How to hack your harmonica instantly with simple smart tools | Ben Hewlett | Skillshare

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How to hack your harmonica instantly with simple smart tools

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 26m)
    • 1. TUH1 promo

      1:29
    • 2. TUH2 intro

      2:49
    • 3. TUH2

      3:17
    • 4. TUH16 4hole tunes

      3:49
    • 5. TUH3 entire plate

      3:42
    • 6. TUH4 blow plate covered

      9:25
    • 7. TUH5 draw plate covered

      7:56
    • 8. TUH6 pitch pipes

      3:44
    • 9. TUH7 split 4

      4:56
    • 10. TUH8 moving split 4

      10:12
    • 11. TUH9 split 3

      4:30
    • 12. TUH10 split 5

      6:35
    • 13. TUH11 split 6

      5:29
    • 14. TUH12 bending

      9:58
    • 15. TUH13 blow bending

      7:52
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About This Class

Learn to use tools to make tough techniques easy. Advanced bending & tongue blocking now achievable for beginners. How?

In this course we are using a simple tool to make all the tricky stuff do-able.

I've been teaching this for years to students of all levels and it REALLY works.

We are going to put tape (masking/builders/painters variety) on different parts of the harmonica to produce amazing results.

For example you will learn early on what happens if you put tape over the entire blow plate (closing ALL the blow reeds off) - you will find you can produce as many if not more notes that you could with no tape on it.

I have learnt so much using this system and I'm certain you will expand your knowledge and have fun exploring this new area of the harmonica.

