20 awesomely different ways to play a tune on your harmonica | Ben Hewlett | Skillshare

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20 awesomely different ways to play a tune on your harmonica

teacher avatar Ben Hewlett, Helping you play harmonica better!

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

15 Lessons (1h 16m)
    • 1. 20 ways 1 Promo

      1:58
    • 2. 20 ways 2 intro

      2:44
    • 3. 20 ways 3 purpose

      7:32
    • 4. 20 ways 4 single notes

      9:16
    • 5. 20 ways 5 tb single notes

      4:11
    • 6. 20 ways 6 tb plus rhythm

      5:13
    • 7. 20 ways 7 octaves

      7:57
    • 8. 20 ways 8 tb right

      4:52
    • 9. 20 ways 9 sbw

      4:49
    • 10. 20 ways 10 mandolin

      5:33
    • 11. 20 ways 11 drones

      5:19
    • 12. 20 ways 12 first pos

      5:05
    • 13. 20 ways 13 fourth pos

      4:27
    • 14. 20 ways 14 twelfth pos

      2:55
    • 15. 20 ways 15 bluesey

      3:54
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About This Class

This course shows you more than 20 different ways to play a melody to give your playing variety, interest and dynamics.

Have you ever played a tune a couple of times and thought - hmm, what next? How can I make this interesting?

Me too. Let me imagine you have to play a tune 20 times - can you make it different every time? And I'm not talking about improvising - that would also make it different.

No, just the melody without embellishments.

So here's how we will do it.

  • Chordal playing

  • Single notes puckered in the middle octave using second position

  • Single notes puckered in the low octave using second position

  • Single notes puckered in the top octave using second position

  • Playing in first position in the middle octave

  • Playing in first position in the low octave

  • Playing in first position in the top octave

  • Playing in fourth position in the middle octave

  • Playing in fourth position in the other octaves

  • Playing in twelfth position in the low octave

  • Using tongue block (TB) single notes in different octaves

  • Using TB with rhythm and TB to the left in different octaves

  • Using TB with rhythm and TB to the right in different octaves

  • Sonnyboy Williamson 'pull slap' style in different octaves

  • Yikes - how many's that?

  • Using the 'mandolin flutter' in different octaves

  • Using a 'bagpipe drone' - playing one note constantly whilst playing the tune

  • Playing octaves

  • Playing split 3s in different octaves

  • Playing it with a bluesey, gospel style

  • You could add other positions but let's stop there!

62711840

Meet Your Teacher

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Ben Hewlett

Helping you play harmonica better!

Teacher

 

Contact me anytime through the site or email [email protected] if you have any questions HARMONICA HOTLINE 07973284366 - If you have any harmonica related questions you can call me. Yes it's true. This UK number is available whenever I'm free so try UK office hours (texts and messages cannot be answered )

 

www.playharmonica.co.uk

www.benhewlett.com

www.harmonicaworld.net

www.sonnyboysmusicstore.co.uk

*Ben is the Chairman of the NHL - National Harmonica League in the UK

*Professional Harmonica Instructor since 1996

*Ben qualified as CTABRSM in 2002 (Certificate of Teaching - Associated Board of the Royal Schools of Music)

