Blues Harmonica for Absolute Beginners | Fredrik Hertzberg | Skillshare

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Blues Harmonica for Absolute Beginners

teacher avatar Fredrik Hertzberg, Blues Harmonica player and teacher.

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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

17 Lessons (53m)
    • 1. Intro Beginner Course

      1:37
    • 2. The diatonic harmonica

      5:02
    • 3. Holding the harmonica

      3:17
    • 4. Train Imitation Basic version

      8:13
    • 5. Train Imitation 2nd version

      2:32
    • 6. Train Imitation 3rd version

      4:10
    • 7. Accompaniment Shuffle rhythm and Hard Shuffle

      6:02
    • 8. Accompaniment Organ Sustain

      6:03
    • 9. Accompaniment Ghost Chords

      2:27
    • 10. 12 Bar Blues Intro

      4:10
    • 11. Single Notes Tongue Blocking

      7:05
    • 12. Tongue Switching

      2:12
    • 13. 12 Bar Blues Organ Sustain

      2:32
    • 14. Practice Songs Intro

      3:10
    • 15. Practice Song 1

      2:37
    • 16. Practice Song 2

      2:35
    • 17. Final words

      1:46
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About This Class

This is the course for anyone who wants to learn to play blues harmonica. You do not need any previous musical experience. No music reading required. As long as you can breathe and hold the harmonica up to your mouth in some way you can learn to play. This is the perfect starter course for absolute beginners and people with a little bit of previous experience that feel they need to work on the basics. This is what you will learn:

  • Holding the harmonica
  • Proper breathing technique
  • Playing train imitations
  • Basic accompaniment playing techniques
  • 12 bar blues form
  • Single note playing using the tongue block embouchure
  • Two different practice songs to study and record over a supplied jam track

After this course you will be in great shape to take your playing further.

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Meet Your Teacher

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Fredrik Hertzberg

Blues Harmonica player and teacher.

Teacher

I have been playing blues harmonica since 1987 and I have been teaching since 2013. I love teaching harmonica and I think with a little bit of training and knoeldge everyone can become better.

