How to practice your harmonica to get amazing progress fast! | Ben Hewlett | Skillshare

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How to practice your harmonica to get amazing progress fast!

teacher avatar Ben Hewlett, Helping you play harmonica better!

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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

8 Lessons (1h 3m)
    • 1. Promo

      4:22
    • 2. Introduction and overview

      5:15
    • 3. Warmup

      6:44
    • 4. Nuts and bolts part 1

      7:19
    • 5. Nuts and bolts part 2

      7:27
    • 6. Eartraining

      9:24
    • 7. Repertoire

      13:36
    • 8. Funwarmdown

      9:22
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About This Class

Learn this simple 5-part practice plan and supercharge your playing skills, confidence, impro ability, fun, & repertoire

In this course you are going to learn how to practice the harmonica in order to ramp up your skills to enable you to play with other people or on your own with much more confidence:

My system (make sure it is progressive):

1. Warm up - hahahoohoo (challenge yourself on speed and stamina), chugging, blues shuffle, trains (trumpet warm up)

2. Nuts and Bolts - one or two subjects a day - all techniques (make sure it is progressive)

3. Ear training - singing tunes, scales, intervals, improvising, recorded sound analysis, rhythms, random notes on two harps or more (if you can sing it you might be able to play it - otherwise not so much)

4. Repertoire - preparing and memorising progressively tricky/interesting tunes for performance

5. Fun - whatever fun is to you! And warm down

How, why, and when to practise your harmonica

Why is practice important in music?

A regular practice routine helps develop discipline, and aids in the development of music skills and better technique, fine motor skills and muscle memory. Students who practise regularly improve far more rapidly than those who practise sporadically.

Why should I practice my instrument?

Practice is the process of getting closer to achieving your musical goals. When we practice, we take elements of our playing that we find difficult, and play them carefully until they are easy. Once what you are practicing becomes second nature, playing your instrument becomes a lot of fun.

How can I learn music?

Practice playing chords, notes, and scales on your instrument. After you've mastered the concepts of notes, chords, and scales, learning how to produce these sounds with your instrument is the first step to learning how to play music. Start by practicing chords first, then move on to notes, and finally to scales.

What happens when someone practices a musical instrument?

Practice is the act of rehearsing a behaviour over and over, or engaging in an activity again and again, for the purpose of improving or mastering it, as in the phrase 'practice makes perfect'. ... Playing a musical instrument well takes much practice. It is a method of learning and of acquiring experience.

