30 day challenge - learn to play the harmonica in one month! | Ben Hewlett | Skillshare

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30 day challenge - learn to play the harmonica in one month!

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

32 Lessons (1h 19m)
    • 1. 30 promo

    • 2. 30 Day 1 intro

    • 3. 30 Day 2 which harmonica

    • 4. 30 Day 3 how to hold it

    • 5. 30 Day 4 how should I breathe

    • 6. 30 Day 5 breathing excercise

    • 7. 30 Day 6 six pointers on getting amazing tone

    • 8. 30 Day 7 various types of vibrato

    • 9. 30 Day 8 open mouth

    • 10. 30 Day 9 easy chugging

    • 11. 30 Day 10 sonny terry chugging

    • 12. 30 Day 11 train sounds

    • 13. 30 Day 12 harder train sounds

    • 14. 30 Day 13 twelve bar blues

    • 15. 30 Day 14 single notes puckered

    • 16. 30 Day 15 tongue blocked

    • 17. 30 Day 16 tongue split notes

    • 18. 30 Day 17 all 20 notes

    • 19. 30 Day 18 C scale

    • 20. 30 Day 19 simple tune

    • 21. 30 Day 20 harder tune

    • 22. 30 Day 21 positions

    • 23. 30 Day 22 Scales CDE&F

    • 24. 30 Day 23 more scales

    • 25. 30 Day 24 bending hole 1

    • 26. 30 Day 25 bending holes 45&6

    • 27. 30 Day 26 bending holes 2&3

    • 28. 30 Day 27 simple impro in C

    • 29. 30 Day 28 simple impro in G

    • 30. 30 Day 29 simple impro in Dm

    • 31. 30 Day 30 simple impro in Em

    • 32. 30 Day 31 wrapping up

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About This Class


30 day challenge - learn to play the harmonica in one month!

This could change your life; 2 mins a day, a little practice, a harmonica; get an easy music skill to enjoy and impress!

Meet Your Teacher

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Ben Hewlett

Helping you play harmonica better!



Contact me anytime through the site or email benhewlett@me.com 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 )







*Ben is the Vice-President of HarmonicaUK

*60,000 students online

*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 (Goldsmit... See full profile