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Meet Your Teacher

Teacher Profile Image

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. TUH1 promo: Hi there. Thanks for having a look at this course. Now, if you're a harmonica player who's ever had trouble with any technique like tongue blocking , playing octaves playing split three spent four split five, that kind of thing, bending notes, Overblowing over drawing any of those techniques which are sort of normal in the home Monica world, but definitely tricky. Then this course will help you unlock the mysteries of all those things on. It's gonna be done with one very simple bit of kit, which I will explain to you in the next lecture. So come on in, have a look at it. And I think you're going to learn on awful lot from this. Oh, well, tell you what it is, it's don't run away to the hills screaming. It's tape. This role of little masking tape or painter state is gonna really help you find out what you can do with the harmonic. Oh, we're gonna tape up bits of it. Onda let you play other bits of it. You will discover an awful lot from this. I thoroughly recommend you do this. I've been teaching this for many, many years. This particular technique on the harmonica now for, I don't know, 20 years something. I think I started in 96. So that's Oh, that's more than 20 years. 24 years. Could God nearly half my life. Okay, come on and have a look. See what it's all about. 2. TUH2 intro: Hi there. Thanks for having a look at this course. Let me just explain what I'm gonna do here for you. It comes about from people who are having trouble targeting the harmonica and getting single notes on and getting intervals and getting different techniques on the harmonica. So one of the things I came up with was using some builders table painter's tape, masking tape, whatever you call it and applying this to the harmonica. So if I wanted to be able to play a specific thing on Hope five, I could put some tape on there that would let me just play Hole five. There's lots of things were going to do with this. There's probably 15 different things I can show you with tape that will be useful. So it's all about how to bend. Notes had to isolate the notes, how to bend them, how to play tunes, just using four holes and I'll show you how that works with my fingers, and I'll teach you to play a tune with just finger signing Andi. Then we look at covering the entire read plates, the first the top than the bottom with tape and seeing what the harmonica conduce you when half is not working. It's really amazing. You will find out. It's incredible. I got that idea from this toy. This has only blow notes on only four of them. You can't breathe in. But what I've found is that because you can't breathe in, you can overdraw on all of the notes. No, that's a distraction. Don't worry about that. As is this That's even in the wrong course. I dont know why thats here it all. So there's a lot of things you can do with tape that are very, very useful and very, very interesting and they will supercharge your technique. I'm trying to get your technique toe build up to such a capacity that you can just relax and play. So you're gonna learn an awful lot of stuff using this rather strange thing with tape. Don't run away. This is great stuff. Don't run off to the hills Ho. This is all good stuff. So a lot of students I've used this. We have really enjoyed this and I think you will as well. I think you'll learn Ah lot. So without further ado, let's get the tape out and get cracking. You will need tape for this. Did I mention this tape involved? A roll of tape masking tape? Not solitary, because it tastes horrible? I think so. Get your tape and let's go. 3. TUH2: hi that went on teaching people to play the harmonica. One of the big hurdles. The first hurdle is how to get single notes, which is why we don't start with single notes. We start with cords and chugging, but when you're getting single notes Ah, what I find is that people can do how one easily enough. Ah, if they hear that another, another sound is coming in, that's going to be hold to, uh, you have to kind of position yourself in the right place when you get onto playing to three or four or five or six or seven or eight or nine. You don't have the benefit off something on the other side to help you until you use the tape. So let's just put it randomly on here. That happens to be on hold. Five. Some living hell. Five. Open Andi covering up four and six. This whole five exposed very easy to play a single note. I think you'll agree. Try it. Ah, so then the next challenge is to take away one off those pieces and trying to re create the sound. Now, I just got the one on there, so if you can hear. That means this side of your mouth is open to wide. Bring it back in until you hear the crystal clear sound of just one note on. They want you happy with that? You can take off the other side. Let's see if you can recreate whole thing with no tape. I'm listening. And if I hear that lower sound, that means the next hole down is kicking in. I want to try and get rid of it. Oh, and this is if you're puckering. That's the pucker or lip pursing ambush up. If you turn blocking. I think it's the same problem. You could still have targeting issues. So there you go. That's how tape is gonna be useful for you to get you clear. Single notes and I will have a look. It what happens next with tapers? An awful lot you can do with tape as you'll find out. Okay, See you later. 4. TUH16 4hole tunes: Hi there. This is an idea that I've actually done in the entire course on. It was called 11 tunes in one hour. But in case you haven't seen that, I just give you a quick review of it because it uses tape. So I've taped up holds 123 Andi, 89 10. Exposing holds. 