*Certificate of Music Workshop Skills (Goldsmiths University of London) in 1995

... See full profile

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Transcripts

1. 20 ways 1 Promo: Hi there. Thanks for stopping by and taking a look at this course. This is for you. If you've thought ever that you wanted to play a tune in lots of different ways. If you find that you're performing a tune and it's got a bit boring bit TDs, then this is for you because I'm gonna show you 20 different ways to play a tune. Lots and lots of meat in here for you to work out, You will become a very much better player. If you take this course, it will be challenging. I'll show you some of the things we're going to do. Six Blow seven drawer way. Uh, Theo, Line again. So as you can see, there's an awful lot in this course a lot. It's a very meaty course. I'll give it to you written down. You have lots of notes tabbed out on the western notation as well. I'll give you lots of backing tracks so you can practice and practice and practice and try out these things that I'm teaching. You see what works for you. I think this course will change your playing a lot. So come on in. Take a look. See what you think 2. 20 ways 2 intro: Hi there. Have you ever thought of playing a tune in lots of different ways? Well, I have because many of time I've been called to play a tune on, Do you think? Well, I'm gonna play it once or twice, and it's gonna get a bit dull. So I've come up with a whole bunch of different ways nearly 20 different ways to play any tune you like. Doesn't really matter what it is. So first of all, we're gonna play this tune with a cordial way just with cords in second position. Then we're gonna look at single notes with the melody pocket Andi with all three actives and then we're gonna look at it tongue blocked with the tongue left, all the tongue rights and using rhythms. Then we're gonna look at intervals, octaves and split threes, so there's a different way of playing it again. Now we're gonna look at single note, turn blocking with a rhythm in the low active, using the tongue to the right. You see what I mean? We're gonna really dig into this. Then we're gonna look at the Sonny Boy Williamson style of playing single note ton block. So again, melody, but with a specific style. Then I'm going to show you the mandolin technique, the world war and the I don't know what you call that rolling the R thing, Um, and then drones. I'll show you how to play this tomb of the drone because this particular tune we're gonna use, which is amazing Grace is often played on bagpipes, so we'll use the bank pipe concept so well that's offered second position. Then we'll look at first position with tongue blocking on with puckering, and then we'll look it fourth position on 12 position as well on. Then we're going to lose if I had a song and make it much more sort of gospel. E Andi. It's a song that I particularly like on. I heard it on the radio today. I heard that it was three anniversary. William Cowper and John Newton. I wrote this in only in the Midland's Off UK, and that's a place I know Well, couple of my friends live there First of January 19 1st of January 17. 73 is when it was probably used in a prayer meeting. It was written just before that and published just after that. So that's what made me think of Amazing Grace. So in today's the 1st January. So that's the reason. Right? So jumping. Enjoy it. Andi, prepare for a challenge. This is going to be easy to begin with. And then tough. This will be tough. You'll have your work cut out. You will become a much better player by taking this course. So there's a lot in this for you. Okay, see inside. 3. 20 ways 3 purpose: How many different ways are there that you could think of of playing the same song? Imagine you wanted to play the same song, Um, 13 times in a row. Could you keep an audience enthralled? Could you play into 13 different ways? Well, that's the idea with this course. There's many more than that, of course. But what I'm gonna look at here is playing it quarterly. First of all, just with cords, not cordially court. Or they will be called you in second position. And then we'll look a single notes playing pocket. All three actives and second position single notes, tongue block style in the middle of active with the tongue to the left, the normal where you might call it Onda. Um then using rhythm as well. Then we're looking at using the tongue to create split. So we're looking octaves throughout on. We'll look at split threes as well. See what that does. Um, well, look at single note. Turn blocking with rhythm in the low, active with a tongue to the right. How that another way to play it. Then we look at the Sonny Boy Williamson style of tongue blocking single notes. We use those. Then we used a couple of effect tongue effects. The what I call a mandolin effect on the flutter effect or what we look at those. We'll also look at drones how to play this tune with drones, using a one constant note that goes right through the whole piece. Then we look at first position, tongue blocking, and then we'll look 1/4 position on then 12 position because they're 12 positions so you could do it any number of different ways. But I've picked out the way that I think most likely that you could do what I'm not going to do is do it on different harmonicas, which is another way of playing it in the same key but using different harmonicas so lots to work on lots of fun. On day you will be able to do it. Let's have a look a Kordell playing. Sure we do. You know what? I think we're going to start by