See full profile

Related Skills

Music Creative Blues Harmonica

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Transcripts

1. Intro Beginner Course: Hi. My name is Fred Accounts by and I would like to welcome you. Today is a beginning course in blues harmonica, even if you're not interested in blues. But you are interested in how Monica, this is the course for you. The techniques that we're gonna learn here are applicable to old styles of music. You don't have to have any background in music. You don't have to be able to play an instrument. You don't have to be able to read music or anything like that. As long as you can hold their Monica up to your mouth. And as long as you can breathe, you're good to go. We're going to start with something we call train Imitations is both an old type of song and is also a very good exercise that we can use to develop good breathing habits and also develop our sound on the harmonica. After that, we're gonna look at the shuffle rhythm, which is very common and blues so good foundation for you. Then we're going to start using a tongue. And our tongue is really, really important. When we when you play harmonica, it's kind of like the fingers for a guitarist. It's Ah, the way we shaped the sound and is also a way for us to block out and the notes that we don't want to play That's called the tongue Block Em for sure is going to be the focus off the later part in this in this course, and we're gonna finish up with some simple melodies. Simple riffs give you a good start to your harmonica career, so we'll be harmonica and I will see you in the next lesson. 2. The diatonic harmonica: So let's talk about the harmonica itself. To be able to play along in this course, and to do that, all the exercises you're gonna need a 10 hole diatonic harmonica. It's gonna look something like this. So if you go into music store and you talk to the staff there, you're gonna ask them for a 10 hole diatonic harmonica in the key off, See? And, uh, the harmonica is a very simple instrument. Basically, if you take it apart, gonna see that he has to cover plates one on the top, one on the bottom. It's basically just keeping your fingers away from the reeds that are gonna be vibrating in the middle. There's, ah, comb. This one ISS wouldn't comb, but you can also found that find them in plastic or even in some brass coals as well. And then we got the parts that actually make the sound. And those are the three plates. There's one re plate on the top off the the comb and one on the bottom, and they then have the that reads here in the middle. Maybe you can see them there, which are the actual the actual thing that vibrates and then creates the tone of the harmonica. So and very simple instrument. It's then held together with screws. Some older models have nails to keep the replays on the comb, but the screw on ones are preferable because they are easier to maintain. Some people prefer the wooden combs. Some people prefer the plastic cones. Combs, um, doesn't really matter. Actually, it's It's a matter of personal preference. Uh, one thing, though. If you have these these wooden combs, you may notice that they're not protected here in the slots. That means that they can absorb moisture from your breath, and that can make them swell on over time. That will make them then be unusable. That's a harmonica. But if you buy a little bit more expensive, harmonica is going to be fully sealed and you won't have the problem at all. When it comes to choosing a brand, there are lots of brands out there as long as you have Ah, 10 hole diatonic harmonica in the key of C. You're gonna be good. I prefer Horner myself on. I usually recommend this special 20 ass Ah, good starter harmonica. It's easy to maintain it's good quality and it's reasonably priced in the downloadable material. We will find some information on other recommended makes and models off harmonicas that he can you can check out and see what you have. If you don't have a C harmonica, you can still do the exercises and player in your own. But if you're gonna play along with a video or with the recording material, you really need our Monica in the key of C. Also, even though the harmonic itself is tuned to the key of C, we're actually not playing and the key of C. When we do it the way I'm going to teach you here, we're gonna be playing in the key of G that is known as second position or cross harp and harmonica language. A few more tips when playing harmonica. It's a good idea to make sure that the harmonica is not too cold when you play it, because if you were breathing warm air into cold harmonica, there's gonna be quite a lot of conversation in there on that's gonna hinder the, uh, reads from vibrating properly. So good way is to hold it in your hand for a couple of minutes before you start playing. Also make sure that your mouth is as clean as possible. Either Russia teeth. That's the best option. And if you don't have that option than rinse your mouth out with water that IHS most of the time quite sufficient. Also, when you're done playing, tap your harmonica either against your hand like that or against your thigh or something else and then wiping off before you return it to its case. Never store it in your pocket because that means it's gonna be a lot of dirt and lint going into a Monica, and that's never good. Okay, let's move on. 3. Holding the harmonica: when it comes to holding the harmonica, I recommend that you hold a harmonica in your left hand and that you hold it with the numbers off the cover plate facing up. And I know that is very common that people grab the hornickel like this. Put it into the the crease of your your hand here between your thumb and your forefinger. It's is quite a great toe. Hold it like that, but I prefer that you actually place your thumb underneath here and then bend your your index finger on the top and then, fan, you're your fingers up like that. That means that your forearm can be drop down quite a bit, and that's gonna be easier to hold it in the good way against your face. And