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. Promo: Hi there. I'm Ben Hewlett and I want to welcome you to this brilliant new course on practice, how to practice your harmonica. It's a question I get asked many, many times. So I've tried to put together a course just not too long, just about an hour. And this will hopefully radically change the way you approach playing your harmonica. And this, the idea is that this will give you massive amount of progress. We'll improve hugely if you follow these instructions, I think. So you have a look at it. Tell me what you think. If you notice all the good players play a lot. They play a lot, a practice. They really work on their art. They don't just sit there, doesn't just happen. This is not magic. So they practiced their art, they work at it, and they do it. And the question is, how, how can they do it? How can you practice your harmonica to get better? How can you practice? You want to get better. I'm gonna give you a system which I've worked on and I've been using it for many, many years. It's not the only system, but this is a good one. It's five parts. It has a warm up. It has not some bolts, which is the techniques that we need for playing the harmonica. It has ear training, which is the sort of the internal musical essence of playing music. And it has repertoire. And it has fun, like a warm down at the end. So we have a five-part practice. And if you were able to do five minutes a day on each of those, you'd have a nice 25-minute practice. It might run on a bit. So much the better. And that's what we're going to cover. So I'm gonna give you hundreds of ideas, loads of really, really cracking ideas I've never released before. And I think this will really help you get to the next level of your playing and you will become the best harmonica player in the world has never heard of yet. Yet, this will help you. I think if you do it so commonly and have a look at it, it's a lot of me talking and I'm demonstrating stuff and I'll give you lots of written stuff to help you think about what's gonna work for you and specific ideas and a specific we're going to work on one tune. So just to go through the specific things you do with attuned, to dig into it, looking at records, the root notes, the improvising the melody, different ways of playing the melody. So that's one way of working on your repertoire. Part of this, not some bolts is going to be things like caudal tunes had platoons quarterly. How to improve your tone on bushes, looking at different options for single notes, pocket Alton blocked and split notes with tongue looking. Using all 20 notes of the harmonica to expand your area of playing right across the instrument. Breathing in and breathing out different types of vibratos, scales, major, minor modal pentatonic blues. How to play scales in a linear fashion or patterns, or sort of more randomized notes. Within the scale system. Bending notes draw bending, blow bending, overblow, overdraw, improvising using the tune root note scales, molecule ideas, composition are not gonna go into that, but as a concept is there transcribing music so that you can play what your other, your competitors or your role models are playing. You can write down what they're playing and try and learn it and copy it. A dynamics how to make these interesting harmonica maintenance? Well, not exactly part of practice, but it is a part of the plane harmonica. So I put that into the nuts and bolts as well. Then there's tools. What tools would I recommend for helping you practice? Well, how about a diary? Metronome? Some dude calls the backing tracks a recording device, video or audio. Live musicians. That's a great practice, possibly the best pay with other people and a teacher. Okay, so come on in and have a look, see what you think. I'm sure it's going to help you. 2. Introduction and overview: Hi there. Let me go into more detail of what we're gonna do in the course. This is a big study, isn't it? Practice? I guess I've been practicing music personally for about 50 years, which is probably why I'm such a superb player. Not really. But I have certainly looked at how to practice Donald research into it. And there's no one thing which fits all. The main thing is doing something every day is going to be helpful. Doing something is better than nothing. Trying to make it progressive. So you don't just do the same thing all the time is going to be useful. Trying to make it fun and interesting and engaging and absorbing. And for it to have purpose. You might think, as I did when I first started playing scales. Why the heck my playing all these scales have really boring. I just did that because I was at school, I was told you have to learn your scales. And that's I want to show. But now, later when I'm playing music, I find that a lot of these tunes that I'm playing have got parts of scales in them. And it gives me an idea of the tonal center of the music. So it helps me with improvising. And now actually like practicing scales. So practice scales, right? What else can we say? Why do we practice well? Regular practice helps us develop discipline development of music skills, better technique, fine motor skills, muscle memory. And people who practice regularly improved more than those who don't. Obviously, how should I practice? Graduates? That's what we're going to go into. So I've distilled my research and my own experience into 55 different parts to a practice. And you can have a look at that and see if you think it works for you. It's worked for a lot of my students, but it's not the absolute fixed way. This is how you do it. Probably every musician will tell you something different. So you'll have to find out your own way. And these are my thoughts. So number one, we do a warm up. So I'll guide you through a series of warm ups that I think you can use. It will be helpful and fun and interesting and useful. Then we have not some bolts, which is the bits of music. Bits, bits and pieces which