singing this tune. So here it is on the screen in the clear Jesus! Gonna be second position on the sea Heart. Let's just sing it. We've got an intro here. This is four bars of intro and whole pieces in three times 34 time. They won't seem this bit And then here we go. 12 May Z grain So sweet Are you doing it? The sun. You know, you can sing it, Save like me Fine, one more time. Amazing. Are you doing it? I hope you off. All right. So if we were to play that just with chords on the harmonica nice and simple that may just perhaps demonstrated from the beginning again. Corgi breathing in out from seed in on G in on G 12 and three G in include whole five. Breathe out 30 then two and three out. Four or five in. Okay, okay. Okay. All right. Just pulls out there. Um, less Look at this more closely. Key of G. Anything like breathing in down at the bottom end. 23 and 4123 Something like that. When you get the G seven, if you could add the five drawer to make it to the stuffs, gives it the flat seventh trying out the flat. Seventh in that, that's whole five. Draw Kiev Cortesi. You breathe out anywhere. What a G breathe in any way down the bottom in and again. G breathe in any way down the bottom end. Theme. Minor. Two and three bro. Blow out, breathe out, Thief and then d seven. We can't quite get the seven, but four or five is pretty close in. Back down to G. Breathe in the bottom in. Keep breathing in, but start to add Ian Holt. Five. Theo out. Theo Theo. Two and three. Breathe out. Four or five. Breathe in down the bottom. Breathe in. You can practice that on. Let's just do it one more time. Showy way go. It's just the in true five down about breathing. What I'm breathin five in, Breathe out anywhere. 1234 Breathe in breathing in 1234 23 Breathe out. Four or five in 1234 Breathe in five. Everything we don't anywhere. Everything down. 23 Breathe out. 45 Breathe in. Bring in. That's so I think that's it. Practice that. That is your mission for this lecture on when you've done that, quite a lot. Go into the next lecture. See you then. Okay, Bye. For now 4. 20 ways 4 single notes: Let's have a look at playing the tune puckered with single notes. Look at the screen. You'll see this is the middle active starting on four drawer. So I'll rattle through this quickly. And you can practice this in your own time. All right, you can get this. Uh, pdf here, you can just download. That's in the resources. Or you could looked on screen for drawer. Let's go. Ready? Go six blow seven drawer. Uh, so this is a nice little phrase. Dio, uh, you could just practice that if you wanted to, then six troll blow go down, blow go down drawer. Yeah. Next phrase. Very similar. Four. Draw six Bo again. That's something you could practice just that Interval. Four Draw six blow. Not a nisi transition. Think you'll agree This is the same. Theo goes up at the end instead to give that questioning nature to it. 678 or breathing in what could be simpler. Uh, there's a lot of breathing in, so make sure you can exhale when possible. You do not want to explode like that guy in the James Bond film. What was it? Live and let die? Was it when they put an oxygen or a guest slender in his mouth and something that that exploded. Don't explode. Uh, Waas 78 drawer. Theo. There's that phrase again now. Six. Drawn six. Blow on now. Five. Blow four drawer and again now very familiar. Four. Draw six. Blow Little phrase and then take it home. You could just stop right there and practice that if you want. Not a bad idea, and then I'll come back to you with the other two octaves. So now let's take a look at the low active. You will need to bend notes for this. If you can't bend notes yet, um, take my note bending course, and very soon you will be able to. If you can do it, let's go. Otherwise, you can skip this bit for now, if you wish. Since you see on screen one drawer on. And here's our little phrase Seeing grease, which we came across before. Do todo cae might wanna practice that, then how sweet the sound just in case it's not clear. The minus sign him is breathe in, and if you see one without a sign like that one there, breathe out most of these air breathing in and these dots mean a bend. So that is 2/2 step. Ben's a whole step Bend the whole tone bend, right. Where are we? That's that saved on our same phrase here. Oh, like me. Haven't put too much decoration into this. Just a little bit like me Trying to keep it fairly simple. I won't Wars lows. But now, um, found on I'm going a bit fast, but you congest pause. This when you want to do it in your own time, was blind. I see. Okay, so that's second position, low active. So take your time to practice this stuff. Let's have a look at the top operative. Should you wish to go there, it is possible it does sound a bit squeaky, but it's good exercise on dumb. Some of it you'll find useful. Now if you're playing it on a lower instrument like a low. See, for example, this is sound really nice. Let's do it with the one we've got anyhow, So is that's pretty high. You might want to check out where you're playing at this point. If you have other people around, they may want to leave dogs may start singing with you Bats will arrive So be careful where you play this high end stuff. It has a killer sound. Now our phrase again Z Ingres. Now this little dot here means bend half step end. But it's a blow bend because you see, there's no minus center. This is really tricky to pitch uh, ever a, uh, very tricky and different instruments will behave in a different way. Let me try a different one. Ah, uh uh. Pick the right instrument that