1234345678 Now 4567 Just four holes. So it's a bit like one of those mini little lady harmonicas or a or a speedy with four holes. So with this, if we for the sake of this little exercise, if we consider these to be holds 123 and four I can teach you to play a tune instantly using this. So play whole one. If you need to pause here and put the tape on, please do so now we'll play whole one. Okay, easy, understand. And now breathing in. So that's breathing in When you see me pulling my hand towards May and breathing out when you see me pushing my hand, it's the direction of air for me, Not for you, for me. I can't do it. Your way is confusing enough. Doing it my way. So now let's play scale of C. Uh, and stop. Does that make sense? Yes, I hear you cry good. I'm glad it makes sense. So this is something I've used a lot in the past, especially with people who don't speak English or with kids who don't speak or read. Especially they don't read English. How can you get the music across to them? Very hard to know. So let me teach you how to play something simple, which we play. How about twinkle? Twinkle little star soften. Hold one. Are you ready? Let's go And that's it. That's how you play. Twinkle, twinkle Little star without having to read anything or know anything about music. Even you have to know about fingers Very easy, wasn't it? Well, I've got a whole course on that, if you like that kind of thing. It's called 11 tunes in one hour without reading anything. So you can google that where you can find it on the platform. Okay, enjoy that. I see you later. Bye. For now, 5. TUH3 entire plate: Hi there. So full. This little fun and games. We're gonna need a screwdriver of some sort. Andi to harmonicas in the same key. I'm using a C harmonic exile. Two of those, and I'm just gonna take off the cover plates. Now, for me, that's very simple. I just unscrew that and it will just come apart very easily. Every harmonic is different, but they will all come apart easily, and you need have no fear. Anything you I want to be careful about is that you don't drop the little nuts and bolts here because that is a pain if you lose them. So that's the nuts and bolts out. And I can just remove the top and bottom plates. So that's what it leaves me with on the top cover plate. The reeds are recessed there on the London underside of this re plate, so that's all pretty safe on the Drori plate. You do anything more careful because you can catch them and break them. But you won't do that. So here's what we do. We'll just take some masking tape, painter's tape, build a state or whatever you call it, and we put it entirely covering the read plate, so just put it on the top. Where? Top replay the blow re plate. So it covers now? Completely. So that's completely safe. That's it. And then we play. What can we do with it? Well, I can't blow anything. Can wait because it's closed. All those reeds are shut. Not available. Can we draw? Yes, we can. Can breathe in company. Draw, Bend. Uh uh. Yes, we can. A little bit. Not fully. It doesn't. Don't give you the full bend. So this is how you start to understand the story of the harmonic of Are you experimenting with this? So why don't you just have little experiment with it with the take on the blow? Replay the top re plate, experiment with it for a minute, and then you come back to me, and then I'll tell you what I've discovered. And you can tell me what you've discovered. Telepathically. Okay, go play with it. Have some fun with it. But be careful when I take the nuts and bolts out. What I usually do is put them in one of the cover place. Sometimes it's some tape over the top, so they don't get lost because that is a pain in the neck if you lose them, Onda Uh, that's it. Have some fun And be careful with the bottom plate that you don't catch it on anything. If you're careful, you won't have a problem. So have some fun. Play with it. Come back to me in a wee bit. Bye for now. 6. TUH4 blow plate covered: So what have you discovered in this crazy experiment? Have you noticed that these raids now have tremendously good response? I think they sound great. Only so does that tell you that if the blow plate the blow reads are Leakey, then you don't get such good response on the drawer. It does give you the idea, doesn't it? That there's a relationship between the blow in the drawer reads within that one hole within that one chamber. So can we draw Bend? Ah, a little bit if I compare it to my control harmonica. No, you can't do that. Oh, let's try it. Even whole, you can get a little bit of a drawer bend, not the full drawer bend. So what does that tell you? Doesn't that tell you that most of the drawer bend happens on the blower read? I'll just say that again. Doesn't that tell you that most of the drawer bend it doesn't happen on the drawer? It happens on the blower Read. Uh, you don't listen to me. You work it out for yourself. That's what I think's happening anyway, Theo, so I can get about 1/3 of the draw bend on the drawer read on that would indicate that 2/3 of the draw bend happens on the blower read who knew a little bit more on hold for thing. The other thing about I'm really noticing is that the shape of my mouth, the resident chamber inside my mouth effects the bending dramatically. If I've got that wrong, the bending doesn't work. Uh, come barely play the sound. So if I play, hold four drawer and you can try this with a really tiny thin mouth. Nothing about the lips and talking about inside the mouth. It really doesn't work. It was not until I open up and relax the cavity that he actually works. Way. Uh uh Okay, so that's established a little bit about the characteristics off the drawn up in the drawer bending. Can you blow anything? No, you can't. Well, wait a minute. Yes, you can. Because you can do this. Uh, that's blowing. Uh, no. So you can actually blow all of the drawer reads. Sorry about this. Now, when you're doing this, makes you don't get your lip caught on this because that will stop it working. That stops it working. But if you could just You can't even put the cover plate back on the underneath side if you want. If that's easier on also on the top, if it's easier, you can put them both bank. So what we're doing on holds 1 to 6 is actually an over blow. Theo, you hearing me draw first and then Overblow, that's all. Six, I think. Uh uh. Okay, so 1 to 6 is the drawer bend is