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1. 30 promo: We are looking right. Makeup, are they? Would you like to learn to play the harmonica? You know, one of these to make? Well, how about one of these? Too small or maybe one of these? This will be just right, Theo. My name is Ben Hewlett, professional harmonica instructor at your service. This course is amazing. It's a 30 day course. You're gonna do a two minute lecture every day on by the end of month. You will have mastered the harmonica. Pretty much. Okay, Not in huge depth. But you will have got a really good idea of what works, how you play it, what it can do. The different types of music. You can play it in. Andi, I'm gonna lead you right through it. So you won't have anything to fear. Two minutes a day, plus a little bit of practice time, and you will be a genius on the harmonica. Now, I can guarantee that, or you can have your money back. If he doesn't work for you within 30 days, just get a refund. That's absolutely fine. I'm very confident it's gonna work for you. It's gonna be lots of fun. Why should you learn with me. Well, I've been teaching harmonica since 1996 and I'm gonna kick going until 19 night now. 18. No, until I'm 96 because I quite like it. And it's lots of fun. This It's my full time job teaching harmonica. That's all I do teaching harmonica and it's great. So come on in, take a look at it on and you'll enjoy. All you need is a C harmonica. That's it. I'll see you inside. Remember, there is no risk at all with this course. If you don't like it as a 30 day money back guarantee, you can just jump out, get your money back. But if you do like it, lifetime access. So are you ready to get started? Press that button and let's get Rolling Theo way . You'll find it's all really good feedback. People seem to find my courses fun, enthusiastic and knowledgeable on something else. I can't think of clear everyone, so people tell me my course is a really fun, very enthusiastic, A teaching very knowledgeable hand. What's the other one? Clear. What is it right around? Yes. No, that was That's the right way. You just usually speaking Hi. Welcome. Did you ever Blood 2. 30 Day 1 intro: hi there. Thank you very much for taking this course. I think it's going to be lots of fun. The way I've designed it is each day you will do a two minute lecture. That's it. Two minutes or 2.5 minutes. That's pretty much it. Then you'll need a little bit of time to practice that, say, five or 10 minutes, maybe 10 15. If you've got time, 15 minutes, just practice it and don't do any more. Just do that one bite size chunk, just a tiny little amount, and you will learn an awful lot that way. So we'll go through all the aspects of the harmonica, and we learn a little bit about each one. Now, by the end of 30 days, in a month's time, you will have a huge amount of knowledge about the harmonica. And that sounds unbelievable. But you will, because you have covered almost everything there is to know about the harmonica now. Not in great detail, of course, but you will have got a really good taster, and you'll know what feels right to you know what you want to do next with it? It might be you want to get into playing tunes? Might be. You want to be performing? Might be. You want to improvise? You might want to play in a band. You might want to play Blue's. You might be attracted to the Celtic or folk eat up music on all of that. I'm going to cover in this course, so you'll get a very clear idea of what to do with it. Now. We won't cover every single aspect of the home on a good because it's only gonna be one hour in total 30 30 times to. That's approximately 60 isn't it? So about an hour. If you want rial full in debt stuff, then you should take my 15 hour course. But that's a whole different game, isn't it? This is just a quick and dirty. See what you can learn from it. Enjoy it. I'll see you in there. Any problems you can message May, or if you need a Skype less, not something you can contact me and was so we could do enjoy it. Relative sleeves. Grab yourself a C harmonica. You know, one of these type of things. 10 whole. See diatonic harmonica. Grab that on. Let's go 3. 30 Day 2 which harmonica: Hi there. One of the questions I get asked a lot is, Which harmonica should I buy? For this course, you need a 10 hole diatonic in the key of C, and anyone will do so. This is what it looks like. It's the sort of, you know, the cheapie Bob Dylan John Lennon style instrument, not the one with a button on the side. That's a chromatic. We're not using that on this course, so it will come down to budget initially, and you can buy cheapie ones for $5. You know, £56. You come by mid range ones for 20 and really good quality for 60. So that's roughly the range. So I would recommend, if you've got 60 bucks or thereabouts, a Hoener crossover. That's probably the best out of the box at the moment, in my opinion. But of course, there's a big range from Seidel, which is the one the other very big Cos Andi Lee Oscar and everybody prefers their own different take on this. So who knows what you should buy? I think. Try that, Suzuki that again with a big, wide open back. So try different instruments, See what suits you best if you want to go from middle of the range price, you could go for a Hoener Big River or a Sonny Boy Special or mojo, if you like. Blues Sonny Boy Mojo for Blues Um, I'm using the Homeowner Marine Band, which has got a wooden body quite like the wooden body. Some them have. Would some have plastic? Some have metal. Some even have glass. So the sound there have bean experiments done on this on. No one's really quite sure if it makes it that much different. But I like the wooden ones. The feel is nice. The feel of the comb and the feel of the plates. Here the cover plates is quite important. So get just get one to start with. Tried out, see how you like it on Duh crack on with the course Later on, you can experiment and buy new ones and different styles on different keys that come in 12 keys, of course. All right to see in the next lecture 4. 