will do the job better. First, playing this on the low octave harmonica. A lot of C uh, I can do that better. Actually, I'm using my left hand on the mouse pad so I can't really get a proper go at the harmonica with this. That let's go on with. Actually, that saved a ridge back to the normal harmonica that when he had before draw eight. Blow nine on. Then this phrase saved a ridge. Uh uh, like me. And I have to go down with that one because I can't go up. There's not enough holes have run out of space on the harmonica like me. Ah, uh, you would playing this with a backing track. But she can do You will find this all works just fine. Sounds a bit order on its own. As many times these things do. Let's go with this one. I want wars lost again with the drop down to this A drawer, the next phrase here. Her. I'm getting better at it. Hope you are, but no. Uh um found, uh, was blind. But now Ah huh. Then I see. Ah, I'll try and do a performance of this for you later on in the course. Or might put it on the promo bit. That six. For now, that's the single out playing poker style in all three actives. Good luck. Practice that a See you later. Bye for now. 5. 20 ways 5 tb single notes: Okay, Go back to the chart with the middle active again. Starting on four Drawer six blow. Which you've got from the last lecture. Yes, I'll put it in this one as well. That's pocket. Now here's tongue book. Did you hear any difference? Probably not. Uh, but the ambushers different. What I'm doing is completely different. So instead of playing pocket, I'm playing this, uh, but see all Moshe to try and get a single note. And here's the tongue blocked Russia. So there's a single note forming here. Uh, so the idea is that you now play the same tune in the same way, but tongue blocked. It will sound to an audience the same as puckered because you're any plane. Single notes. So mostly apart from our I goofed up there. Mostly you're playing with clear single notes, but it's just it's time blocked instead off pocket. So what I'd like you to do, please, is to stop this now on DTI, take that chart called Middle Active. Four drawers, six blow and try and play that with the tongue just to the left. Off the melody Note. So you're blocking a couple of holes left of the melody note. Once you've got that structure set up, it just trails along. So wherever the melody notice and whichever direction of breath it is doesn't matter. You just trail that whole template. If you like along it just follows the melody's note. Uh, once you got that set up, uh, so a single note comes out of here, Tongue blocks the other notes to the left on the lip. Joins in this lip is blocking their notes to the right of the military note. So you wouldn't know really by watching or listening whether I'm time blocking or puckering by. Well, by listening, you were Do you get a better sound if you turn block? So stop here. Practice that on. You can try that in all of the actives, if you like, gets harder. So start with this one. Okay. See you when you've practiced it. Don't come back until you practice this because the next lecture leads on from your success on. I wish you much off it right now. Okay. So you in a an hour or two or a day or two. OK, bye. For now. 6. 20 ways 6 tb plus rhythm: OK? Do you remember? I said in the end of the last lecture. You really need to complete that lecture before you get to this one. Well, now it's time to cross the bridge that you said when you crossed when you got to it. So by now I'm hoping you've got single note tongue blocking with a tongue to the left. Ah, Now I want you to imagine the marching sound thing. So this is what your tongue is gonna be doing. Okay, Go. So as you play with the rhythm, play the melody with the rhythms. Tongue is going to go on and off the harmonica, so I'm taking it on off on off me. Just play a single note. You'll get this. You will need to probably stop this in practice. It play that melody Note. Themed, the tongue is blocking two or three holes to the left. It doesn't matter if it's two or three or one really doesn't matter. To be best. Three is fine. And I'm lifting it off and putting it back on again. So just do that. This is a little bit like him rubbing your head and patting your belly at the same time. Tricky, but doable. Uh, that's what the tongue on. So try doing that. Try playing a single note with the tongue on. Lift the tongue off you get the cord, Put it back on. You get just a single note lifted off. You get the cord on the single Otis. Well, put it back to block out those to the left of the melody. Note. No, I don't breathe in Theo. Turn pushing. When you take it back, it exposes those extra notes. So when we push it forwards, it blocks out these two holes that they're just here leaves a melody. Note blocks out these two. When we take it away all of this lot place three notes, maybe four. One. Note. Three notes. That looks really weird. You're probably thinking, yes, sorry about that Does a bit. So that's it. That's your practice. Try and play this tune in any active, but let's just try with the middle one to start with. When you're aiming for this kind of rhythmic, um, arching pattern, we owe good luck. You'll need it. Come back to me. If you want any problems, you can send me a message I think. Just try. It's easy to understand, isn't it? It's just hard to do this works on each unit. Course, I just chosen this particular tune because it was going around in my head. Andi, any tune will do. Really? Doesn't matter. OK, good luck with that. I will see you next time and will extend it a bit further, so make sure you got this one sorted. 