make up music's all the techniques that you need to play your instrument has not exactly music, but it's all the component parts that you do need to make music. And then we'd look at ear training because I believe that the essence of music is within this little capsule here. So everything we learned about music happens inside here, and everything we do with music happens external. It's all with the hands or the mouth or whatever, arms breathing. So the external stuff is what we learned with the techniques with the nuts and bolts. And then when we come to actually play music, we use the external stuff. And ear training is all about internal understanding and knowledge and gaining in experience. If you can sing a tune, you can probably play it. You'll have a very good chance of being able to play it. If you can't sing it, there's no way you're going to be able to play it unless you can sight read another technique. And if an, if Muslim can't sight read it, most people to play the harmonica don't really do that. Then learning by ear, memorizing, being able to play by ear, being able to sing it. These are all really good skills. So that's ear training. So we'll do a lot about that and sound analysis and rhythms. And I've got a cracking good idea for you, using two different harmonic as which you'll, you'll love this coal dust. And then repertoire because preparing pieces for performance and presentation is a very important part of playing music. Even if you never get to perform whenever, get to present your pieces, it doesn't really matter. The point is we want to learn how to present it. So we're looking at learning tunes, how to really dig into tune, how to improvise with that tune. And then you could look at how to present it on stage that will be in another part of it, I guess. And then the last part, part five, is going to be just fun. Have a bit of fun playing what you like, or come back to some of the things that you've worked on before and try and iron them out. But whatever you do, try and make it progressive and fun and practice different things at the same time. So if you're practicing a melodic piece, tried to get rhythmic practice in there as well. Or if you're trying to practice a scale, maybe you put some dynamics of music in there as well. So you make it actually a musical thing rather than just an exercise. Ok, so that's what we're going to do. So get yourself ready to see harmonica and let's crack on. 3. Warmup: Okay, so let's get started with a warm-up show way. So think of an athlete. You are an athlete of song, sung. You. Think of another, how do you, how do they warm up? Give it some thought. When I started playing trumpets, our warmup procedure was quite specific. We had to take the trumpet mouthpiece and blow raspberries into it. Very loose lips. We had to make a sound like a horse to begin with. And then tighter. And then we would eventually try and play scales just on the lips. Forgotten how to do that now, but you get the idea. So with a harmonica player, what you want to exercise the, the parts of the body that you're going to be using and you're playing soccer, you ever think about it? What do you use when you're playing harmonica? Maybe you need to warm up. Physically your arms and shoulders, maybe a neck. Or have seen people doing exercises, doing a sort of big smile, your own sort of jaw opening thing. I know if I'm playing fast music, if I'm playing some Irish music or something, what starts to hurt is the lips. So maybe I should warm up the lips before playing fast Irish music and lung exercise of breathing exercise would be a good way to start, Wouldn't it? On the harmonica? So perhaps the ha, ha, hu, hu exercise you may have seen before. I think it's really strong exercise. If you've not seen it, you're gonna love it. If you have seen it, do it every day and challenge yourself. So I'm literally whispering, ha ha, ha ha, on the out-breath. Who on the in-breath? Try with me, honestly hope if you've got a low key harmonica OB even better. Let's do it on a G, for example. Nobody using one hand. So I'm doing lots of things with that simple haha who, who exercised them? Practicing, getting intimate further into my mouth, opening all these scanning my posture, right. I could do this walking around, I'll be great, wouldn't it? I'm practicing dropping a volume by half. That's really tough. Just with the power of the breathing, not coupling it. So that's a really good exercise to start with haha who just as a warm up, if you did only that, I think that will be good enough as a warm up. You could go back and see how you could develop that instead of how high you can have hahaha. And you can develop that to any number of house and who's that you like? What do you think works best for you? You could do some train sounds so you could do something like take a breathing out and who breathing in. There's endless amounts of train sounds to talk with us and our last one. You can also add in the hand. Just to give yourself some double, double whammy practicing surprising rhythms as well. And some textures. So you making this musical, even though it's only an exercise, you're trying to turn it into a musical piece. So train sounds, you could do some sanitary stuff. I've done a lot of courses on sanitary, so you want to follow that stuff. You can do. What I was doing there was due he H4. So pretty much all on the out-breath, just He Zuo Ni. Now, sorry, all on the in-breath and out-breath. Do chat. He who Chaka sergeants repeating that as a basic sanitary thing. You could turn it into a blues shuffle. So something like that. Who, who you could modify that maybe we'll call it doctor doctor C. It's a doctor breathing in. And then Dr. breathing out and make it swing. And then we'll greenhouse effect going. So as I give you some idea of if you warm ups, it's supposed to be something that's easy and simple, not complicated, and will aid you something which will really help in your plane. So that's the warm up. In my opinion. Others might vary. Okay. Don't warm up. See you later. 