30 Day 3 how to hold it: next question is, how do you hold it? Well, the typical way is you hold it in the hand you don't write with, and you can either hold it fingers, you know, between the finger and the thumb like that, with quite a lot of it sticking out, this flattens down. See, produced this like a trumpet bell at the end. On the other hand, and you do right with comes around the back, join the little fingers folded altogether. That's typically how people have been taught to hold it over the years, and that will work. So you try it, see what you think. One thing I have noticed is lately people who play with the tone blocking style. I'm beginning to hold it more like this because it's a straighter. It's easier on your arm, so the heart harmonica is horizontal in the arm is vertical, so that might be an easier way of holding it. Try it, see what you think. There's no really hard and fast rules with this stuff. Then the other hand, when you write with, goes around the back, the thumb comes inside on. The idea is that you connect all of this you connect this part to your face to your face here when you connect this part to your face here and you've got the harmonica right in your mouth resting on your lower lip. Teeth are open. This finger is pressing down on this lip. This thumb is pressing up on this lip and everything is really nicely sealed. So the trick is trying to find a way of holding it that seals everything to your face. Seals the instrument, seals it to your face. All the sound goes through the instrument. Try it out. 5. 30 Day 4 how should I breathe: breathing. This is a very important part of any breathing instrument, including singing on acting. How can you breathe well softly, Gently, steadily. Don't breathe too hard. Try and make harmonica playing part of your normal breathing. So let's play a long, breathing out note. Let's grab holes, Say holds one and two are see harmonica and just breathe out for 10 seconds. Way through. Theo. Start with some simple breathing exercises like that, just out for 10 seconds in for 10 seconds. Just get used to it When you think about breathing, Where is the air coming from? Is it coming from a throat? Know that coming for your chest? Maybe. Is it coming from a dia fram? Ideally, yes. So here's what you can do to harness that diaphragmatic breathing lie on your back. Put your hands on your belly. Do nothing. Close your eyes. Go to sleep. Notice your hands rising and falling as you breathe as you breathe in, you inflate like a balloon. Your hands lift up on as you breathe out. You deflate like a balloon. It's deflating and you don't fly around the room going That won't help. It'll on your hands. Go down as you deflate as you breathe out. Now get the harmonica. Put it in your mouth. Theme on. Just get used to the idea of breathing gently from the DIA from later. You can harness that to use that as your your power. Your strength. The belly is the bellows. Okay, try it out. 6. 30 Day 5 breathing excercise: So let's extend the breathing idea now. I'm going to give you some words. Har Har who who I know sounds bonkers, But there you go. So I'm gonna whisper it. So the house breathing out You want to do it with me, huh? Now try that with your harmonica. Slowly. This is a really good exercise for getting into breathe from the diaphragm. Also, it sounds like a train, which is pretty cool so we can try faster. Theo. Theo, Theo. As you do it, try to let the harmonica sink back into your mouth. I would do more on this when we talk about tone, but let it sink into your mouth further. It's in your mouth. Better. It sounds you have far goes in. Look, Theo, enough trains will do some more later, so just try that, uh, who see next time 7. 30 Day 6 six pointers on getting amazing tone: Let's talk about tone for a couple of minutes if you want to know more about it. I do have a course called 27 Ways to Improve your Tone, so I go into in great detail. But in the next two minutes, I'm just going to go into it. I'll give you six of those things. So the first thing is the connection with the harmonica and your mouth. So let it sit on your lip. Open your teeth. I said it. Shove it in thesis until slightly upwards. Said it drains. Second thing is inside your mouth needs to be cavernous, so the jaws open. You know, if you've eaten some food that's too hot when you go food cool. So have your mouth cavernous. Spacious Number three Play with hot air that opens the throat gives you mawr airflow. It sounds nicer, so playing with hot air sounds nicer. A cavernous mouth sounds nicer. Putting it further into your mouth. It sounds nicer. This is about the quality off the sound Number four posture makes you you're standing straight or sitting straight. Don't be hunched up. It will affect it affects your voice. If you're hunched up like that. If you can open your chest and be comfortable on, open your throat even further, you will resonate the sand because you are the sound box with the harmonica. It's not like a ukulele or something. It has its own sound books with the harmonica. It's you. You're the sound books. The next thing is breathing from the diaphragm, which is what we talked about before. So try to learn how to breathe from the diaphragm. So when you're lying on your back, grab your harmonica and have that with you on, just harness that sound. Get used to that on. The last thing is the use of the hands, which we've talked about before. So there's six points about tone, and there's Mawr if you want it. Okay, try those out. 8. 