it's not going to be so stressing on the shoulder. You're gonna be able to play in the relaxed manner for for much longer. I'm a left hand, the player myself on. For many left handers, it feels more right toe hold harmonica in your right hand. I used to do that when I when I started playing, but I would like to recommend you to use your left hand instead. The reason is that we want to hold a harmonica where the low notes of the harmonica are. The reason for that is that as we progress, we're gonna be using our other hand to cup like that to make sound effects with using both hands. And you want to do that over the low tones of the harmonica. If you hold it like this, you're not going to be able to get a good like my brother effects and hand effects holding it like that. So I recommend try using your left hand for holding. If that seems impossible for you, there is actually another option, and that is taking the harmonica, flipping it over that will then place the low notes together with your right hand. You can do all the cupping and things like that the same way as a right on that would do it . But then you have to think about that. Everything I say. If I say go left, that means you have to go right on device. Very Cecil really up to you to find what works for you on what's most comfortable. Also, when we play, we wanna have our our head up high on a nice, open, relaxed chest so that we weaken breathe without too much strain. It's kind of like for singers that you you don't want to be cramped over because that's gonna hinder your breathing. And it's a good idea to stand in front of a mirror when you practice and because then you're going to see your the way your body looks and if if you look tense and you're probably our tents. So try standing up trying, being relaxed, shoulders down. When you're holding the harmonic up to your face on Lee, hold it with your left hand and let the right hand hang by your side, and that's going to make you more relax and everything is gonna be so much easier. All right, let's move on. 4. Train Imitation Basic version: Welcome back. Now this time has come to finally start playing. We will dio what is known as a train imitation, which is both a great exercise for your breathing. But it can also be used as the kind of song. Actually, on the way back in the early 19 hundreds, those were quite popular songs. You don't hear them too often nowadays, but if you want to, you can still, uh, use it. That's part of your show. The train imitation is done with two parts. There's the train signal on. Then there is the actual train chugging part, which sounds like this, and the rule is basically that train invitation always starts with a train whistle, and it always ends with the train whistle. And in between there you have the the actual training petition. So let's start with the with the train whistle, Pick up your see harmonica and you place your mouth over holds 34 and five or thereabouts, and then you inhale like this that will can create that tremolo effect so well, sound like this, Theo. There's actually another way to create the tremolo effect and that using a hand tremolo and in that case just inhale on and then used a hand to create the tremolo effect like this. I think you should practice both ways. Eso that you have the option off using both. So let's try that one more time with Throat Tremolo and holds 345 and one more time with hand tremolo way. So that's the train signal. And now for the actual train sound or the train chugging pattern, it's done and, uh, by inhaling twice saying, And then you exhale twice, saying, who? Who? You don't really articulate that loudly, but it becomes something like this. Oh, important thing is to always start with inhale. We'll do it in twos. And if you're not sure that it is better to inhale than to exhale, the train rhythm pattern is done on Holds one to war on holds 12 and three. Just make sure that you include holds one and two, and if you like you can include hold three as well. I usually do that. I think it sounds better, but that's a matter off preference. And to put a proper pure train imitation together, you start with a train signal or a train whistle. Then you do the trained pattern. Then you end with with a train signal something like this way. As you may have noticed, there I started the train very slowly. Then I accelerated. And then when I went to my top speed, or what I decided was my top seed, I started decelerating before doing the train whistle again. So that's the most basic kind of train imitation that I want you to practice. Now. When you breathe, make sure that you're very relaxed in your chest, breathing from your abdomen, and it should feel like you should have a cold sensation when you're breathing in at the back of your throat. If it more feels cold in your mouth and you're probably bringing like this and that's not good for now, we want that relaxed breathing through the harmonica type of sound. So one more time. Let's try the basic training invitation. We do train signal. We start very slowly, we accelerate the speed of the train. Then we start decelerating the speed of this train, and when we're down to slow, steady, beat again, then we finish off with train signal. Okay, play with me. Way, way way. Don't worry about the top speed right now. You can build that up over time. The most important thing is to be consistent with your breathing. Having that to inhale two. Exhale, relaxed. I feel that you're breathing through the harmonica, not sucking and blowing. Also, make sure that you're breathing in as much as you're breathing out, you know, breathing through your nose at least not breathing in through your nose. Because then you will fill up on air, and it will be very hard for you to maintain the rhythm. Remember, the train whistle is Don on holds 34 and five, and the train rhythm pattern is Don on holds one to war holds 12 and three. So keep working on that on. I will see you in the next video. 