4. Nuts and bolts part 1: Okay, so now you're all warmed up. That's great. So the next section, which you could interchange with the ear training if you want to do is not some bolts. So in nuts and bolts, This is the stuff that makes up stuff that you need to know about to be able to play music. So it's not music as such, it's just the component parts that you need to be able to do. The more you can do those things, those techniques, the more music you better play them all, you'll be able to express yourself freely. So these are really critical things and the list of them is probably endless. So I'm gonna give you a few point is for you to experiment with and see what works for you. So you might some work on chordal June's if you took a tune like car when the same spilling out and just play with open chords or out to joy. So you practicing your rhythm and your practicing playing with wide open mouth, wide open throat. And you can hear that tune in there, but it's not exactly the tune. It's recognizable, I think. Is it is it recognizable? That was happy birthday. I don't know. So that's one way you can move from warming up into more techniques. Working on tone. I've done courses on tone. So you've probably taken those already. But you might think about, and very quickly perhaps six points about tone to work on as one of the nuts and bolts. So that might be the connection between your mouth and the harmonica. The size of the interior of your cavity of your mouth, the bigger the better opening the glottal aperture to make a sound flow through, flood through all the pipes. Better posture, breathing from the diaphragm, user, use of their hands. These are all techniques only. So that would all come under tone. And then you might look at single notes, so either puckered or tongue blocked. So you might want to practice that. And that would be playing them all 20 notes. So you would play all ten exhale notes and then all ten inhale notes. So I played it in rhythm. If you noticed da-da, da-da, da-da in triplets. So again, we're getting at a double-whammy were pricing rhythm as well. And during that you will find that each note needs to slightly different air pressure to play. So you, you will encounter all these interesting things which are then useful for you to play tunes with. Play music with. What else would we learn about fats and did on different harmonic is as well vibratos. So look at the different types of vibrato. So you can have a hand moderato vibrato. You can have a lip vibrato, you can have a throat vibrato, and many more. So you can research into vibratos and start working on those. You could. Next thing you've got a single notes, practice tongue blocking when your different ONE bushes. So different ambushes is another thing to practice is another technique. These are all, these are all massive subjects in amongst themselves. So I'm not gonna go into details. I am just giving you ideas as to how you might break up a practice. You might practice time block intervals. That would be a split four, that will be a split three. And that's a split five. So these are the notes, the split ones in the middle of the three, the two or the one, these are blocked up by the tongue and these are the external notes or external holes. So that tongue blocking you, you could do a lot of work on turn blocking. Then there's scales. Well, so how many scales are there? Thousands and thousands of scales. So you could start with practicing a scale of C. I wanna current scale of C. And so many ways of practicing that. You could participate in a linear fashion like that. You could loop. It, just goes round the seven notes going round CB playing then and a rhythm of seven. Sorry. How many nodes do you want in the scale, seven or eight, you practice it in a beat or 70, you could use your metronome. For example. You could bring up a nice little metronome, something like that would do the job and you can practice it in. So that's in for time. So phonons or practices a scalar c and for time, I could go C, D, E, F, G, a, B, C, D C, and back down again. I don't know the alphabet backwards. I should be ready, should know. Or you might want to double the speed with your metronome. Keep that the same question, same as where I fall apart on speed. So you can do that, that scales, there's millions of scales. I think I'm going to stop this now. And this is too big a subject to fit into one lecture. So have a look at those. I'll come back to you with another half dozen ideas in the next lecture. See you nominate. 5. Nuts and bolts part 2: So if you wanted to practice the scale of C, C, D, E, F, G, a, B, C. And then down again. Be playing in seven time. So this seven time, 3456713456. So different ways you can practice the scales. That's linear fashion. What you pray it is going up and down. This is a linear What do you play it? Leap-frog. You pay the first note, note, and the second note, and the fourth. And then make it, make it musical. Or you can play the first three notes. And then starts on the secondary to the scale and play the next three notes. And so on. The startle, the third note of the scale present greenhouse. And you gradually build up a linear version of the scale. Scale patterns. Listen other picks up his name. You could try different scales. Lets us see Scott, why don't you try see, to see what he tried from D to D. And that's second or third position, D to D. What do you try? And E to E, same notes pretty much, but stops on E, finishing on IE. F to F, G to G, a to a, B to B. So there's seven modes. You can practice those great modal scales. Each of those has a pentatonic attached to it, that's a five note scale. But as a rule, seven months. Pentatonic is five-note penta, meaning five. You could also press a little of this from the lower register. All of the stuff I've said above with scales can be done from whole one. Which then presents to you within another