30 Day 7 various types of vibrato: There are lots of different Vibram toes with the harmonica. The 1st 1 I'd like you to try is with the hands so you open and close your hand You write with. You can do it fast or slowly. Doesn't matter. Think you'd be on a chord, which is a bunch of notes like I've just done or a single note which will come to you later ? Oh, so that's the hand to be barato. And you can use that on any long notes you like. Some people say it sounds a bit like around the campfire, so you might not want to create that impression of cowboys and campfires. But then again, you might do so. That's up to you. Another type of vibrator is the throat librato, and this is what the blues guys use, and it's generally best on breathing in. You can probably see something moving here thing, and the idea with that is better on single notes. We shall come to later, but once you've got single notes, you can use this vibrato. The basic idea is you're going and you can do on breathing out as well. Theo Breathing in sounds better, so that's what you're trying to harness through this kind of interrupted, steady, interrupted breath. Post breath. Another vibrato is using your lips and your jaw. We'll be able. So there are lots of different types of a broader. Try some of those out and see how you get on. I keep changing with mine. What? Whenever a feel the need to use one, I use it. Or another one. I use that. So they're just all tools in the toolbox. Try them out. 9. 30 Day 8 open mouth: So now we can play an open chord, Theo. So our mouth is open. We're not using the tongue. We just breathing softly, saying huh? Just like that, when you breathe out, you have a C chord on the sea. Harmonica. When you breathe in, you have a G chord. This is down at the bottom part. Say holds 1 to 4 in that area. See court when you breathe out. G chord when you breathe in. There are a lot of tunes which use just those cords theme here the June of Oh, Susannah in that Can you just about hasn't got a tune on it, But you can hear within those chords you can hear how the melody would go. Do you do that on? You can probably hear by now. That's a breathing in court, so I'd like you to experiment with just the breathing out and breathing in cords. Put them in some kind of rhythm, see if you can hear any tunes. So if you can hear, I don't know simple tunes for every Jack, a twinkle twinkle has tried twinkle. You can't hear the tune exactly Kenya, but it serves as a good accompaniment But you can just experiment with that now Or when the saints go marching in. Theo out, out, in, out. Might want to try that. So just experiment with open chords and see what you can come up with. Find some rhythms. If you can think of any tunes that it fits with, muck around with it, see what you can do. Okay, See you next time. 10. 30 Day 9 easy chugging: Now, if we've got our open chord and we use the tongue as well to whisper something, we call that chugging. So if I was going to say Cheka cheka ju ju ju whisper that with me, please, if I did exactly the same thing, but with the harmonica stuck in my face, it would sound like this. That was exactly the same. Just whispering. Don't try with me. 123 Let's go, Theo. Now Mr the same thing. Breathing in 123 Let's go out, I thought. This is called chugging, and it's a really nice thing to do. It's rhythmic playing. We're using the cords on. We're using rhythms, the rhythms air caused by simply whispering something into the harmonica. So let's think of another one. Ju check it. Check it to to chuck it juju. Say it with me, Jew Jack. A jacket to do jacket to do. Now Whisper it, Jiujiang. Now play it one Teoh. So it's easy, isn't it? What I'd like you to do is to think of some words, some crazy words on. Whisper them into the harmonica and make up your own chugs. See you next time 11. 30 Day 10 sonny terry chugging: Okay, let's continue the chugging idea. But a little bit harder this time. Have a listen to a guy called Sonny Terry, if you will please Google him. Sonny Terry S o W N y t e double r y He was the master off chugging. I think I've got a whole course on sanitary. It's stuff. If you look on my you Jimmy Page, you'll see quite a few courses on sanitary. Actually. Now I think about it to at least maybe three. So here's a basic Sonny Terry riff. Just very simple. And now that strike breathing in. Oh, okay. Here's one for you to try now, so I'm going in. In, Out in 123 Come on. 123 Again. 123 Again chew Chuck a Jew to 123 again. 