that Sorry? Is the overblow 1 to 6 is the overblow on 7 to 10 is what, uh uh is the blow bend? Yeah. So, Ben, over over bending as it's sometimes called overblow andi blow bend are sort of part of the same family. I think you'll agree to try and hold six now. 10 9876 uh, breathing normally. And as you breathe out, put your mouth in that shaped like a K. Then move the tongue around and see if you can push the tongue Even further forward. If you bending the overblow on hole six, you're bending the overblown or six upwards pit spending upwards. Wait a long way. Don't. So this is what the over blows should do for you when you play your normal harp, Theo. Definitely harder. But if you try this first, you'll most definitely find it easier. So here's a nice little exercise to finish off this lecture. Ah, draw first and then go for the maximum bend blow. So that's an overblow, Theo. In every hole you draw first, and then you try and make a blow note of some sort and it'll be over. Blows at the bottom in on will be blow benzo talk. And then you try that on your untapped harmonica. Well, it's gonna be harder, but try it anyway. So you go for draw and then maximum bend, Theo. Uh, yeah, and anything you can get on this is gonna help you to learn is you're gonna teach yourself about the harmonica about how the thing works by doing these exercises. And then when you're finished, you can take the tape off quite easily because the reeds air recessed so that it won't be any danger off catching them, but slowly there. And then we'll turn it over and do the other side. Okay, well done. Experiment with that. This is how you learn. This is how I talk a lot of my a lot of my techniques. I have learned through exploring the harmonica. So now shorter. Okay, bye for now. 7. TUH5 draw plate covered: Oh, okay. Welcome back. So now I have done this off. Exposed the blow plate, and I've covered up the drawer plate entirely. So none of the drawer reads are gonna work. They're all closed. You can't use the drawer. IDs. No, Theo. First thing you notice is the tremendously good response from the blow reads. So that should teach you that the drawer reads. If then if they're leaky, they will affect the blow Reads you might notice there's a little bit of bending capacity on some of the blow reads. Uh, actually, there's a lot of bending capacity on the blow reads which we can't normally use on these. It heads towards overblow. If you try that with valve harmonicas, you do get this same effect. So there are a few harmonicas that use valves. The Suzuki Pro 20 V, for example, has valves, so that gives you exactly this effect. And that's its reason. Now, let's try uh, remember in the last exercise, we tried the, um, draw. Then maximum blow now into the around. So we're gonna do draw, blow a man maximum, draw, bend. Um, Theo whole I'm going blow, uh, that I'm trying to breathe in and get something. I think this will only work if my cavity here resonant cavities. Correct. Try. It's getting smaller and smaller. So this is the This is the one of the wonderful things that gives you this opportunity to learn about your harmonica and how it works by doing these experiments. Uh, so by the end of it, I had to create a much bigger capacity inside. So you'll figure this out. You'll try itself, and you work this out. You won't need to listen to me. You'll you'll understand it right from the bottom up. Theo, what's actually happening here? Let's try hold one on this one. Uh huh. Struggling next. I didn't get the capacity. Right. I'm getting the maximum drawer bend on the blower raid. These drawings are closed. So I'm getting the part of the part of the draw Bend. Oh, that's all three. So I think I'm getting about 1/3 of it. Or maybe 1/2. Some of it. Your third and 1/2 off the draw bend is coming from the blow. Read. This is not what you think, Theo. Crossover in the middle somewhere, don't they? So somewhere the Drori takes over from the blow. Read. Theo. Theo. So I'd like you to experiment. It'll listen to see what you can figure out. Uh, this is the blow read on drawing. The blow ring has a huge capacity to bend. So this is whole five. Probably. Ah, yes. So five blow. And now draw lifting the tongue to the right place. Bring it further. All back in the mouth. I'm able to find that sweet spot you can do as well, Theo Year. So I'm taking my tongue back to raise the pitch of these notes. Uh ah. So there's a huge amount of bending capacity which we're not tapping into, but by the structure of the instrument, you can't. So you can sort of get it, can you? The top notes on here from 7 to 10. It's done. The type of bending is called overdraw. Uh, on again it. Ben. So this is over. Drawing is from 789 and 10. Uh, uh huh. Uh, and you can do it on these, but it's much harder. Uh, it's a technique which definitely exists. I don't person use it that much, so I find it difficult, but If there's a note that I particularly need and I want to play a tune as a particular note, that's the only way to get it. Okay, so do some experimenting with that, and you will learn a lot, I'm sure. And when you take this off, just check which way the rivet is. You can see the river is on this side. So I'm gonna take it off from this side so that I don't damage the raids. Do you see what I mean? I want to be pulling the reads out. That would be very bad. Do. And there we go. So that's back to normal. I'm not gonna put it back together again. You're not. You're going to experiment with this and you're gonna see what you can learn. Tell me. Maybe you'll discover things that I haven't discovered. That would be good. Okay. See you next time. 8. TUH6 pitch pipes: Hi there. Have you ever seen pitch pipes? Has one example. American pitch pipes by Crescent Crack Company. Now William Kratch. Um, so they're the sort of thing that a choir leader would have in his top. Pocket her top pocket and they tell you what the night saw. And then you have the holes. It's a harmonica. Let's be honest. Yeah, so you can only play one hole at a time, right? And you can only blow. So this is like covering up