5. Train Imitation 2nd version: So welcome back. Now we're going to do another version of the training mutation. You're going to build on the first one we did. In this one, we're going to add the train whistle in the middle. So we're going to do train whistle, start slowly, accelerate due to the train whistle, decelerate and finish off with a train whistle again. This will allow you to practice stopping a rhythm during a train whistle and then starting at roughly the same tempo again. So you'll have that tempo going inside the mouth mind. So it will sound something like this. Yeah. That's a second version of the trait imitation. 6. Train Imitation 3rd version: Okay, so now onto the third variation of the training mutation, it's going to build on the second one we did in the last video. I'm going to start with the train whistle, as always, starts slowly, accelerate due to train whistle. And then we're going to keep playing at the same rhythm or the same speed. So maintain the rhythm of the train. Do train whistle, and then decelerate again and finish up with the train whistle. And as before, don't worry too much about the top speed. It's more about being consistent at this time, being relaxed, not filling up with air and exhausting yourself from error. So you have a balanced breathing, breathing in as much in, out and make sure never to breathe in through the nose. It's okay to occasionally read out through the nose if you feel that you fill up on too much air but you don't want to be breathing. And, and because then there's really no, no place for you to, to go or to get rid of that the ear. So here's the third variation of the train imitation. Hello. We all know all about that. So that's the third variation of the training mutation. I would recommend you to do training mutations basically every day. It's a great warm-up exercise before you practice anything else. And if you feel you don't have time to practice that much during day, two minutes of training, mutation will do wonders for your breathing, your harmonica tone, and your sense of rhythm. So it's really is a killer exercise that I think you should bring with you all the time. As a harmonica player. If you're interested in old train imitation recordings, I can recommend this CD. It's called harmonica rarity. And it's a really good one. It's got a lot of the old masters doing their interpretations of the folks chases, but also of training mutations. So that's a good starting point to find out what other people did before. I think it may even be available on SoundCloud and if I can find that link, I will include it in the downloadable material. I'll see you in the next video. 7. Accompaniment Shuffle rhythm and Hard Shuffle: now that you played your first training rotations and you started getting used to the proper breathing on the harmonica, we're going to move on to a compendium int playing. That is something that you play when you play together with other musicians, not to play the melody or to play solo, but to support the other musicians. So it's it's playing that it's a little bit softer and sort of defines the rhythm and outlines the song together with the other musicians. Before we do that, I want to talk just a little bit about some music theory. So basically, music is divided into bars, musical bars and how long the bar is or what it contains is defined by the time signature, the time signature. It tells you what kind of beat this song is played in. We're going to use what is called 44 That's 4/4 notes per bar music. So basically, when we're playing recounting 1234 and then we know that's one more music and then it starts over, Um, t know what groove or the feel of the music. Then we look at the subdivision off that beat or the quarter note within the bar music and the most common one or what is known a straight eighth is that you divide each quarter note into 28 notes. So for one bar of music, you then play 88 notes, and they're evenly divided over the bar. So it sounds like one and two and three kind. Four end If you think back on the train imitation, that's exactly what we did there. You could actually say that either one of the is either 1/4 note each or there on eighth note each. The important thing is that they're evenly spaced. They have the same distance between each other. However, when we move forward, we're going to be using a shuffle rhythm and the shuffle. Rhythm also uses corn, oats and eighth notes, but the eighth notes are not evenly spaced, so that's a little bit strange. But what we do, instead of having first in eighth note than an eighth note and then the next date note. We take the 2nd 8th note and we delay it so it's actually closer to the next beat off the music. That means it's going to sound something like That's that's what's called a shuffle. It it's a little bit like you're you're you're limping forward or the beat of your off your heart heart and ah, simple way off Playing that on harmonica is articulating Tuck first inwards. So I'm alternating in, Out, in, out. Please note here that I'm not breathing twice. I have one in breath, but I cut it short with the articulation of Taka and we don't want any sustain on on the on the cords here. We just want that rhythmic effect up. We call this type of a compliment and playing hard shuffle. I'm going to demonstrate that on the harmonica and I'm gonna use a Metrodome so that you can hear the beats. The individual quarter note beats 1234 And then I'm gonna play on top of that, using the taca taca Just like the train rhythm pattern. The hard shuffle is done on holds one to war on holds 12 and three with a metro said to 70 bpm. Okay, 234 So now play with me as well. 1234 Do be sure to practice this now, preferably with Metrodome, and also try to do with at different speeds. Try to make sure that you're using one breath in one breath out and that your sharply cutting off the air with the articulation Later on, we will practice this swell together with a musical background. See you in the next video. 