7. 20 ways 7 octaves: Hi there. Welcome back and well done for getting so far into this course. It's quite a tough course, actually. And as I teach it, I'm finding I'm going further into it and I perhaps intended so I have to mark, this is a no, an extremely difficult course, but it's starting off the beginners, that's for sure. Andi, this proves the point. So we're going back to the middle active on this time. We're using the tongue to create splits. Any split will do. But what I'm aiming for is an octave split. So do you know what I mean by a split? If you were tow, cover four holes with your mouth and use your tongue to block to central ones and let these to play that we call a split for. So the operative all breathing out operatives are split fours. Ah, uh, no. Yeah, that's young Russia. Oh, so you can see. Here's where the sounds coming out on in the middle is where it's blocked. Uh, you can see these two black holes each side country, so that's not wearing me for That's a split for now. Some of the actives when you breathe in our split fives in this case, most all of them. So it split five is where you cover five holes with your mouth and your block three. So it's a slightly wider tongue. But you still have these two black holes as you'll see it. Oh oh, so that suspect for on the split five is a wider membership. Can you see the difference? So you're widening the tongue. You're making those two holes a bit further apart. So when you look at this and you'll just need to practice this, I guess, let's try the first to note Showy. So it's four draw on one drawer. That's a split for Theo. You can hear from that. My harmonica is not completely intrude. Try a different one. That's better if there's a beating sound. Ah, one of the region's slightly out. Not much worried too much about it. So I'm gonna go this one here, draw, draw for and one draw one of for the same time. I'm gonna go here amaze. It's a six and three blow, so to split for as well, so same shape of the mouth. That's the first thing to practice. You might want to stop here and just practice that going from a split for draw one drove for to a split for breathing out below three. Blow six s. Stop their practice that and then come back and we'll take the next one. This is a split five, seven and three at the same time. So blocking 456 Very easy to understand, isn't it just not very easy to do? So Play those three together, dude. Ah, um, ese, I think there's a split 573 themed you can hear. It's an active. The only thing I will tell you it's an octave is your ears. E o. You hear something else is not a not to be here. This is not an active that's not inactive. You are finding yourself a little bit put off by this. You can skip this if you want, because it gets easier. You could maybe come back to that if you want to. How just show you what the for fourth note means. Six drawer and three drawer double bend at the same time. Sounds impossible. I thought it was impossible when I first heard someone doing it. Turns out it's possible. It's because you want to get the octaves. So six draw is a note of a and three drawer double benders. No today. So playing them both at the same time is just about doable. If I play six draw and three drawer without the bend and then apply the bend. Okay, you can hear it. You can hear three dropping down Carney from three down to three. Draw double bend. Theo. It takes a bit of control to get that I don't find ovaries you myself for must admit what I try and play the first line of this for you and then let you figure this out yourself now that you understand it or ignore it. If you want to come back to it later, we owe you can see it is possible, but it just takes a wee bit of something rather to make it look. I don't know, quite hard, but worth a look. And even if you're just playing split four throughout Theo, it's not so different and it's an awful lot easier. So do some kind of split with that. Do the splits with this with this middle active. Okay, lady, to practice on that. Good luck. And I'll see you in a while in quite a long while. OK, bye. For now. 8. 20 ways 8 tb right: Okay, let's go back to the low active tongue block Single notes. But I'm gonna ask you to put your tongue to the right instead of the left. So you're playing whole one tongue blocked with your hung your tongue to the right E That allows you to play a rhythmic device on the right hand side. Oh, instead of to draw You can always have a three blow if you wish. There can be three blow are just Tarbert. Enjoy any of these. I wonder with all of them. So you can always put that so that might be better in this case, Theo, sound better for the court is up to you. Really? So should we try this If I just was too tongue, block it without with a tongue to the right without using the rhythm in rhythm. Thats this line here. I needed both hands for that. Sorry about that. That's all this line here. Just move the curse of their And that's what My tongue To the right. So the whole is on the left. The melody. Um bushe. Remember the melody aperture is on the left. Um, okay. You want Try that with me. and we try a little bit of a ton going on and off as you did before, just to create some kind of vamp rhythm sound effect way. So it's the same idea, the tongue going onto the comb on, closing holes off, exposing them, bringing them back on again. Most of the time it's on. So it's on pullets hung off and put it back, pullets going off and put it back. So you mostly on the comb probably 80% of the time. 75 80% of the time your tongue is on