set of interesting techniques to work on Kono bending. So you can start to practice your note bending, couldn't you? Maybe you start with the Draw bends. First hall one and then you would go 12456 and then he would go on to 23. That would be the order of the draw bending notes in order of difficulty, I think starting with the easiest 11 way you can practice the bending is if you've got a keyboard or a keyboard app or a piano, you can very nicely sit one hand on the piano and just play the chromatic bending. So one would be draw one. Then bend it down. E us, i would describe a mammoth destroying EU. Keep that shape. Blow, blow back to all o, and then back to E or E. E o blow, or at least that's what works for me and quadrotor my students. Try that one. So if you had a piano, excuse me what I stretch across to the piano, you can sit at the piano and just play those notes. So in short, no bending is one of the techniques that you can cover your nuts and bolts. Improvising another huge subject account, go into all of it right here, can I? Because it's such a big subject. But improvising is something you can work on. Composition. The subjects are too big. I don't know why I started this course is just, is just too big. A dynamics in music and other massive subject. Yeah, where do we go from that 20 to do this course in in ten different, is it ten courses, not just one. I think you will have as well a lot of the things I have actually done in other courses. So if you want to dive into, say for example, note bending, I think I've done two full courses each about an hour and a half on note bending. So maybe that's, maybe that's the idea and quite thought of it like that. Dynamics in music start looking into that. Harmonica maintenance that could be part of your nuts and bolts is not exactly harmonica practices it, but it's part of the experience of playing the harmonica. So maybe that's a separate thing. But it does exist as a thing that harmonica plays need to practice. Not exactly musicals it, but if you can do that, it makes playing the thing easier. And that's what we like. We like it. Nice and easy, should be fun. And they were not trying to struggle with this. We're not we're not friends. List o a practicing for to know up to 18 hours a day, print Nakamura. A pretty much practiced all the time. Up to ten hours a day. I think. Charlie Parker as well, to need practice eight to ten hours a day for a year, or maybe more than a year to become the best player. Well, it's up to you. That's the nuts and bolts section. I'm going to leave it there. See you later. 6. Eartraining: Now we come to a training. This is quite an interesting one as an item, if you've ever thought about ear training. The, the essence of music happens within this little box, doesn't it? Whatever instrument you play. The concept of a all happens within here. The practical sides of it all happens outside of this little brain box doesn't make the seed of the music is internal and the techniques which we've just done in the nuts and bolts, they are all external. But when you think about it, the seed of the music, if you know someone who plays lots of different instruments, you can hear the same kind of phrasing coming out. The repertoire will be similar. One day, they'll know the tune if you know that ulama piano and you know, you know the genome harmonica perhaps, or the trumpet, whoever. So I think the essence of music is, is internal. So that is ear training. And singing is the way to here. Your, your internal musical thoughts. Singing and clapping are the two big things that I would recommend for ear training. So sing tunes and not to, not to a performance level no one's going to be listening hopefully. Must protect you in the river for listening to you sing, but Sing, Sing tunes when you're on your own signum. Improvise. It's very, very easy to improvise when you're singing. Just put on a piece of music, anything alike and improvise to it. And we can all do is guaranteed you can do it. Improvising is just making stuff up as you go along. That's one way of looking at it. That's the way I like it. The other way of looking at it is simultaneous composition and performance, which makes it sound a bit grand, doesn't it? But I guess you are doing that. And improvising is, in music is like speech. When I'm talking to you now, I know what language I'm going to use English language. I know I'm not gonna speak too fast because I want to get the message across. I don't know which words I'm going to use are not chosen the words, I don't have a script, but I want to use phrases that will help you understand. And I might leave gaps to make it more dynamic. Or I might repeat something, I might repeat something, I might repeat something that's improvising, isn't it? You might ask a question. And then there might be an answer in music as same as in speech. So singh, Can you sing scales? If you've got a piano or a keyboard, or a app. Single scales. Can you improvise, can you play a chord on the piano and improvise around that code using the scale notes the same as we did in the nuts and bolts. If you want to go much further into it, you could start to work out what intervals are between notes. Is it one note apart or two, or three or four? And you can name those intervals. I don't know how much in detail you wanna go into music theory. But that's something that he could certainly look at if you want to, you would it wouldn't hurt. But you might hurt. But it wouldn't make your playing suffer if you learn a bit about music theory could be part of your, part of your ear training, and then other things that you can do. If you're driving, you're listening to the record record and a permanent record play recording. Listen to a recording. And you might want to analyze what was in the recording studio when they did how many people were there? What instruments are they playing? Can you sing the baseline? Can you sing the guitar, rhythm? Can you sing that drum beat? So, musical