cae =. * *~ bg * bes Ls x Ls bed * bes x * bg * La * * Discover the techniques of cross-playing, note bending, triplet tonguing and tone control to create all those great bluesy sounds.| How To Hold The Harmonica 4 | Breath Control 4 Notes On The Harmonica 5 Play A Scale 5 The ‘C? Seate (Ex.!) 5 © Scale Exercises (Ex.2 - Ex5) 6 Straight Playing 7 ‘Michael Row The Boat Ashore Solo (Ex) 7 When The Saints Go Marching In Solo (Ex.7) 8 Take Care Of Your Harmonica & Oh! Susannah Solo (Ex8) 9 Frankie And Johnny Sole (Ex.2) 10 Blues Horp - Some History And Some People || Cross Playing 12 Cross Playing Riffs (Ex.|0 -Ex.13) 13 Note Bending 14 ATo Ab Bend (Ex.14 - Ex.16) 14 ATo Ab Blues Riffs (Ex7 - Ex.20) 15 Sad Man Blues Solo (Ex2!) 16 Little Blues Solo (Ex22) 17 FTo E Bend (E23 - x25) 18 Blues Riffs (Ex.26 - Ex.29) 19 Rainy Days Solo (E30) 20 Tone Control 21 | ‘Money In My Pocket Solo (Ex31) 22 fe Don’t Come ary Solo (E+32) 23 D To Db Bend (E33 - £35) 24 } Blues Riffs (E36 £39) 25 i (No Way Out Solo (Ex.40) 26 Kensos City Blues Solo (Ex.41) 27 Empty Streets Solo (Ex42) 28 Down In New Orleans Solo (x43) 29 The “Wah Wah? 30 “Wah Wah” (Ex.44) 30 “Wah Wah’ Blues Riffs (Ex.45 - £x.48) 31 B To A Bend (E49 ExS1) 24 Full Tone Bend Riffs (Ex'52 - Ex.55) 35 The One Hole Harp Solo (Ex.56) 36 Southside Blues Sole (Ex.57) 38 G To F Bend (Ex.58 & 1.59) 39 Blues Riffs (Ex.60 - E64) 41 Wah Bash Blues Solo (Ex65) 42 Chicago Blues Stomp Solo (Ex.66) 43 Riffs Using Tone Control (Ex.67 - £75) 44 Detroit Bound Solo (Ex.76) 46 Triplet Tonguing (Ex.77 & E78) 48 Triplet Riffs [x79 - Ex.82) 49 Blues For Elmer Sole (Ex.83) 50 Hear Me Calling Solo (Ex.84) 51 Good Time Blues Solo (Ex.85) 52 Early Morning Blues Solo (Ex.86) 54 Pink Blues Solo (x87) 55 Bessie’: Blues Solo (Ex88) 56 Rockin’ Blues Solo (Ex.89) 57 Train Effect 58 ‘Making Tracks Solo (Ex.90) 58 1 Can't Keep From Crying Solo (Ex91) 59 Blues For Jo Solo (Ex.92) 60HOW TO HOLD THE HARMONICA You will notice that your harmonica has the numbers 1 - 10 on 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 ee When first learning to play the harmonica, or ‘harp’ as it is called by blues men, iti 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 Itis 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.aaa NOTES ON THE HARMONICA + Upward arrows indicate: blow into your harp (blow notes) {| Downward arrows indicate: draw in your breath (draw notes) wB mee Gah Crewe nHerera fee Boe 5G 7B 9 | 10 [co EG|GB CD|EF|GA|BC|DE FG|AC] fp te 1 oN Peter TL of o ea 12H: Ee.Nh 2 ee When the 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. eS THE ‘C’ SCALE Se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 ‘You should have no trouble with this triplet exercise as the notes are adjacent to each other. Ex.2 : 2 3 3 z. 3 S44445455556566667677 Miri tiitiiltitltis lilt This exercise features two draw notes and two blow notes. Ex3 eee tie tf { e = fa ed et see oe eS ES D6 5) 6 GT Cee Te edt el eT ‘This time we play an ascending exercise using the C note as the “pivot note” Ex.4 Bas 45 406. 4.64.7 47 Poet rh tte Te tt, pt This time we use the G note on the 2nd hole as the “pivot note” in this descending exercise.STRAIGHT PLAYING This type of playing is called ‘Straight Playing’ because the tunes are played in the natural key of the harmonica. For example, with the C harmonica we will play in the key of C. Although this is a 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. MICHAEL ROW THE BOAT ASHORE Here is a very easy tune to start with, It is played on holes 4, 5 and 6 = = —| HT = 2 ee 5 444 5 4 4 T £ Tb T F TtWHEN THE SAINTS GO MARCHING IN You will find this famous tune quite easy to play, It is played on holes 4, 8, and 6 Make sure you can play each note clearly and distinctly, so take your time with it TAKE CARE OF YOUR HARMONICA ee 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. When you 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,a OH SUSANNAH reese ere Se eae 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 = ro alll +O +o +e} te al -> (Hi i | | " | ee A | + so 2S 2 6 6 6 6 s 4 4 § + 4 4 tr & } T_T L tT Wada ae itPe FRANKIE & JOHNNY ee Here's a bouncy little number played on the four holes 4, 5, 6 and 7. As this completes the last of our ‘straight harp’ selection, please make sure that you can play these solos clearly and distinctly before moving on. ‘ | x #o 40 su su un ge 10BLUES HARP - SOME HISTORY AND SOME PEOPLE The harp was much in evidence as a part ofa musical tradition which flourished in the rural south of the USA in the 1920's and 30's - the jug band. Playing on street corners, in saloons and at country suppers, these bands usually consisted of banjo, guitar, washboard and kazoo, and sometimes fiddle, jugs and harp. Most often the harp was used for melodic-rhythmic support, with much of the playing in the upper register so the sound would carry.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 ‘CROSS HARP POSITIONS HARP: HARP Ast KEY Position | 2nd Position | 3rd Position | «th Postion | sth Position | 6th Position A A E B C#/0b FHGH D 8 8 F c D G & B 8 FIG? CHD) & Gin E c c G D i A F D DvCt AiGt 5B F Bh RG | D D A E FRG) B este| ES & 8 F G ¢ AiG | E E 8 RIG GUA CHOW| Ane | F Cc G A D | BS | FE FE CHD) ALIGE 8b Es | 1B G G D A H E c A Mee]. oe B c F CHD» The 4th, Sth and 6th positions are seldom used.CROSS PLAYING RIFFS ee ee 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. Ex.10 . F 22334453 § 55544343 2 Leeds utr eutti did ¢ Ex.11 a. bret ° po He — o- 1 234543 4 5 43 2 4 dbttidea tlid This riff only uses two holes of the harp. Ex.13. . _ tis Soe oe eee! 23212 22123 22123 2@ irardritutitdee NOTE BENDING ‘Note bending’ is an essential part of playing the blues. You may find this technique 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 TN ATO A) BEND a For this exercise we are going to perform the half tone bend ‘A to Ab’. 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 half tone to Ab. Itis 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 © indicate the bend notes. Ex.14 SS =e Sd teATO A> BLUES RIFFS These riffs which feature the A to Ab 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. Ex.17 d ei bete & » bete z # 224 pie pple F 6 @67 6 @6 6 ©67 buebt doe Liudit Uy: i 7 6 © SS e| 6 ©6556 £t bTLtT Here we have an ascending run before playing the bend. Ex.19 ob be Hef tag 2345 @©6 2346©@655 6556544 doedel tT VELL TTL TTLTTLT This is quite a lively little riff. Se the pp tebe tebe ny pe 7a Saal 6@65 6 @6 6@65 554 REE, tT Lat? LTTATCC SAD MAN BLUES This slow solo features the half tone bend A to Ab, which is played on the sixth hole of the harmonica. Although you can now bend a note onits own, you may find it a lite 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 Ex.21 Music by Don Bakor be a e +e el) a « ee 16eee LITTLE BLUES —— oe Here is an up-tempo solo using the same bend A to Ab. The tempo for this solo is a little faster than the last one, 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 Music by Don Baker Ho +O +o 40 p- : I Y a 2 “© Ho +o tu =e exFTOEBEND Ee ‘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 haif tone to E. Practise this bend before moving on to the solo. Ex.23 Ex.25 18BLUES RIFFS This riff features the F to E bend. Ex.26 5@®@45@64 5 6 $e het ie¢ t This lively riff is played on only one hole Ex.27 b b ©66666 6@©6666 6 @6 Lode ht Lidhid £f¢ + Ha This ascending riff contains both the F to E and A to Ab bends. Ex.28 3 5@4566@677 Cloittic¢dsit This descending riff should be played with a soulful feel Italso features the two bends we've dealt with so far, Fto E and A to Ab. be Ex.29 6 @©6 5 @5 4 $itseuTtes 19Fc RAINY DA 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. Music by Don Baker 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 partner- to-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.