8. Accompaniment Organ Sustain: The second way of accompaniment playing that we're going to look at now is called Oregon sustaining. It's basically playing a very drawn out sustained chord that creates a sonic carpet for the rest of the instrument to play. And on your harmonica, if you have a C harmonic and you're playing in second positions, which we are doing now. You have on, inhaling on holds 123, you have a G major chord. That's the most important chord for the G Major Blues. And if you exhale on holes 1, 2, and 3, you have a C major chord, which is to second most important chord of the G Major Blues. And doing organs sustaining means basically that you place your mouth over holes 1, 2, and 3. And to play the G major chord, you inhale softly, sort of quietly, but without any wavering, without any edges, just doing. And to do that for a long time, you want to have it does as drawn out and without any interruptions, you first need to dump the air out of your lungs. So you do this. And you also want to be able to keep this for at least two bars of music. Well, basically what you do is you inhale for Wong 234123, and then you dump it and then you start over. That will ensure that you don't have too many interruptions because if you play the chord, breathe, play the chord, breed, play the chord, breathe will be too much interruptions and won't create that nice drawn out sonic carpet an organ would do if you just press your, your fingers on the keys of the keyboard, you can have this huge long, nice chord and that's what we want to emulate here. One thing to watch out for is that when you're doing this and you're counting in your head, make sure that you're still just have one continuous breath. So the counting is not evident in your breathing. You want not. Because that will, you'll hear that very clearly. If that happens. You can, of course also play the Out, Out cord or the exiling gourd. Same idea. You do it for two bars. The last beat, you have to then fill your lungs with air. I will now play in demonstration of this and you can play along. First, I will do inhaling cord for two bars and expelling the errors and then playing to two more bars. Then I'll do the same thing for the excel in chord. And finally, how will do demonstrations where a first play and the inhaling cord then follow it up with an excellent cord and another inhaling court. In that case, you actually just have to get rid of the air in the beginning. But since your first filling up on air on the inhaling gourd, you don't have to dump. There we go. So you're going to use step for the exiling cord. And once you're done with those two bars, you do the inhaling court again. And then we do the exhale push at the end of those two bars. So what you're going to play later will affect how you breathe on the harmonica. This will become very more, much more evident when we're playing with musical background. Metronome at 70 BPM. And this is the inhaling gourd for two bars. 234. Now for the exhaling cord, same thing, two bars. And then breathing on the fourth beat of the second bar, 1, 2, 3, 4. And finally, hopefully two bars inhaling cord without breathing, changing the air to and exhaling gourd. And then finally playing two bars opening of inhaling cold again. And then I'll finish off with an exhale push just to get rid of the earlier 123. Now practice this on your own or together with this video or with a metronome to make sure that you can have this nice extended going without any sharp edges or in the wavering or in the sound of counting, anything like that. And I will see you in the next video. 9. Accompaniment Ghost Chords: The third and final way of accompaniment playing that we're going to look at here is called Ghost courting. It's quite similar to the hard shuffle. However, this is much softer and it's not very loud at all. Else has it a little bit of a specific quality? Basically what you do is that you curl your tongue like this, push it out to the end of your mouth. That will block any air from coming in or out. Then you apply pressure in words to begin with. And when you want to play the shuffle rhythm, like in the HOD shuffled, you quickly lift the tongue, put it back on the harmonica again, lifted again. So we've become like then you apply outward breath, stale day the tongue at the front of your mouth and do the same thing. So without Dr. Monica will be it has the same type of rhythm or the same same form ASD, hard shuffle, but it's very, very gentle and much more low key. And he's a great way of accompaniment playing when you're playing with other musicians. I will now demonstrate this and I will actually do without the metronome. So you can really hear that I'm just letting a little bit of air through. It's not a lot of tonal quality. It's more of these spaghetti thing going on. Now practice this on your own, either together with me in this video or together maybe with them and with the metronome. So you can hear that you're actually playing in time. And I will see you later. 10. 12 Bar Blues Intro: Now the time has come to start playing with the jam track. That is, we're gonna have a musical background to play, too, and we're gonna use what is known as 12 bar blues. That's I would say, the most common form off playing blues. It's as it sounds. It's 12 musical bars that's known as a course that is repeated over and over again until the song finishes. The 12 Bar blues. Also Onley consists off three chords, which makes it very easy to remember, and it's a very easy way. Teoh tell people what they're going to play. Basically, you have to tell them which groove to play, which key to play and then that it is a 12 bar blues. And then the musicians will know what to play. Um, the 12 Bar Blues starts with AH four bars off the one chord. That's the root note Chord off the key. You're playing it in ah G major that we're gonna play and it's gonna be G. Then it goes over to two bars off the four chord and G major. That's the Sea Court. Then it goes back to two bars on the one chord again then we go up to the five chord that's D in G major. But for one bar, then one bar on the four chord. Then we go back to the one chord for one bar and