draw plates you can't draw. But now we know how to do that. We can, so we could confuse the hell out of the choir. Couldn't way. Here's your note, Theo. So that's a pitch pipe, which you can blow on. But now we've learned how to breathing and make the blow. Read work, Weaken. Use it against its against its will. Here's another one. This is old fashioned ona pitch pipe. Rather good. I think this one look at this. It tells you all the notes with little indicator there, and then you move that up and down to pick whatever note you want. I don't see other side say, Let's see if I can play a note on it. This is gonna be set for E. So that's what he's supposed to do. But now that we've learned how to breathe in and make the blow read work when you breathe in waken manipulate it and make it go against the grain story of my life Never mind. Can we do in another one? Um um uh so So? So this is a chromatic harmonica, isn't it? Effectively play the flight of the Bumble Bee on that really fast. Well, maybe No. Okay, so I'm going to use this same idea on our normal I wanna get, but I'm gonna tape it up, like so I'm exposing. Holds one and four. So in the next lecture, let's have a look at that. 9. TUH7 split 4: Hi there. So now we're gonna look at a knocked if we're gonna play a split four. So here's what I've taped up. Have taped up holes. 23 567 So many thing. I'm trying to expose one and four. So if you could do that now, please maybe pauses here and put your tape on so you expose holes one and four. Now, let's have a listen to the sound. Okay? You got an octave. See, when you breathe out D when you breathe in, Octave means eight notes from the Latin rock toe purse or something like that. How they've got eight legs. I bet they have. So eight notes C d e f g a B c comes around again. It's the 8th 1 So adoptive Ah, one and four together. Uh, much more powerful sound. I think you'll agree on on one and four. You could breathe in and play the octopus world. See anyplace where you can play a knock tive breathing in with a split four. Uh ah, uh, here. That beating because one of the notes is not quite in tune. If I blow hard, I can make it go slightly out of tune. So again, this is a learning. If you change your strength of your breath, you will change the pitch a little bit. And also, I'm opening the cavity in my mouth. So if I make it really open really pushing to the back of throat Ah, if I push my tongue toward the front, you you get a different sound, don't you? Okay, so now the trick is to have your other harmonically running tape to Monica and try. And that way, try and reproduced with the tongue what the tape is doing. So you're looking to put your tongue One holds one and two Sorry. Two and three. So my tongue is going to be that bit on the right part of my lip is gonna be that bit, Uh, so that's the ambush It Can you see that? You see the two black dots each side, Uh, and as you do that, you can feel your the paper with your tongue. Ah ah. Should help. Uh, I thought this is like stabilizers on the bicycle. So that's a that's a split four Onda. And that's an active on holes one of four. When you breathe out. And everywhere you breathe out is an active. When you breathe in, it's only on one of four. All the others are not this. Okay, well, don't practice that. So you go from one to the other. You try to use this as a model and use this to model it. So the way you say I don't know Uh uh, You try and recreate the sound on this one without any help on this one is like a bicycle with stabilizers. Very helpful. But eventually you need to get rid of them. OK, practice that CNN time. 10. TUH8 moving split 4: Hi there. So, no, I had moved my spit four on two holes to you See the numbers of two and five. So I'm just I've just moved it up the harmonica by one hole you can hear It's not an octave and breathe in. That doesn't matter. Let's try and recreate it. Oh, this is good for your training, isn't it? See if you can really hear the notes. Oh, I got that one. Wrong thing seems to touch Flatter. Uh uh. That should affect the active. A bit of the interval of it. Okay, so this one sounds a bit better to my ears spot on. Thats when I can hear bit of fighting while World War it's not terrible and probably most people wouldn't notice, but I can certainly hear it. Yeah. Okay, so that's how you moving around. Let's move it up to one more just before finish. You can if you if you're able to bend notes, you can bend hold to but not whole five to make them both the same note not to apart somebody. Hold to from G down to F on a officer noted whole five. Oh, that's pretty tricky to do, but at least it shows you a horizon. Okay, let's move it up to the next hole. When I moved it up to three on six Oh, blowing gives me an active as we expected. Gives me a lovely discord. You've got the note of a when you breathe in on six and B when you breathe in on three. So let's try and recreate that on the UN tape to Monica. So the ambush is the same. Um, uh. You kind of pushing your tongue out and pushing the harmonic Korean all the same time. And of course, three is whole three. Humphries be When you breathe in on, you can bend it down to an A so you can have e bent it too far that time. So six draws in a three draws a baby can bend it down to in a You should be paying both at the same time. Quite a challenge. Well, there it is, Anyway, it's just a horizon. Let's move up the harmonica. No, we've taped up holes four and seven. Well, we've got holes for seven open. Everything else is taped up, Theo. Breathing out on active as we expected a no. Marked it as we expected. Can't do much with that one. So let's try and recreate it, okay? And then you practice that lets go up another hole. And now we have exposed holes five and eight and, uh, so blowing, We got inactive. Uh, as we thought on drawing. We've got a traffic jam. No much weaken. Do without. Really? But the blow is good. The octave is good. Okay, You practice that we move up a whole Now we've got 06 and nine exposed, so we'd expect an active on the blow on not active on the drawer. You will be here. There's a lot of noise when I breathe in much more than just the individual notes. Uh uh, thing is because of the Honda Harmonics. So you're getting what they call a ghost note. It's something that we use. It's it's ah, in addition or subtraction off the harmonics from one note to the other notes. So it's an extra note appearing on We use that to our advantage. If you were playing three drawer four draw. Theo, Uh, you don't get it, but if you paid in both the same time, you get that kind of metallic, raspy sound or four or five way years. That concept, especially when playing blues thing that's using the extra note, which you can hear developing here, sounds pretty terrible in the wrong place. Okay, that's that's the next active and will go up one more. And here's the last one with the split four system. So we're exposing seven and 10 right there. Seven years. 