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 developing 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 causing 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.MONEY IN M \ Here is an up-tempo solo using the F to E bend Play it slowly at first, then gradually increase the speed Ex.31 ‘Music by Don Baker 4°" 5 4 6S 5 @ 5 4 +i + Te + & & a 4 ee ore re —— ae ———— rr —— Regs 5 5 @ 5 4 eG) Ss 4 acai ae bode + + eee 1 ger pepe Seo) 5 4 S (ayaa ae 4 pee) + 4 oT + SONNY BOY WILLIAMSON I Sonny 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's he began to record as a featured artist. These recordings laid the groundwork for the Chicago style of rhythm and blues that was to dominate the scene in the 40's and 80's. His style of ‘chocked’ harp that broke into a half- moan, half-scream was tremendously popular and influential. He was murdered in 1948, 29Pee IT DON’T COME EASY This slow blues solo features the two half tone bends F to E and A to Ab. 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. a= 6 6 oa ‘ ‘ 23TT, D TO D} BEND a Drawing on the fourth hole of the harmonica play the note of D, now bend this note down a half tone to D}. If you 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. Ex.33. pS ‘ + 4 ® 4 4 t + ea ‘ ¢ Ex.35, 4eee SIA Beta This riff has a bouncy feel to it and although it features two halftone bends F to E and D to Db. You should find it quite easy to play. Ex.36 z be te * ee 2e2 z @ 4 4@455@55 4@45 4 blitdudst gutta This is a great riff for practising your half tone bends 3 3 poe 4 © t L 2 — You may find this fast lively riff quite difficult to play. Its short, fast and lively. be ae -__|NO WAY OUT Here is a slow solo which features the half tone bend D to Db. Itis played on holes 3, 4 and 5 Ex.40 Music by Don Baker au en +R su stu ales - re ES eu sa ee su te sw su t sa unReece eee KANSAS CITY BLUES TT This lively number is similar to the last tune and also features the D to D} bend. Take your time and increase the speed as you progress. Ex.41 ‘Music by Don Baker A ae 2 a Sop eds 5 Besos 4 t L t 4 i LTS EMPTY STREETS This is a slow melody which features the two half tone bends Dto D) and A to Ab. Itis 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. Ex42 Music by Don Bake mm, —-—t—F—F 7 « 5 5 6 6 T $4 ot 4 ef 2 * = x 5 5 6 6 t 4 di 4 9» fe fie » ¢ +6 ee 6 6 6 6 6 6 5 6 6 4 fT Lf + T + L Tf 4 oe - = ° Se oo o 4 @ 4 5 5 6 6 £ t + tT + T + 4 eee 2» _‘s # 6 © 6 6 5 $obog tT odELS TT IE DOWN IN NEW ORLEANS ee ‘This lively tune features the three half tone bends we have just learned, Ato Ab, FtoE, and D to Db. Itis important at this stage that you can play these half tone bends quite easily as part ofa 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 ‘asic by Don Baker fey oer ae 5 6TTT THE ‘WAH WAH’ \ The “Wah Wah method” of playing 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. ‘WAH WAH’“WAH WAH” BLUES RIFFS ees ‘These great sounding riffs make full use of the wah wah technique In this riff we also perform the wah wah on blow notes. Ex.45 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’. Ex.46 = — a | 2 = —_— wow w Ww w WwW 1 2 2 4 4@ 4 4 Tt t t £1 7 Ex.47 Ww 4 L Ex.48 31TE TT TIE BTOABEND —— So far we have been dealing with half tone bends, now we will learn how to perform full tone bends. Aword 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 half tone to Bb, then continue bending it down further until you reach the note A Now, perform the same bend again, 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 half tone bend, as it may involve further backward movement of the tongue. Practise these exercises before moving on to the solo, Ex.49 E | a 3 3 ® 2 3 T 4 - f Ex.50 | | 6 ee oe ee 3 @ 3 3 ® 3 3 + q J t + 4 4 tT Ex.517 Eee FULL TONE BEND RIFFS Not only will these next four riffs help you develop your full tone bends but they are also very enjoyable to play. Here is a simple B to A riff. Ex.52 SS —— | ® 2 3 @ 3 2 { & & 4 4&4 & 4 For this next riff we have also included a D to Db half tone bend Ex.53 a el ee ® 2) 1 fe Hw He >. This triplet riff is played on only one hole. You should find it quite interesting to play. Ex.54 3 Pots 2 2 2 Ft | 3@3 3063 @®33 et Tit Ltd te This ascending riff features three bends B to A, D to Db and F to E. If you can play all the exercises so far then you should have no trouble with this one. Ex.55| THE ONE HOLE HARP SOLO a 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 +O) vw ew su le fl “t ~ vale = 6 SS ates 3 @@3 3 @@ + 44T tid | — EEF} Sa 3@3 t 3@3 $uta Lit 3 @O3 LatT SONNY BOY WILLIAMSON II By far the best of the singer/blues harpists was Sonny 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. 