the 12th bar. We played a one chord for one beat, and then we quickly go to the 5/4 For what? This No one has to turn around. The turnaround is what tells the musicians that we're gonna repeat everything over again. So when doing, noting this in the in the tabulator, it's often put in parenthesis because the last time we played the 12 of loose the last time we played that chorus in a song, we're not going to go to the five chord. So now I'm gonna play the 12 bar blues for you. It's gonna be in 80 bpm, and I'm going to tell you which bar we are at on. I'm going to use my fingers to show you which which cord is playing. So try Teoh, count along, tried Teoh, figure out where in the 12 Bar blues we are and then listen for yourselves a couple of times with the material from the downloadable material where There are a number off off MP three files with jam tricks in G major for all 12 bar blues. And to get comfortable to sort of recognize the sound off the off the 12 bar blues onder when they're different, court changes are coming. When I start the song now it's going to start off with a count off that's going to tell you the tempo of the song. First, it's going to be in half tempos. I'm I'm counting one two, and then comes Wong 234 and then the music starts. Okay, let's do this to 1234 1st Bar, Second Bar, Third Bar, Fourth Bar, fifth Bar six Bar, seven Bar, eighth Bar, ninth Floor 10 4 11th Bar 12 Bar and turn around. 11. Single Notes Tongue Blocking: Now the time has come to play clean. Single notes. So far, we've been playing mostly, just inhaling chords, playing multiple notes at the same time. And that's very good, because that's, Ah, big sound, that the harmonic unmake that that's actually the biggest sound harmonic could make. But in order to play riffs or deployed melodies, we need to single out each individual notes that we can actually, you know, really played the melody and the way we're going to do this is called a tongue blocking and brochure, and we're gonna build on what we did when we did. A full block tongue block actually means that you have several holes in your mouth, you covering your mouth over several holes and then you're using your tongue to block out the holes that you don't want to play. So what we did in the ghost cording that's the first step. We stick out their tongue, bend it slightly downwards, and then we place our tongue on the harmonica. And if we do that with like in the tongue, block that what the full block that we did in the ghost courting, there's no air escaping at all. So In order to be able to play a note, we have to move the tongue just a little bit. What we do is we placed demonic over holds 123 and four or 2344 for example. And then we move the tongue ever so slightly to the left that will create a passage for the air to come through. This will feel quite awkward to begin with. It's not easy playing with them with the tongue look amateur, and there's a lot of debate on whether you should use it or not. I recommend it because it's a very good way of changing between single notes on full chords , very easily just have to lift your tongue and also gives you a whole lot options later on for different types of off effects that can dio the harmonica. So I think it's really worth practicing a little bit extra to learn the tongue book and be sure because it's gonna pay off in the long run Run guaranteed In the downloadable material I've placed ah, number off exercises, and now I'm gonna play them for you so you can hear what they should sound like and then practice them on your own. Get comfortable using the tongue, having the tongue, blocking the holes on the harmonica, breathing in breathing out and moving up and down the harmonica so you can do that effortlessly. Exercise one. We start with a full block, moved the tongue to be left to allow whole four to sound, then cover everything again with a full book. Then apply the out breath and play moved a tongue to play whole four exhaling and then we block it again with the Fulton Book. Like this exercise too. Now we're going to practice switching between inhaling and exhaling on hold for we start with Ah, full bar off each than we do Half notes and then we do quarter notes. I'm going to use the Metrodome set to 70 bpm here. 234 exercise three. Now I'm going to switch between the holes four and five Gonna start inhaling, exhaling an exhaling Hold five inhaling. Hold five inhaling. Hold four and then hold for Exhale and end on hold for inhaled bpm 70 on the metro again plus 2 +34 uh uh exercise four Going to start on hold for Exhale and four. Hold Inhale five. Exhale five Inhale six. Inhale six. Exhale six Exhale five. Inhale five. Exhale for inhale and 54 exhaled 70. BP ends on the metro long 234 No exercise five. Never gonna play just inhaling notes, which is very common in second position. Gonna play hold to all three Hold four hold three. Hole to and hold to at the end is gonna be a full bar of music And I'm gonna add tremolo effect there, which is quite common when you play a long notes 70 bps 234 When doing these exercises, what you should strive for is keeping the position of your lips and the position over your tongue against the harmonica as constant as possible. When you move around, you either move your head or you move the harmonica, but your lips and your tongue shouldn't change position. So make sure you're not pressing too hard with your tongue, because then that will be dragged on with the harmonica. And these positions should be your constant. And what's moving is Thea, Monica or your head. At this point, you shouldn't worry too much if your your notes are not 100% clear or 100% just that whole that you want to play. If there's a little bit of the whole surrounding holds, that's that's OK at the moment. But over time you should strive for making it as clear as possible, blocking out any other noise or any other sound and just having one whole sounding at a time. Okay, I will see you in the next video. 