10. That's adoptive. It's a little bit shouting, isn't it? You can hear is not quite in tune. And then when we breathe in, you got a rather nasty sound again. Is that extra note that the harmonic incredibly produces and you can hear it more clearly if I play. Maybe Theo. There you go. Play eight and nine. You can hear that, Uh, Theo do it is not a note that's on here. Uh, it's a note that's lower than this instrument can produce. Played from whole eight and nine is crazy stuff, isn't it? Themed this. The relationship between those two notes the harmonic frequencies of those two notes. If one was say, 900 nearly was 800 you'd have ah, subtraction of 100. So you'd also hear a sound which is 100 hertz where it comes from. I don't know. And if I try to bend one of those notes and not the other actually had to change this ghost note then, son, too good. But can you imagine? You're playing with a microphone and amplifier? You could harness this ghost note this harmonic frequency that we're creating and you could harness it and play an audience would hear it. How about that? That's something to think about. Okay, that's enough on the split fours. I was See you next time. 11. TUH9 split 3: No. Then we come to this split three. So this is where you have three holes and you cover one with your tongue. So here it is. On my template. I've got whole one open two closed, three open. I'll just put a bit of tape under four. So now there's no way I can play anything except one and three. So I really got stabilisers on properly here. 012345 So this is a perfect fifth. Um, start of last post and thousands of other change. So there may be times when you need to use this. Let's see what it sounds like. Breathing in way. Try to recreate it with no tape e trying to Did you hear what I played up? Played adoptive? Because I find that easier. Ah, so I just put my tongue, tip my time onto this little tip off paper here and see if I can trying to train myself. Got it. I'm really using my ears to tell me if I'm right or not. And then my tongue to try and get in the right place. I can feel whole one to on three so I can feel I need to be covering whole, too. But not one, not three. Ah, so I think I'm pretty much there with that. Let's just move it up. Just maybe that one will see what happens. I don't want to do this with every single hole, so I'm just moving that up. One optional, that whole one, so makes it completely full proof. So now we've got two and four exposed, so the only share is tighter than before Member before was an active. Uh, You can see the black dots here. Quite big. Uh, now, with the three whole thing is a lot tighter on for May. Less easy. Easy with the tape on those nights. So what do you practice that? Try that. See if you can recreate that with your intake Harmonica. Doesn't matter which key provide you using the same same harmonic of a both. And we find way. Theo. There are times when a split three is very, very useful. Learn how to do it 12. TUH10 split 5: Now we come to a split five. So here's my template. I've covered up 23 and four left. One or five open and six and seven closed. So you want to do that? Now? Let's test it. So now I've got to make my tongue wider. This has got wider here, hasn't it? So I need to still keep those two small dots. Ah, ah, It's kind of harder to do it without the harmonica to show you, but can you see what I mean? So that tongue has to go wider now. And the dots remained the same. The empty hold of black holes remain the same. They just are moving further apart. But the tongue also has to follow it and move further apart so that you only still have one hole at the extremities off this structure. That's the I always come back to the split for because I found that easier. I think I was able to move this lot up. One. You can hear this. What we do now you comports here, practice that if you like what we do now, it will change the tape to start on Health three and then we'll look at the operatives that you can get on a split five as you breathe in with the lower notes, being three and then four and then five and then six So you can get those four operatives with a split five as you breathe in. So let's just try that. Now. We'll take the tape off. Now we're going 37 I think, is I think that's a spit five, isn't it? 37 Count them up. So here's my split five on 37 You see the numbers on that? So 37 my blow, first of all, then when I draw, the magic reveals. Ah, so that's a drawer octave three and seven. Draw active. Theo. A little bit of beating in there. You see if I can recreate it now, this is the idea always to try and recreate if you possibly can. Theo. Certainly not easy, even when you're doing it with this one used to tell, and that should become easier. So let's have a look at the next one Up will go up to the next holstered gun before eight. Now his four and eight. Can you see the numbers on top? Let's try said Blow will not be inactive on drawer will be on active. So that's the second octave weaken. Get with respect. 