123 Again. Are you getting on? Can you cut with that? Is quite tricky, isn't it? Let's go. One different one now. Right with me. Huge. He hotch up to he ho ju Chuck. He Horcher up to he whole one more time. It's slower this time. Okay? I'm gonna leave that with you and see if you can work it out. You, Chuck, he whore, Chuck, Jew Jack, He or that's a little bit of a Sonny Terry riff. And there's more where that came from. Okay, well done in a minute. 12. 30 Day 11 train sounds: So let's look at the train sound show here. Some nice, easy train since we started with ha ha. Who remember that, Theo? You can change the sound of that with your throat by making your throat in your mouth bigger or smaller. Listen, Theo, that's really small and compressed. Thay want open everything up so that it gets much bigger on you. Hear that even more or lower a lower key harmonica. Here's a G, for example. So experiment with opening and closing the cavernous space inside your mouth and your throat. You know that playing with heart air, we did change all of that, too. Very good and very bad on you'll find that you get some really good changes in dynamics. Train whistle is what you need Holds four and five breathing in on as you do it. Say wow! Wow! Well, wow, in your mouth. Theo will give you a little bit of a break from the heart who fits in really well. Theo, give you one more taker who so you say the word or whisper the word? Take her breathing out they and whisper the word. Who breathing in? Oh, you want to try that. Try speeding it up when you've got it, and we'll extend that in the next lecture. I can see in a minute. 13. 30 Day 12 harder train sounds: so Tika who? The idea is to speed it up when you can try it with me. See how far you get Theo way. Who? Dudley. Theo Who ticket Dudley? You doing it with me? Take a Hutu. Good Dudley Tika Who? Dudley Good. Teoh took a ticket booth Way, Way, Theo. So I hope that's giving you some ideas and will inspire you to make up your own train. Chugs. There's no end of those. I could do just that for an hour and 1/2. So you do it. Just make it up. Make up some rhythmic train sounds. Write it down. Let me know. I'm interested to hear. Okay. See you next time. 14. 30 Day 13 twelve bar blues : Let's have a quick look at 12 bar Blues now I will give you a track to play along with on the 12 bar, blues is divided into 12 bars. Strange enough. So here's one bar 234 That's it. That's a bar. So we're going to 12 of those when we do something slightly different as it goes along, as you'll see, so do it with me. 123 breathing in 334 three for three. We breathe out three and again. Three. Breathing in middle. Breathe in the air. They breathe out right down the bottom. Breathe in. That was the 12 bar blues right there. So you want to learn that, and then you will be able to play with any 12 bar blues in the key of G. We're playing in the key of G on a C harmonica. We call that second position or cross harp. Let's try to get in one to breathing in 343 4/3 by his the fourth. Now, now we breathe out is a six bar 70. Breathe in in again Ninth middle, breathe in 10 middle. Breathe out right down the bottom 11th Theme the last 1 12 And that's a very simple basic. Get yourself out of jail free for 12 bar blues so you can play along. If you know guitarist or pianist on anybody, plays music or just use the track I'm gonna provide or just go to a jam session listening. What they do join in that will work. It's not the most exciting thing, but it will work. Get you there. Okay, try it out. Let me know. See you next time. 15. 30 Day 14 single notes puckered: so it's time to learn how to play single notes. Up till now, we mean playing chords. Cord is a bunch of notes or played at the same time. Let's look at playing single notes, so there's different ways of doing it. The main two ways are the Parker method or the tongue block method. So in this lecture, assure the pucker method and the next. Lecture us through the tongue block method so you pucker your lips. Same shape is when you whistle, and that little black dot there can. You see it needs to be controlled, so that only goes into one hole. So let's try. Hold one. Find the hole with the tip of your tongue, and that will help you shape your mouth. E. But you also have to prepare the tone as we did before. So you remember, I said, You have to push the harmonica as far in your mouth as you can. The same is true on single notes, but it's more difficult because you're fighting. You fight in the aperture. Andi, the shoving it in. So fight it e can actually show it in quite a long way and still retain the single note. If you hear the double note playing, you know you have to readjust. You shake Theo. So this is takes a little bit of time to figure out, but you'll be able to do it. You just pucker your lips in that shape. Put the harmonic around three Apertura themed. Then think about the tone. So try and shove it in a bit more. Fight it. Okay, see in a minute. 16. 