bends, so if you feel you need more time on the half tones, then go over the previous exercises and solos before moving on.
EX.43.

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29

The "Wah Wah method" of playinq is widely used by blues harmonica players. This exciting effect is produced by opening and closing your hands while playing the harmonica. First, form an almost airtight chamber around the harmonica then open and close the right hand to sound the effect. Although it is quite easy to do it is very effective.

Ex.44

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These great soundinq riffs make full use of the wah wah technique.

In this riffwe also perform the wah wah on blow notes.

Ex.45

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Here the wah wah is played on each note, so you have to open and close your hand for each one. It also features blow and draw wah wah's.
Ex.46

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This is quite an easy riff to play

Ex.47

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BTOABEND
So far We have been dealinq with halftone bends, now we will learn how to perform full tone bends.

A word of caution at this stage. It's easy to misjudge the intonation.

This may be done by bending a half tone instead of a full tone or by bending the note down three tones instead of a full tone. Drawing in your breath on the third hole of the harmonica, play the note B. Using the 'note bending' technique, bend this note down a halftone to B~,then continue bending it down further until you reach the note A. Now, perform the same bend aqain, only this time bend it down a full tone from B to A without stopping at the half tone. You may find full tone bends slightly more difficult to perform than the halftone bend, as it may involve further backward movement of the tongue, Practise these exercises before moving on to the solo,
Ex.49
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Not only will these next four riffs help you develop your fulltone bends but they are also very enjoyable to play

Here is a simple B to A riff.

Ex.52

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For this next riff we have also included a D to D ~half tone bend.
Ex.53

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This triplet riff is played on only one hole. You should fmd it quite interesting to play.

EX.54

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This ascending riff features three bends B to A, D to D~

and F to E. If you can play all the exercises so far then you should have no trouble with this one.

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This is a very interesting piece as it is played on only one hole of the harmonica, the third hole. The object of the exercise is to let you hear the difference between a half tone bend and a full tone bend, and to be able to play them both easily within a solo.
Ex.56
Music by Don Baker'

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SONNY BOY WILLIAMSON II

By far the best of the singer/blues harpists was Sormy Boy Williamson II. Born Willie 'Rice' Miller, his claim to be the 'original' Sonny Boy was true in the sense that he was the older of the two. In 1938 he was broadcasting on a show called Sonny Boy's King Biscuit Flour Show', although the first known recordings by him appeared in 1951 on the Trumpet label. Some of his sidemen included well-known guitarists such as Elmore James and B.B. King. He had a groovy and delicious technique, made all the more effective by his sparing use of flashiness. He toured throughout Europe, and was warmly received. He died in 1965 whilst on a gig in Arkansas.
I

36

SOUTHSIDE BLUES
Try this soulful piece featuring the full tone bend B to A.
It is played on holes 2, 3, 4, 6 and 6.

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Ex.57

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Drawing-in your breath on the second hole of the harmonica, play the note of G. Bend this note down a halftone to FI, then continue bending until you reach the note f. Now perform the bend aqain, only this time bend the note straight down from 0 to F without stopping at the half tone bend. Please ensure that your intonation is correct and that you can perform this full tone bend before qoinq on to the solo.
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LITTLE WA1TER
moved to C~c@.gowhile young and out his first record- muoh.in ths style of the first Sonny Boy . Willifii!llSOn - for~ local label at the age of 17. Walter sat-in with many of the pest Chicaqo bluesmen, eventually teaming with Muddy Waters. 'Ioqether they built a style that became known as the Chi(:!.ago Blues - amplified guitars and harmonicas. hut lDlayed with-down-home soul and funk On Muddts earliest
j

Marion Walter Jacobs (known as Little Walter) was born in ru~:x:~dtia, Louisiana on 1 May 1930. He ,

recordil:igs

with harp,

Wa1ter played non~amplified,

but later added el.ectri~ityto-qive a fligger and fuller seund ..Walter was WlthMudd1Jor some 5 years before he left to worK with his. own band and ideas,

BLUES RIFFS
You can now put the two full tone bends, B to A and G to F to use in the next five riffs. Ex.60

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WAH BASH BLUES

This Chicago blues number features the fulltone bend G to F and is played on holes 1, 2, 3 and 4. This solo has some interesting blues harp riffs including the wah wah effect.
Ex.65

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This is a lovely urban blues stomp, featuring the full tone bend G to F. Although it is played only on holes I and 2, this solo may take some time to learn. Play it slowly at first, then when you can bend the notes accurately increase your speed.

EX.66

Music by Don Baker

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RIFFS USING TONE CONTROL

As you probably know by now you can make your harp weep, wail, sound sad or anqry b using tone control. One way you can do this is by putting a very slight bend on the reed causing the note to waver. Another way is to say the word eh eh eh repeatedly on an inwar breath feeling the sound at the back of your throat, this would have a more aggressive feel As with speech, each individual has a unique sound and it is important to develop your 0 tone control on the harmonica. This riff has a very sad and tense feel to it.
Ex.67

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Ex.68

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This one has a very aggressive feel to it.