537 for eight. We can also do 59 and 6 10 Uh, so I'm really having to push the tongue out and push the harmonica in on the whole lot is to sort of sit back further into my mouth, see how far it is in? No, it almost has to be flush with my outside of my mouth. So the whole lot is inside the mouth. Extraordinary, isn't it? Who knew? And then the next two will let you do on your own. But it's the next one. Upsets, Um, where do we get to now? This one is 48 The next one is 59 and then 6 10 So I find that once I've learned how to make my tongue do that, I can then apply that anywhere on the instrument with my ears, helping to just confirm what I think I'm doing. All comes back to listening. So that's the split five on. The most useful thing about it is theocracy lives on the drawer. Okay, that's it. Next we'll look at what? More than six. Like split six and seven and eight. And how far can you go? How far do you want to go? All right, scene of it. 13. TUH11 split 6: Okay, so here's a split six. So I've got one on six exposed. I don't know if I can do this. I don't know my if my mouth is big enough. Ah, why don't you try Get your Tapout and see if I can recreate it. This is the test Says is what you should be trying to do. Ah, did you hear that? I got a little bit of a run up on in here that's going going on at the top end in the bottom of should be able to hear that. So that's a split six. I'm not sure how much useful ness it is, but any of these techniques are handy to have. If you can do them, you don't necessarily have to do them. You know, it's like if you have a car that will do you 150 miles an hour, you're gonna find cruising along at 70 or eighties very, very comfortable. But if your car will only do 80 then cruising my 80 is not gonna be comfortable. So try and build in more spare capacity with your technique, if you can. Oh, so I'm not gonna try and dio split for split five. Split six in one go. Just blowing. So the low note is going to hold one on. The highlight is gonna before then five, then six. So I should be out here a long time, and then that's what I'm aiming for. I don't know if I can do it, but that's what I made me for. And you can do the same. Ah, so you can hear. I guess I could do the same thing breathing in, couldn't I? So you should have been able to hear for 565456 way. So there I'm just trying to move from a spit for up to a five and back to four. So the low notes stays the same on a high note, goes through, then breathing in the same thing. Ah, uh, breathing out way. Okay. How is that? We could try moving a bit more, so I managed to split seven there. I don't know what I'm doing inside the mouth. Uh, so I think now the tongue is beginning to lie sideways because it needs to be more flat more longer. Uh, that was a split eight. And I think that is aspires. Aiken split now. How much you'd use those depends on what sort of music you play, but like I said, it's good to have spare capacity for your technical skill, so enjoy that. Play around with that and we'll see what we get up to next. 14. TUH12 bending: so that would come onto another great use for tape. Have used this a lot with people who are trying to bend notes struggling. Perhaps this can be very, very helpful. So I've isolated. Hold one. Just hold one. Whatever. Got blow and draw, of course. Can my bento one you, you, You Well, I find it easier because I'm not having to worry about whole too. Ah, Or if you're into Overblowing, you could try the overblow one whole one, overblow. Okay, because you won't have to worry about Whole Tuesday could make this easier. I have done a course on specifically on note bending to courses, actually. So if you really want to dig into that, you could take one of those courses, take the basic one first. So let's some, honestly hold two, shall we? And see what we can get on that for this whole too isolated to blow. So nice. Clear notes on a nice, clear single note, which is one of the pre requisites off being able to bend notes. The other is knowing what you're aiming for. So I had a student this week at home and she could not been notes. It all on hold to She could do hold one she couldn't deal to until we put the tape on and boom, She could do it straight away. So might work for you. I don't know you. You weigh e can't if you say it kind of switches it off E s, which is the bend off E T T t your tea or Teoh breathing in now you don't use you wouldn't use an overblown one hole to because the note that you can get it's more easily attainable elsewhere. But you can still try it. The principle is still there. You might start with blowing blow Maximum bend Smaller bend overblow Try that way. So let's start with a blow, then go for the maximum bend. Release it, release it until you not bending it all. But the reed is in motion. So at that point, it might overblow more easily. E wouldn't worry about that too much. Let's move up. The whole Sereno whole three is over a significant note, isn't it? Specially if you play blues or significant hole, I should say, as he's too. Let's see what we got. A whole three isolated now, Theo. Well, It certainly is a lot easier to bend, I think. What? What do you What do you think? What do you try it? You blow. Oh, you blow. I'm saying he like that. My mouth is not shaped like that. It's shaped like that, you, bro. But inside I'm going, e. I think I'll try coming up the other way and trying to add another blow to Theo E already feel after when I'm going for the overblow, I really have to tense my dive from 10 Smith stomach. Good thing I've been to the gym. I can do these crunches thing. A bit of a tricky one, but like I said, with two and three, you wouldn't actually need to play over blows. It's just you'll get because you can get that note more easily somewhere else. But it's just too build up. Um, surplus technique. Isn't it now on hold for Let's hope for isolated. That should be very easy. It's probably easier. Spender is, I'd imagine, and the overblow comes in quite easily, especially with the tape on that last note is the overblow dude blow, draw, bend, draw without the bend overblow, maybe trying overblow bend uh, just by pushing the tongue forward and up, forward and up, you should be able to make that overblow slightly bend. Mm. Then sound