the harmonica. So what this does is it gives you, ah, higher. Learn that the cord that your vamping is a higher cord than the melody. Before we did it with a lower cord, the tongue being on that's coming on the left on the melody, aperture being on the right theme. That's fine. That's the normal way of doing it. But we don't around thing now. Where this gets interesting is if you play it in the different octaves. Let's try it in the middle active, and you'll find that this works even better when we're playing in first position. This is second position we're playing in now. So when we do this in first position, try the tongue switching and see if it sounds to you like the 19 twenties rather than the 20 twenties. We're going back 100 years here. Oh, more. Even so, I think that's really good to be able to do this kind of stuff, and then you just use it. It's a tool in the toolbox. You don't use it all the time. You use it when you want to. But sometimes you know it's there. It gives you another way of playing a tune in a different way. Okay, You can work on that. Now that you understand it, you can work through that and see if you like it. All right. Good luck with that. See you later. 9. 20 ways 9 sbw: Hello. Welcome back on Dwell done for sticking with this rather tricky course. But I'm going to do something now with you, which is nice and easy. I think. I hope it's applying Sonny Boy Williamson's style of playing single notes where he often played single notes like this, too. This too. So instead of him playing, he would very often play something like this. Can you hear the difference? Uh uh, So I could just teach you this on one note, and you can apply this to the whole tune in the middle. Octave is probably better. So what am I doing here? Uh, one whole four drawer. Let me slow it down. Then you'll really hear it called a slap A pool and slap. So you start and playing whole four drawer. Ramos, I start with covering all off the notes with my with my mouth from 1 to 4 and I'm pulling in. But because the tongue is blocking all the holes so I can get the sound and then I release it. So I get a full chord with a big bang, As you can hear its overloading the microphone there. Oh, so I'm pulling in without releasing, and then bang released the tongue and you get this huge cord on and then you can hear. Ah, boom. It goes back on again. The tongue goes back on. So the tongue comes off, moves down one hole, goes back on again, blocking out 12 and three. And I'm just playing for easy to understand, isn't it? And we don't in slow motion a bit quicker. Can you hear the distinct thing when it moves when it changes? Okay. Hey, God. Okay. Uh, Okay. Okay. So you end up with a big burst of sound with the cord and then just a single note. Well, uh, okay. So you can apply that to any piece of music you want, whether it be blues or anything. Uh, so I just play a little bit of that tune and you can take it from there yourself way. So you get the idea You can play each individual note. Quite percussive Lee, if you want to. There's benefit in playing nice and smooth legato, but has also benefit in play. Nice in staccato, on altering the dynamics off the music. So keep changing. Keep trying different things. This course is giving you 30 in different things to try and some of them you'll like some of them. You won't some of them you won't manage, and some of them will be very easy for you, so that something is not too difficult once you can get your head around it. Like I said, it's easy to understand. It's just it's rather hard to do. Okay, that's the Sonny Boy Williamson style of playing single notes. 10 block with a pull and slap. You pull the tongue off and you slap it back on the comb. All right, good luck. 10. 20 ways 10 mandolin: So in this lecture, I'm gonna give you some different ways of playing the chin. One is electrical. A mandolin sound. I think I first came across this listening to, um Saleem Eo. So that's one doing the tongue moving back and forth horror recently. I just have to pick Where's your melody Note? Theo. You want the melody note to be on the right or the left. Andi. The flashing, fluttering mandolin effect will be the other side. So do you want that to be the low notes theme? Which case that's on the tongue is on the left on the melodies played on the right. Theo, Would you want it on the other side? Do you want the melody on the left and the tongue on the right? Theo, By the way, that's the mandolin. If eight. Now, here's when you can do with your hands. Theo, Theo and I'm keeping it very full on and very deliberate. It's not when I like personally too much, but if you use it judiciously, it can be very effective. Another one you can use is the it's like saying Err did it. Now if you're Spanish, you you do this every day in every sentence. In most words, did it? Or Scottish? A. But maybe your language doesn't have that dinner. Or maybe you can't do it. Try whispering it. Breathing in its the same thing you flutter your tongue against the roof of the mouth. Seems more difficult breathing in. But it's really the same thing. You're just letting your tongue flap against the roof the mouth way. I think I first heard this play with, um, little drummer boy way Theo. Using a percussive things like a snare drum, a snare way. Theo, you could combine that kind of snare drum field with some vamping. I was the one more. I'm gonna show you on that. No, I think that's OK for that's enough for this lecture. So these are a few things you can do with the hand and with the tongue to add a different feeling. A different effect to the tune. Okay, practice those. See what you like. Use what you like. Don't use what you don't like. Okay, Bye. For now. 11. 