analysis, this is going to be very, very helpful, especially when you're trying to transpose harmonica solos. You have to really listen to them. Maybe this is part of your training is Trump, transposing. Harmonic is solos. Writing it down so that you can play it. Rhythms, clapping. So if you've got a metronome again, Why don't you just set it for four beats in a bar and just clap. Just crap on the beat. 234123 colon, I wanted you count the in-between beats and 12341212. And then why don't you clap on just the end? Maybe one Barack Obama beat. And then to Basel, thumping on the upbeat in between base. What about doubling the beats? You quadruple obese three and the Fourier ended up splitting the beats. And you do it in triplets. I need to do more of this, don't I? Now need to practice more. What about you? Do you need to practice more or less, right, is too much. So loads of stuff you can do with rhythm, improvising, put a track on and play along with it. Can you figure out what key it's in? One of them taking two harmonic is playing a random notes on one and trying to play on the other. Faria training. Make another Harmonica. I think I'm usually getting it right the second or third time on time. So I pick any two harmonic cuz that was a, um, see, random and just by random notes on one and try and find it on the other. That's a correcting exercise. That's I'm telling you, that's gold dust right there. So I'm going to just leave you with that, that bit of gold dust. And I think ear training is so important because if you can, if you can hear a tune and you know what it's supposed to be, as a very good chance you'd be able to play it. If you can't sing it, we don't know what it is. How can you possibly play it? And as you can read the dots. So it's going to improve your rhythmic skills, you're improvising skills, your singing intonation. It will help to tell you if your, if your instruments in tune or whether it's going out of tune, it'll help you play with other musicians. And that's what it's all about, isn't it improves your musicality. So a lot of benefits with ear training. So do it now, train your ears. And not an amine trainer is to be honest, I was doing research on this and it was how to train your ears not to stick out. And it was either training how to train your ears, not the sticker module with all these masks are wearing or Wisconsin, I'm a stickier isn't like. But that's good for your hearing. You'll hear better when you OK. You're training GFR xy later, bye. 7. Repertoire: Now let's have a look at repertoire showing. Now. Any tunes you want, our repertoire. Anything you like, whether it's blues or rock or jazz or classical or folk or anything you like. It's just preparing tunes for presentation. They don't necessarily have to do that, but that's the process. Ok? So let's say, let's say we want to play over the rainbow, just, for example. Need to a bit of research and say look on the screen now you'll see some of my research. Here's a piece that I wrote out a while back. And this is the first part of over the rainbow. And now you might want to take a look. This is a Google search here. This tells you the chords, but this is done as a ukulele lesson. And I think that this lady and likes to do it in the style of is big is. So there's probably different type of chords to what you'd expect. So here's another thing you could look at. This is what he calls IN real Pro. It's a free app. And those are the chords there. So it's probably you'd sing it through first sum where somewhere there's a backing track I've got here, literally put it. And I find that in just a moment. Or we can use this one. Let's use this one. This is an intro for bars, Intro, sound. Way. Hmm, he's saying. So scrap. Okay, so first thing is do some research, find the information and sing it than to sing it. Learn the lyrics. Someday I'll measure upon us. Taiwan, wakeup causes far behind me. When travel mouse-like timing drops. High. Chimney tops. First, find the where. And tried to sink as accurately as you can. As we said before, if you can sing a thing has a good chance you complain. Unless you're very capable at sight reading, which case you can just read it like a book. So then learnings on harmonica. So this is an example. I've simplified this somewhat. You can see here these two notes are the same. That was for simple, simplicity reasons. So you can learn the tune here. I've done a course on this particular tune, which I would be happy to give to you. That's one way of learning it. So learn the tune anyway for your repertoire it learn the tune. Play the dots, look at the dots, look at the tab. Learned to play the tune. Use a backing track, find out what the chords are that will help. Now, another thing you can do once you've learned to play, it plays an octave lower. So instead of starting on full-blown Stata and one low. Now, the tab is not written out for that. So you'll have to figure it out, will research it and find it. So I worked through the chin in all the three octaves on the harmonica. You could try playing in different keys if you wanted to. Maybe a bit extreme, you could try. This is in season it for trying to pay in d dot b is dumped into one draw instead of Federal. A set of one blow changes the whole thing, doesn't it? But it's doable. So plain achieved in different keys would be part of the research that you would do to put it into a list of repertoire playing along with a backing track. So there's loads, there's loads on their YouTube will have tons of them. This one's quite good. This i real Pro because it gives you the codes. You can see the chords that goes along, it highlights them. You can change the key and you can change the speed. This I think, is normally written in E flat. But for a C harmonicas, much simpler if we have it in the key of C, You could change the tempo illness as well. And also it will show you the codes such as salmon run trialists, scraped from the beginning. So this is a full bar intro