great, does it. But there it is, just trying to build it in. So I go one more. Let's go whole five. The whole five doesn't have a bend event note that lives on the piano because you got F when you breathe in when you breathe out And there isn't a moat between those except the note between the NFF is like if half flat was on the Ori half sharp, so the principle works the same, but you're only going down 1/4 of a tone, so you got less room to play with. But see if you can find that it is used quite a lot quite often in blues. You'll hear that played very flat and sounds great. There's the overblow, so you can work on that If you want. Let's go one more six for six six is the easiest of the over blows. Not that any of them raysy flowed through the's. The draw bend. Uh, try it year, year, year. Tongue just kind of retreats down the whole year, but sticking to the roof of the mouth ear, that's that works for me. And then the overblow kicks in after that, if you want it. It is the most useful of the over blows if you're a blues player, because you can play that if you're playing a blues scale in second position. That note that's the flat third in the scale in the blues scale. So you might I want that People have been crying out for years thing. So it is these there. If you want to, right? That's I think you can just keep going with that kind of single note. Just isolating the single hole and then seeing how you can affect the bending. Um, tried it. We got to six. You could just try. 789 10. It's the same principle. You just trying different things and see what works for you. Okay, that's it. See you next time 15. TUH13 blow bending: Well, I just I left off a whole six. I think I may as well just finished them off while I'm here. So here's hold seven isolated. You got blow and drawer. You might notice that at Whole seven, the swap around occurs. The drawer note is now lower in the blow note from 1 to 6. Theme drawer note is the higher of the two from 7 to 10. The other way around. The blow notice, the higher the two. So that's why we blow bend from 7 to 10 because we always bend the higher note downwards apart from overblown and over drawing. But for normal draw bending and blow bending, we take the higher note and bend it down in pitch Overblowing. Overdraw is different because it goes up in pitch. So from hell seven onwards, it kind of. This is where harmonica players fall off the cliff. If you talk to harmonica players, most will say, Oh, I don't go above whole seven or even know six. Which is which is why you get things like the the baby fat. With only seven holes on the side of Big six with only six holes. Because a lot of people don't use the top end, but I think it's a very useful area. Is very valuable. Interesting makes it more mixing using more dynamic. So let's look at seven. So you got see when we breathe out be when we breathe in. Well, there's no note on the piano between those two, so this is gonna see half flat or be half shop. If you look on a chromatic tuner, will the needle will tell you it's gone halfway. It's not gonna is not got a full. It's not gonna full semi tone or half step. It's gonna quarter tone 1/4. Step very hard Ferraris to pitch this. If you're from countries where you use quarter tones, you'll find this a lot easier because your ears are used to it. Andi then just managed to squeak and overdraw out of it, so I'm blowing blow slightly, bend it on the blow bend, and then I tried to breathe in. Andi, try to get this tricky overdraw beer has that feel to me. It's very restricted. Yeah, uh, and it's the opposite to the over blows because everything is opposite here, so you try to bring it tongue back to sharpen it. All right, That's probably a little bit beyond the interest level of most people. But I just wanted to show you a few horizons. That's where it that's where it is, Right? Let's go to hold eight. My tapes getting soggy has your Nothing was in Sochi tape. I find, uh, got blow drawer weaken Press down on the blow to go midway between the blow in the drawer sound So that's 1/2 step half step end Semi turn, Ben. Uh ah. Uh and then you can breathe in, uh, draw blow Bendit draw. And again, there is an over drawing there if you want it. Uh uh uh. I prefer to do it from the blow because as we found out when we taped over everything, we found out that the if the read that the active read, if it's already in motion is going to be easier to make this spending work. Ah, uh uh uh uh uh. Still difficult. And it's even harder to make it sound nice, But you can practice that if you wish to. If it's something you want to do, you will work on it. I'm sure Well, maybe you'll put it on a list of things to work on later. That's a more likely because it's a tricky one, and it's not that much use. It's a low priority technique right here. So nine again, it's got up. It's got a semi tone or 1/2 step bend, blow bend and an over drawer. Yeah, they say, if you want to and then let's just finish off with a whole 10 Don't need that side How 10 When you blow you've got See when you draw you got a So you've got to piano notes missing, which is the B and the B flat. So when you blow, you can bend it down to be on, bend it further down to B flat. Ah, yeah, Breathe in for the very hard to pitch. If you had an octave lower harmonica an octave lower C Also hard because you're dealing with a small reads here. Small capacity, No, not capacity. Small size of reeds. Which gives you not much wiggle room. Not much room to maneuver. Uh, and there is an overblown overdraw here if you want it. Mm ah, not a very nice sound, but there it is. Does it work on this one? A lot of harmonicas just won't do it. If you set them up right or get them set up right, there's a much better chance of them doing it. So I think that wraps up how useful a little bit of tape is, um, for helping you to bend notes, Especially if if you're a beginner and you want to learn to bend notes with the tape, you can do without the tape. Probably not. So it has a great deal of use. I think this tape. Okay, that's it for now. See you later.