30 Day 15 tongue blocked: so the other main way of getting single notes is what we call tongue blocking. So use your tongue to block some of the holes on the left usually, but it can be on the right on the left of the one you want to play, and it allows you to put the harmonica further into the mouth so you get a better sound. That's the idea. You can also play chords with it, which I'll show you in a minute. So if I take my tongue, you can do the same thing. Try and find holds one and two. So now I'm blocking holds one. And to my tongue, there's nothing to the left of her. One on my lip is blocking whole four, so I'm actually playing whole three if I played it. Puckett sounds very similar, but I think it sounds a bit warmer with the tongue block. That's the idea of tongue blocking. It sounds warmer, and also, once you've got that going, you can lift the tongue and put it back on to expose holds one and two just briefly, Theo Wells told three, is constant, and this might take a bit of figuring out It's quite a tricky thing to do, but you can understand the theory of it. Can you? You block a couple of holes to the left of the note that you want to play. That's all. For now. I think that's for Theo. So if I may be put that into a tune for you, get an idea. Let's do, Oh Susannah again. So I'll play the melody from the right hand side of my mouth and the tongue is blocking on and off the holes to the left of it. My lip will catch the holes too far away on the left. On my right lip will catch the holes on the right inside to stop them playing. So it's a kind of construction where your mouth covers four holes and your tongue blocks. Three of them goes on and off, leaving the melody line in the right hand side, the fourth hole. And as you move that up and down, that structure stays the same thing. I get the idea easy to talk about it very hard to do, do some homework, trying to figure it out 17. 30 Day 16 tongue split notes: So let's look at the tongue again. What can you do with the tongue? The tongue is a secret weapon off harmonica players. So if you take a bunch of notes wide open mouth and then start putting the tongue into the center of them, you'll find certain interesting things happen. You block out various knows, so I'm doing what you might call a split four at that point. So you cover four holes on the tongue, splits the two central ones out. Now that construction, I can move that up. The Theo Oh, or I could keep that construction on and move it as it's going and you're actually playing octaves. So you're playing two notes, which are eight apart. C C C D E F G, ABC. Something to seize at the same time, which gives a feeling of strength and power and good tone and volume to it, uh, play the notes individually. Together, you can hear it's much stronger so you can use splits like that. That's a split four. You can try a split five where you split the three central ones out. Theo, that's quite a bit harder, but worth a go, and you can do a split three where you split the one central one out. Theo, you try experimenting with that and see what you can come up with. The easiest one is a split for Okay, See you next time. 18. 30 Day 17 all 20 notes: So now that we can play single notes on, I don't mind if you play them puckered or tongue blocked. It makes no difference to me. The sound is going to be pretty much the same. So you could try both. Try and teach yourself to use both because both have their uses. I think. Let's try and learn the tune that they call the scale of See the Door Amy. So it's whole full breed out for breathin five out in six out of six in on here It changes seven in seven out. So it's four out in ho, five out in hell. Six. The same out in l seven, the opposite in out. Try it with me again one more time and then we'll try it going downwards. So that start from whole seven out on. We'll go downwards, Uh, one more time. Seven out. I think we just try one more idea Loop where you go up to whole seven and then back down again to hold one back up to seven. I'll show you what it's like and then you can experiment with it yourself. Theo. Try it out. So it's an exercise, and it's also a piece of music in the time signature off seven beats to the bar. See you next time 19. 30 Day 18 C scale: So now that we can play single notes on, I don't mind if you play them puckered or tongue blocked. It makes no difference to me. The sound is going to be pretty much the same. So you could try both. Try and teach yourself to use both because both have their uses. I think. Let's try and learn the tune that they call the scale of See the Door Amy. So it's whole full breed out for breathin five out in six out of six in on here It changes seven in seven out. So it's four out in ho, five out in hell. Six. The same out in l seven, the opposite in out. Try it with me again one more time and then we'll try it going downwards. So that start from whole seven out on. We'll go downwards, Uh, one more time. Seven out. I think we just try one more idea Loop where you go up to whole seven and then back down again to hold one back up to seven. I'll show you what it's like and then you can experiment with it yourself. Theo. Try it out. So it's an exercise, and it's also a piece of music in the time signature off seven beats to the bar. See you next time 20. 30 Day 19 simple tune: So now we can play the scale. See, that's really good, because learning those seven notes or eight notes will really help you to play lots and lots of tunes and you'll see on my you know me courses. They're called instant harmonica and you'll see lots and lots of tunes, and they pretty much all use that scale of C. So you're now able to go and join any of those. So let's just dio couple of jeans quickly. One. In this lecture, let's do twinkle, twinkle, little star. I don't know why it's so good, but everybody around the world knows that. Students the only tune everybody knows 1133 in a out. Let's go from whole for ago for 466 in in out, Theo again since breathing out on 4466 Stay on six in and out. That's the first part next, but is breathing in five. Uh, stay the whole Fight it out. Don't hold for breathin out 36 five in foreign. Repeat that six out pour in and then the same is the beginning. Four out, six out in five in easy peasy. Try it 21. 