here. So just the intro. So don't bother planck map. And then we've memorized a chin. So that novel way faster than I would like it actually. So I'm going to slow down the tempo to take it to 90. Now this time, let's look. Bars here you'll see there's two coats easily in each bar. So what did we just pay the root node to the first code of each bar. So the play C, E, F, E. So that would be one blow to blow to draw, double bend and Tableau, or place not to hire for blow. 50, five, draw fiber. So I was at Twinkle, Twinkle Little Star does. So try that. You also see the codes, the scales coming up here. You can just play the first note of the top of the two scales is try it to just the first note of the top scale or fall XR chart. Here we go. Okay, you get the idea of some of this. You can extend that by playing the first note of the scale than the first note at the bottom scale. This is all to help you improvise and to help you get this sort of tonal feeling of it, the tonal center of it. Try that this time. Scale from the top again. We're just going to play the first note. And that here. Alright. So let's now go quicker than I'm going. First node, second node, first note, second note, first note, second note. And we practice, you're gonna be able to manage that and think and act not just play the first note about multitasking division at the same time. Eventually you'd be able to run up and down these scales. One of you, if you practice this. So that would be parts of your preparing children with repertoire. She'd get in a position where you're able to. Look at these scales and just, and just run up and down the scales. Linear, maybe not so exciting. But after you've done that, I think you can then with improvising, you can use the knowledge that you've got of these scales and the root notes that you've got here and the tune to come up hopefully with something that sounds reasonable. So what have we just try that now? So we'll just stop it here. Given again. So now just try to improvise and not really think too much. Just go by the sounds and what we've learned. Okay? Okay. How about that perfect improviser? Well, just basking really. But that's the sort of thing that you might well do if you're trying to build up repertoire. So now you have a list of repertoire. And number one on the wrist is on the list, or the risks even is over the rainbow. And you could then say to your guitarist friend, hey, why don't we play over the rainbow in the key of C? Or you just pick and an E-flat harmonica and play in the key of E flat, or any harmonica played in first position. But maybe you try changing the position. But that's another story. Okay, that's a little bit about repertoire buildup. Repertoire is good for you. You will always be asked as a harmonica player, you always say, hey, you got your harmonic or anya, AIA, gonna hear, right? Well equipped by. So you will always be asked to play something. So get ready. That's your chance to shine. Okay, enjoyed building up your repertoire list. See you later. Bye for now. 8. Funwarmdown: So when it comes to the end of your session, you want to have a warm down or a bit of a fun thing to do, or maybe revisit something you were working at. So whatever music you like, I would maybe put on some blues. I got some beautiful tracks by Jimmy Lee, which you can get at Jimmie Lee.com as j-i m i, ellie WE.com. They're really, really good owed. Recommend you purchase them about, I don't know, 30 bucks or something for 30 really good tracks are produced by his band in Austin, Texas, just with no solos. So I would have a listen to one of those up and on sexes shuffle, for example, in the key of G with Marcy harmonica. And I'd maybe try and think about just playing the notes of g. For example. Try next, maybe a three draw and I should be able to try to limit myself. And the biggest straining to stick onto it for a mortgage for draw now. Because try one row and fourth row. Maybe one blow as well. And problem. And tomato, I draw. Backs, find wrong. And maybe achievers scale is a fake. Okay? So this again. And we're trying to stick to a simple scale. Either the pentatonic, it major scale on every scale. So a, a, a, a, a, a. Okay, thank you Jimmy Lee for his lovely tracks. He's letting me use those provided. I tell you guys about them unless loads and loads of them. So that's the sort of thing I might do for a warm down AS, let's pick another. Chemise tracks this again in G. So this is 69 grave. So it is, this is the turnaround. So I will just let this settle. Howard Show to draw CI and leave a gap and repeat. And the U1 draw now the lambda attitude role. And even though we're not going to fall draw, perhaps a bend on it, came back to to draw it now one draw. Staying in 232324 gloves. Banker to draw and redraw or draw the homeland. Draw. One, draw, S2. And then, so now thinking about the rhythm cause maybe we did, I'm clapping in the in-between banks. Have terrible Aboriginal backbeat. And he got to the top end. And J is always better to draw for me anyway is to sentences. Then. One though, is for blacks. To draw. A straight draw. Is not event nighttime, straight hair. A cold drawn. Everything in one row. Escaping into finishing off a practice might be just very nice, simple things that you've enjoyed playing and maybe getting a little bit of work on it. But basically it's a warm down, isn't it? After you've done your work and you're kidney yourself a little bit of a price and a bit of a treat her reward. Something fun stuff. And those are the five ways that you could practice if you want to do across there are, there's a fixed answer to this. That could be so many different ways of doing it. But that's that some five ways I've found works well for my students. So hope that's been useful for you, plenty to explore it. And my God, what a huge course, not long in hours, but each bit is you could go off and explore that. You go and explore that amazing really. Okay, I will see you soon. Bye for now.