12. Tongue Switching: you're probably thought about this already, But what about whole one? There are no holds to the lift, the whole one. So what should I cover? Well, basically, what I recommend is that you do what is known as tongue switching, and that is you shift your tongue to the right in your mouth instead. That will create the hole in the left side of your mouth, and then you can play hold one. That way. It's a very good way of doing it. You're using the same, I'm sure, as for the rest of the holes on. You can also then shift between different holes quickly. One told four, or hold four to hold seven and things like that. And that's a very useful skill. I made a couple of exercises for you to get used. Teoh switching between having your your tongue to the left and to the right on. Spend some time doing this because we're gonna use whole one later on when we playing with that musical background exercise. 1 70 bpm Exercise 1 70 bps 1234 Exercise to seven to be PM's seven to be PM's 1234 exercise three here. I will play some eight notes as well. So they will be in the shuffle tempo on 70. BP ends on the Metro No. 1234 I will see you in the next video. 13. 12 Bar Blues Organ Sustain: I'm going to show you an example on how to play a compliment. Playing over the 12 bar blues I'm going to give do the Oregon sustaining and the good thing here is that the one chord you get that by inhaling on holds 12 and three and you get the four chord by exhaling on holds 12 and three. The five chord is not present on the harmonica itself, but holds one. Inhaling is the root note of that cord so we can use that when we're playing a compliment. As you remember, when we were doing the court sustaining organ sustaining, we did it for two bars where we left off the last beat too. Do in excel Push. So we could, uh, have room for more air will take care in when we're gonna play the exhale cord. We're going to do that in this example. But since sometimes we're changing from inhaling, exhaling or exhaling inhaling, we don't always have to do this break Teoh to breathe. I will note that in the indomitable material, but also tried Teoh, see what I'm doing where I'm breathing where I'm not breathing and then practice this for yourself. I will only do organ sustaining in this example. And then hard shuffle and ghost courting will be included in the practice songs that come later in the course. So let's do this long. 23 14. Practice Songs Intro: Now it's time to play over the 12 bar blues. And in order for you to be able to practice this, I have created Teoh practice songs on the results of Jam Track that is, four bars long that fits well with this. Ah, these to practice songs. Practice Song One is a song that starts with what is called ahead, which is sort of the theme of the song It's, Ah, three bar riff, and then we fill out the fourth bar with some ghost courting. Then we repeat the three ball reef again. But then this will start over the one court, and again we'll finish up with some ghost courting. And then we'll do what is known as a 541 riff and finish off with the turnaround. Then we'll go into, Ah, one round or one chorus off ghost courting. I have an example of ghost courting completely there. Then we're going to the solo, which is Ah, section of the song that is a little bit different from the head. It's a little bit this year. It's not quite a repetitive on his usually played louder, and then we finish up with the head again and is basically the same as the first course up until Bar nine, and then we go into an ending riff practice song to is slightly different. It's based on with Head Off with a two bar. If that is repeated twice, then we do. Over the one chord we do another rift that is slightly different. Then we go back to the original rift, do that again, then follows 51 riff on the turnaround with the second chorus, a Stan hard shuffling. So we'll have an example of how shuffling for for one course. Then we have another solo. Ah, a little bit more busy. And then we finish off with head again, up until the same. Everything is the same until up until bar 10 and 11 and 12 or then on ending Riff. Please note that in this song there are a number off eighth note triplets played and an eighth note. Triplet means that you play 38 notes instead of 2/8 notes for one beat of music. So for 1/4 note instead off 1234 If you replace that with triplets instead, it becomes 1234 to get used to the sound of the triplet rhythm. You can say Tanaka, and that will then translate into 38 note beats for ah, for 1/4 note. Like So, get ready to play the first song in the next video. 15. Practice Song 1: - Theo . 16. Practice Song 2: - Theo , I think. 17. Final words: Now we come to the end of this course, and it's time for you to take things further. Basically, what I think you should do is continue practicing the breathing, especially the train Imitation, is a very good exercise to do basically every day. Also, make sure that you're single note playing. It is really single notes get as precise as possible. You can continue with the exercises and also practice the practice songs. And if you want to, you can use some of the longer John tracks and play the choruses. Multiple times changed. The course is a little bit. I would also recommend you start building ah riff bank. So search the Internet. I will give you some links to some riffs that you can start learning, and then you use the jam tracks to try out these riffs. Try it over. The monk ord tried repeating it. How does this sound over the four chord? Can it actually be used to say, if I, for one riff or anything like that, and then start doing putting together your own chorus this or or your own songs a little bit of improvising when you feel ready and and that you have. Ah, good control of your signal playing. I can recommend one of my other courses that is called Learned to Play Awesome. 12 bar blues solos on. Basically, everything you learned here in this course is gonna be you're going to use that in that course and this is sort of the basis for moving on their on. I hope to see you later in other courses and in other situations by