26SOUTHSIDE BLUES i taoo TT) (A > tO [ x] a 3 + y a I We. LLL Hy os Wy] nw \ ft <> | ; ir te is ait + fn @- Itis played on holes 2, 3, 4, 5 and 6. Try this soulful piece featuring the full tone bend B to A. = [ o> + Vi re & ae Li + “4 | | Mas Bl one I cm a ‘ 7 Ex.57on G TOF BEND oe rene ree sd Drawing in your breath on the second hole of the harmonica, play the note of G. Bend this note down a half tone to F, then continue bending until you reach the note F. Now perform the bend again, only this time bend the note straight down from G 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 going on to the solo. Ex.58 22 @ 2 2 I 2 2. @ L e 4 Tt t t t 4 LITTLE WALTER Marion Walter Jacobs (known as Little Walter) was born in Alexandria, Louisiana on 1 May 1980. He moved to Chicago while young and cut his first Tecord — much in the style of the first Sonny Boy Williamson ~ for a local label at the age of 17. Walter sat in with many of the best Chicago bluesmen, eventually teaming with Muddy Waters. Together they built a style that became known as the Chicago Blues - amplified guitars and harmonicas but played with down-home soul and funk. On Muddy’s earliest recordings with harp, Walter played non-amplified, but later added electricity to give a bigger and fuller sound. Walter was with Muddy for some 5 years before he left to work with his own band and ideas. 39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. 41WAH BASH BLUES This Chicago blues number features the full tone 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 2 8 ib FER we Vas ” = r- , = He x @> se tL ]-= cS oA oe | eas 1 oa | ta te ate Jo | M2 ao IH ++ as |- ‘ co ao q te ay |-- ~~ ek te Tt as <> tt ar 42CHICAGO BLUES STOMP This is a lovely urban blues stomp, featuring the full tone bend G to F. Although it is played only on holes | 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. Music by Don Baker Ex.66 3 s e re) ona Es en 43ee RIFFS USING TONE CONTROL As you probably know by now you can make your harp weep, wail, sound sad or angry 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 inward 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 ow tone control on the harmonica. This riff has a very sad and tense feel to it eS = = 2 i 2 @ 32 @ 2 Ltd $++ Lee This is also a sad sounding riff Ex.68 | { = 6 a I WwW Ww Ww Ww 3030 3 a 3@ 2 { & 4 tia This one has a very aggressive feel to it. Ex.69 wwwwwwww ww SB®®OODDOO® OO 2 $¢idhedu cil rid ‘The wah wah is put into full use here to create a very wailing sound & SS Ww @ ¢ ene rE ere HE n + ©z eadThis is a great sounding riff although the notes are barely audible x71 This riff has a great wah wah feel to it This is a very slow bluesy riff. ® rs Ex.OTT. DETROIT BOUND al This is a slow bluesy piece featuring the two full tone bends G to F and B to A, and also two half tone bends. You will notice we have introduced another half tone bend D to Db. This is played on the first hole of the harmonica which is an octave lower than the previous D to Db bend played on the fourth hole. Ex.76 ‘Music by Don Baker ice). 