20 ways 11 drones: Now this song is usually played on bagpipes. Isn't it originally played on bagpipes, which have a drone note? So this is an idea, not my idea, but I've heard it done a few times by Joe, Phyllis Cohen, Howard Levy and other people, and it's simple to understand and hard to do so if you look at the lower line here, you got to drawer or three blow at all times is always to drawer or three blow to draw to draw three. Blow right through the song to drawer three Blow. Can you guess why Let me play to draw, Let me play three Blow Oh, you guessed it their both. The note of G. So by using this idea, you can have the Notre G running throughout as a drone, and you can do this with any tune that's in the key of G. I wanna see harmonica and you consorted of it with a We'll do this. We're still in second position. We'll do this song in first position in a minute, and you can get some form of a drone in that as well. But this is much more effective. This is a perfect drone So whenever the melody line here Number four hole it's breathing in I need to be on the two hole as well Whenever the melody no is are breathing out out This one is six blow I need to be on How three at the same time So whichever way the melody goes If the melody is breathing out I need three whole three to play the drone If the melodies breathing in I need hold two to play the drone Why don't I just play it for you And see if you can get into your ears And then you can spend some time working on it if you wish to So I'm playing to and for the same time in knothole three here since the split three. Theo Now I've gotta move to six and three Blow without four and five. Theo now seven And to draw thing on now six and 26 and three. Blow now back to seven to draw now. Six and to draw three and five Blow, uh, two and four draw. So I just play it for you. Then you can see if you can hear the should be hearing that all the way through. If I get it right, sometimes I started Sandra one, uh, thing. I think I hit the curb a little bit up here. I need a bit of work on it. Anyway. That's a drone that you can do. You might want to put some time into it. Just play the first line if you could get in fact, if you could just get the first dude. Ah, the 1st 3 notes, you crack it going from that 36 blow to the seven to drawer. That's the Katri. The 36 blow. So the 27 drawer, that's the key to it. If you get that, you can get the rest of it. Good luck. Enjoy learning this amazing thing you could do. A lot of students heard it would sign the night recently. Anything which you'd think might be played on bagpipes should work stopped on. The brave would work. A lot of Irish students would work. Think of bagpipe tunes, see what might work for you. Try it out. I also heard it done on a ravishing cartoon where there was a drone. A lot of the Indian tunes have drone Sunday, so see where you can employ This could be useful. Okay, See you later. 12. 20 ways 12 first pos: Now, up until now, we've been playing this tune in second position because it works well with the drone and because it sounds kind of nice later or not anyhow, toe blues. If I it as well there are 12 positions on the harmonica. As you quite possibly know. Let's try in first position. So second position on the sea harmonica is playing in the key off G First position on the sea Harmonicas playing in the key of C. So let's play it in the key of C. So if you look at the screen now, you will see there it is Amazing Grace, and that's in first position. So that's try that show. Here's the intro. The top. Let's just play here. So six blow seven. Blow. Uh uh uh uh Ah, Should I just leave that with you? I'm sure your belt toe play with that. You can add tongue blocking to it. That's the melody in the right tongue on the left. You could make it a bit bluesy. Uh uh uh. By bending on the whole eight just here. Uh uh uh. Bending on hole nine Sounds terrible to me, but you could do it uh uh, Where you could play it? An octave lowest. Instead of starting on six blow, you could start on to draw to draw for Theo. Theo. Plenty of different ways of playing it on there. Um, that's Ah, see, what would I gonna do? Oh, I know I was gonna show you how it would sound like if you used to split three. Um, so? So that's playing playing a split three. So when I'm playing six blow there Oh, I'm trying to play six and four without whole five so that it sounds very sweet. Let me just try. Six is a melody note. So I want six and four, but not five. So I'm just blocking out. Can you see that? Blocking out everything except three holes on. Then I'm closing a central of those three with my tongue. So it's another thing you can use. It didn't work so well in second position, but playing with a split three, there's another option to make it sound different. If you're playing it 13 times. That could be one of the ways that you doing it. It's more than 13 now, isn't it? Eso shall I just leave that with you? Because it's that's That's really easy, I think for you, if you've got this far. Well done. If you got this far, by the way, you Avery persevering You've got good stamina. Well done. That's where I'm gonna leave this particular lecture on number. The next thing we're gonna do is what do you fifth and then 12 positions, I think. Okay, See you later. 13. 