Ex.69

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The wah wah is put into full use here to create a very wailing sound.

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This is a great sounding riff although the notes are barely audible. Ex.71
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This is a very slow bluesy riff.

Ex.73
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Ex.74

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Although this riff is played quite quickly it has a haunting feel to it.
EX.75

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45

DETROIT BOUND
This is a slow bluesy piece featuring the two full tone bends
G to F and B to Al and also two half tone bends.

You will notice we have introduced another halftone bend D to D~. This is played on the first hole of the harmonica which is an octave lower than the previous D to D~bend played on the fourth hole.
Ex.76
Musio by Don Baker

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,,----------------~------

TRIPLET TONGUING
Now we will learn a technique called triplet tonguing. This technique is widely used on most wind instruments to great effect.
As the name suggests, triplet tonguing simply means playing a note three times in quick succession.

The effect is achieved by breaking a single note into three short notes, while drawing in your breath. This is done by using your tongue at the back of your teeth to cut off the intake of air.
An easy way to experiment with this method is to say the word Diddley Diddley while drawing in your breath. Now, practise the triplet tonguing exercise below.

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Ex.77

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EX.78

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TRIPLET RIFFS
These have a very exciting feel and you should find them easy enough to play.
Ex.79

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BLUES FOR ELMER

This is a great lively blues tune which you should find easy to play. There is no note bending and it is played on holes 3 and 4. However, you do have to use triplet tonguing and the wah wah effect.
Ex.83

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HEAR ME CALLING
Here isa slow moody solo for you to play that features most of the notes which can be produced from holes 1, 2 and 3.

Ex.B4

l\1usic by Don Baker

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Here is another lively blues number, played on holes 1)2, and 3.

It features triplet tonguing and the wah wah effect.

Ex.85

Music by Don Baker

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This very laid back blues solo is played on holes 2,3,4 and 6. ~, .~'L
EX.86

Music by Don Baker

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This solo is played on the first five holes on the harmonica. As it contains fast riffs, you will have to be careful with your breathing.
The riffs are played by going from one note to another using quick short breaths.
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This up-tempo solo is played on the first six holes of the harmonica. It's a lively blues melody and features some triplet tonguing.
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\lVhen plq_ying this solo, hold the harmonica loosely between your lips. This will enable you. to concentrate on the rhythm and to move freely from note to note. VVltile playing the riffs it is important to keep the rhythm flowinq.
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BLUES FORJO
This up-tempo Chicago blues solo features most of the
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Learn how to get those laid.. ack bluesy sounds from your harmonlca b with this great book by expert player Don Baker. Having mastered the 'basics' of breath control and straight pl.aying, the easy-to .. onow text then shows you how to progress to f complex note-bending techniques and achieve tone control, triplet ..onguing t and the famous 'wah-wah' and 'train' ·effects. Listen to all the exercises and solos on the matchi.ng CD and learn even fasterl Twenty-eight blues solos for you to play....

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MICHAEL ROW THE BOAT ASHORE WHEN THE SAINTS GO MARCHING IN ON! SUSANNAH FRANKIE AND JOHNNY SAD MAN BLUES LITTLE BLUES RAINY DAYS MONEY IN MY POCKET IT DON'T COME EASY NO WAY OUT KANSAS C,ITY BLUES EMPTY STREITS DOWN IN, NEW ORLI,ANS THE ONE HOLE HARP SOUTHSIDE BL.UES WAH BASH BL.UES CHICAGO BLUES STOMP DETROIT BOUND BLUES FOR ELMAR MEARME CALLING GOOD TIME BLUES EARLY MORNING BLUES PINK BLUES ROCKIN' BLUES MAKINGTRACKS I CAN'T KEEP FROM CRYING BLUES FOR JO
D,oo Baker b one of the Ie-ad;"g au~horitle~ 'on harmonka 'P'ayiflg, and ~rv ....' ,,~ (I judge, (.. r the prestigious; World Hormolll<:o Competition. He Is author ofsevenrl books oltdvlileos, o"d OJ 0 p.lOYf!rho$ perfo·rmerl wllh mooy .Ieget; • He hos toured extens/I<elyolld recorded mOlly (llbu",." arid hos featured' 'n.lets/on work ( Dotl &ke:r.whOJi!: mot,l.: .!Ie¢> be'eo ~on:led tly (nt. grev~ Ch'Ql'Ue .Mi;C..y,b qf$O (In 0(;100,," <)O'~Mll:&'~·a4 ,I.~.n B ".ovlng, 1'II000"otlymode hl$ bl''''$o:;reen debut Inth fUm In The .Nome Of The Fathe.r. .II.GlNNI~ajjWES H4)IP, t-.IlO

BIS.SII'SBLUES

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