1 toet © «© a3 3 33G) 2 www td Ga lat Ta voy Se poe 4 iT Toit aeFN 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. Ber 3 2 3 3 3 2 3 2 Ae —— FRE Ce sscrslisdddssvsrsse 333333333333 333333333333 $ehdddbledds dalbiriiigudii 3 3 3 3 3 3 = We Fy 333333333333 3333 3 geese eee sees so rede L Ex.78 ZF J ZF 3 =———— = 4 SS a | aes82 3 2 33 3 33 as 8 t{Lltldtidoed sf $1 odd Pee sete sess eis ot | 33333333 943 4 3 : eet te edu eeu dlouven ba 7 =| =} = ay He | a iy ‘These have a very exciting feel and you should find them easy enough to play. Ex.79 —_— _ Boe Mas Tal QO MT . RB) “> “4 hyo7 = o> i i peck n> TO te | a> a N- ° . > > . oe Me ell + | os Sad wae as 74 fH | @- * + My olel] > ' 7 |. . os atoss ax (it ma Py | See ML HR 2 fit] 22 | ~ eS alas a WI Sey mo More 4 wo I | = mo * tS nih es x Ex.80 Ex.81 Ex.82 49BLUES FOR ELMER This is a great lively blues tune which you should find easy to play. There is no note bending and it is played on holes 3 and 4. However, you do have to use triplet tonguing and the wah wah effect. Ex.83 2 eet Mnsic by Don Bake: ee | | KfPR ie HEAR ME CALLING Here is a slow moody solo for you to play that features most of the noles which can be produced from holes 1, 2 and 3. Ex.84 Music by Don Bakor = se Pt 2 oat ‘ =s e W 2 ene ee Ege ee re so aa 2 eee es! 2 Borate ae ok + ores t ak. fy ate oe SS ee 28 a2 to4 tf Se Sie S152. et Lo aes S$i H*E GOOD TIME BLUES OO 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a EARLY MORNING BLUES le This very laid back blues solo is played on holes 2, 3, 4 and 8. Ex.86 Music by Don Baker +© «© “© «© «© “© “© || +O") hall ~ | “TH pw Pe ! ¥ ~ py ny te ao +e + a Te ws a +t 4 ne ad oe a ++ ad so ~~ =BESSIE’S BLUES This is a slow moody piece, played on the first five holes of the harmonica Musie by Don Baker Ex.88 ¢ Roo a i a lel my aw THe} as ey js O> we— soo [Hy mn, i Hoo TR| @> pr He @— i ates |) a east has - | easy i zo lil = | 11 > rb chm yet © [It a oe | Pe | 1 alias He we I> a» & ase tH aS [I TS} ©- fs @- th os [eo ores || O> 3 no oo loo Te cre © TT Vas Te) 1 Hit [: on a + i rnd th s@- Te | ms 4 |) 7. © a me + = Pe a | ste : | t+ FO? Py as iB > BA ve ei. 2@- TRO> ey > TS? lau to a e | 2 pu eo ( Te cy oe TAP as lL a [il mo ARR] a = a ay ae ae ee Se Nee eeROCKIN’ BLUES This up-tempo solo is played on the first six holes of the harmonica. Its a lively blues melody and features some triplet tonguing. Music by Don Baker Ex.69 n= | RL a 8 | > oie od ‘) Roa |-- ee as + Te > nas +4 it Sa . a as Te}) o- te ih as ©Q- 7 as o> 2 ae a TY) as 3 Tea ] =e 4 je) ns alos “ «> [TR oe ete oe . + a > “* a Te] ei tS + ar ae ap so pee Ab @> jellf + : a oe ell «5 7 87‘The train effect has been played down through the years by all of the great harp players. g o E 5 5 When playing 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. While playing the rif, it is important to keep the rhythm flowing, Music by Don Baker Ex.90 ne no noI CAN’T KEEP FROM CRYING Slow Memphis blues melody. Music by Don Baker SS ee tote » 9 ie fy. 2 —— —1 +r = 9O9 2 3 3 a3 3@2 Tid 4 t Lee 59BLUES FOR JO This up-tempo Chicago blues solo features most of the techniques we have learned in this book. Music by Don Baker Ex.92 eo“> a @- +> as @- aed Sed a> aed +o a @e- +t 61o ee yas ~ me a a ne goLearn how to get those laid-back bluesy sounds from your harmonica with this great book by expert player Don Baker. Having mastered the ‘basics’ of breath control and straight playing, the easy-to-follow text then shows you how to progress to complex note-bending techniques and achieve tone control, triplet-tonguing and the famous ‘wah-wah’ and ‘train’ effects. Listen to all the exercises and solos on the matching CD and learn even faster! Twenty-eight blues solos for you to play... MICHAEL ROW THE BOAT ASHORE WHEN THE SAINTS GO MARCHING IN OH! SUSANNAH FRANKIE AND JOHNNY SAD MAN BLUES LITTLE BLUES RAINY DAYS MONEY IN MY POCKET IT DON’T COME EASY NO WAY OUT KANSAS CITY BLUES EMPTY STREETS DOWN IN NEW ORLEANS THE ONE HOLE HARP SOUTHSIDE BLUES WAH BASH BLUES CHICAGO BLUES STOMP DETROIT BOUND BLUES FOR ELMAR HEAR ME CALLING GOOD TIME BLUES EARLY MORNING BLUES PINK BLUES BESSIE’S BLUES ROCKIN’ BLUES MAKING TRACKS I CAN’T KEEP FROM CRYING BLUES FOR JO Dom Baker is one of the feeding authorities on harmonica playing, and serves ax @ judge for the prettipious World Harmonica Compet'tion, He uth of several Bock ad videos ond ato ployer ha perfrmed wih many leper Ho hos toured extensively and recorded many a 9 featured in eeston work ¢ Sis fuish chick ane Lares eared prmawen Chas eon aerec eed ‘having recently made hie big-screen debut In the film In The Name Of The Father