20 ways 13 fourth pos: Now let's play it in fourth position. Are you mad? I hear you cry. No, it's quite easy, but you need to be out to bend. Otherwise, you can't get this stuff. Theo. Here it is. On the screen. That was the first line is a line Theo Theo thing. Now, I don't know how good my Internation is because I don't have any point of reference. Um, if I had, I'm playing in the cave from A Until we get an unequalled, it wasn't a cord. I think it sounds not too bad. Um, why do you play it with the backing track? Even heard back interaction. Any key you want to, I'll try and find the one in this. In this key to go along with this lecture. I think that's you know, it's fairly straightforward, isn't it? If you can read this to drawer three drawer, double bend, four drawer single, bend to block for him. Four Draw single bend three drawer, three draw double. Bend back to four drawer single bend three drawer to draw single bend, uh, finishing with to blow me. Play that line again. Thanks better practice to get us and smooth. It's all bending, so it's a really good exercise. If nothing else, it's a really good exercise in stretching your bending skills just to be ableto play the thing. You should be able to play every tune in all 12 keys like a violin play Does. You know, if you want to master the instrument, we do have harmonicas much more difficult on the violin, obviously much more technical. And there are things that really block us like these over blows and over draws. They really get in the way. But this one, I've chosen this because it doesn't have any of that serious top of no bending issues. This is just draw bending, so you should be able to manage this on their next well did in 12 position, which also doesn't have any real problematic bending. If you can do the basics of drop ending, you can do all of these and then you can add the other things would be in danger. During this course to this, you could tongue blocked this, and I'd some of the things that you like, and I'll leave that with you on. Do you can try and work through it? Do your best, and I'll see you next time. Will do 12 position next. And I think we'll leave the positions because you could just go on and on. You go right through the whole lot if you want it. I'm not gonna do that. And then we'll have a look at how to lose. If I the song had to make it more gospel e and that's pretty well, we'll call it a day at that point. Okay, well done. Keep going. See you soon. Bye for now. 14. 20 ways 14 twelfth pos: so I think I'll finish off the positional playing with 12 positions. If you look on the screen, you see that now? Again, Lots of ending involved. Quite doable. If you can bend. If you I'm not comfortable bending at the lower in the lower active or I put Medlock to there, I guess level would be better. I mean, you replace that if you do it in the middle, activity becomes really tricky. You got overflows over drawers in there, so this is quite easy. Um, on again, a beautiful exercise in note bending. Have nothing else. Not right with me. One blow to draw double bend because that's the tonic Note. That's the note of F Samos five. Draw an octave lower. Now I've got three blow instead of to draw here. It just seems to be more comfortable for me to play it. But anywhere where I've put a three blow, you can change it to to draw, if you wish. Next line that saved. Hey, you, uh, reach. We had that phrase here, I think third line, I want middle thing. But now, um, found ah Waas mind phrase. I see ending on the tonic note as you'd expect. So that's pretty sweet, isn't it? Why don't you practice that round and round 12 position? I don't usually play in 12 position. I find it a bit awkward, but this isn't too bad. So I think I'm gonna practice this around a bit more now. Yeah, that's it. Enjoy that. On, uh, next lecture will back to second position of what kind of blues if I it all up and turn it a bit Gospel e And that's where we'll stop. Okay. See you later. Bye. For now. 15. 20 ways 15 bluesey: now one way that I have played this song in the past, when I've bean performing it is more sort of gospel and more bluesy, so I would do it in second position. So the notes are gonna be on then, instead of playing do todo may be making a bit dirty. Oh, I'm adding on, adding a little bit of the whole above, the one I'm trying to play, and somebody might hate this idea, but it's just a way of making it more bluesy. If you should wish Theo on lots of ending in three and then I put a little bit of a gospel type bidding there. Theo, you hear it in a minute? Excel sort of performing for you. Sounding the blow court is a higher court around the middle of the instrument. Theo E. Put a really raucous blues even brought thing. Now some people will hate that. I don't like the sound of it much myself right now, but anyway, let me play it, Theo Theo. So I've done that a few times as part of part of a performance One time I played it like that. No time. I played it with the drone No Tomorrow played it with the marching, um, or just depends on the circumstances. So now you've got many, many ways you've got more than 13 ways to play it. Probably about 20 ways to play it. Maybe I should change the title on, uh, that's what you can do with any song you like. I just chose that one because it be going around my head. And also, today's the anniversary off the guy who wrote it. So that happened to be on the radio this morning. So that's the one. I was looking for a song and I thought that's the one it was gonna be. Oh, Susannah. But this is much nicer, Andi. That's where we'll leave it. So I hope you've enjoyed the course. Do let me know what you're thinking. Let me know what you like Next time, Andi, knock em dead. See you later.