30 Day 20 harder tune: So let's try another tune Now when the saints go marching in you know the tune Oh, when Sainz though marching in Oh when the saints go marching in Oh, Lord I want to be in the number Oh, and the saints go marching And so four Can you figure it out for out Five hours four out, five out, Five in six out Do that three times radio We ended on five in Did you know just that Did you get there And I was start Find out Oh, Lord, I want, uh That's foreign. Find out about four out in So I'm not helping you very much here on purpose. I wanted to see if you can try and figure it out. You know the tune. You know that all the notes live within that scale of C, so see if you can find them. You might want to write it down, take a run at it, work out the first bit, work at the second bit. If I give it to you, you'll just read it. But if you work it out yourself, you might learn it and retain the knowledge. Okay, Good luck 22. 30 Day 21 positions: Okay, We're gonna have a look at a harmonica thing called Positions. You'll hear it mentioned a lot. Modes is another name for it, but that's not used by harmonica players. It's used by musicians in general harmonica positions. So the thing is, the harmonica was made in the KSC. There there are 12 keys of harmonica. I should just tell you that, but let's talk about the C one for the minute. It was built in the key of C, so it's designed to play in the key of C. Theo. We've already discussed on the scale of C eyes at the heart of it, as you know, But what would happen if you started it on the second degree off the scale of C, which is D alphabetically? You can tell that. So if you played D E f g A B C D, you get a d scale new. So you start with your C scale and you just shifted up by one. Theo, you have to concentrate are not playing the C scale you have to really send to yourself. You have to mark the tonal centre by playing that four drawer a lot to make sure you know where you are on this scale is a different type of scale because it's not symmetrical. Every time you change the starting point, you get a different feel to the scale or a different mode to the scale or mood on this one , which harmonica players called third position. The scale of D is a minor key lends itself to things like, Let's say, Scarborough Fair. So has a really different feel to it, doesn't it? It's otherwise known as the Dorian Mode. So if you play your scale of C but from D two D, your you've gone from first position Scelzi to third position the scale of D. Dorian, which is a beautiful minor key, and you can play Blue's in that key. Or you can play classical music or lots of folk music. So, having experiment with that, see how you get on 23. 30 Day 22 Scales CDE&F: So there are 12 positions on the harmonica. I'm just going to cover the first, the most useful ones. So the first, the 1st 6 on the last one. So I'll explain why another time? I don't even know if you need to know why right now. But we had the scale of C. That's first position. We had the scale of D. That's third position on now. We're gonna have a scale of E. That's fifth position. So seedy. So the third note of your scale of C started on that degree? Uh huh. The men play your scale asi from that position. But keep going up to the rich d again the CEO. This gives you another minor key sort of Arabic flavor. Theo really opens you up to playing different types of music that see, if now, Ah good example of this is thesis imps UN's tune. So the F two f mode that's 12th position. That's the kind of ah, Spacey spooky. They use it a lot in Indian music and jazz. Not really in blues, but you could do I suppose I'm not really in folk music. That's a bit Mawr specialist. A bit more niche but more sophisticated, you might say as sophisticated as The Simpsons, because it kind of like The Simpsons. It looks on the surface, normal, and then, oh, it's not normal. It's all a bit weird. So that's the Lydian mode that we were looking at. The F two f The E. T. Is called a for Aegean mode. If you need to know this stuff on the D two d, we looked at us the Dorian Mode on the sea to see that see Ionian mode enjoy these aspects of music. 24. 30 Day 23 more scales: Let's finish off these positions and modes we've done. C D E F Andi, Gina. We didn't do GED. We Let's do G thing is the one that blues is played in mostly second position. This one is a lacrosse harp. You can play it from two drawer going up, but there is a note bend involved, which will deal with a bit later on, and that's the best way to play in that area. But if you don't bend notes, you can start it on a knock tive higher, which is six. Blow. Uh, Theo G two g scale is called the Mixer Lydian Scale, and it's the kind of bluesy thing it's got that flat seven in it. So it feels blues is like a major scale that with a flattened seventh note. So the second position or cross harp? That's what 99% of Blues players use and have used across the years. 99% of blues has played in second position or cross hop that's playing in the key of G Onna . See harmonica Um, A. To a mode. Uh, it's another beautiful minor key. It just starts on the note of a That's the six degree C D E. F G six degree of the scale asi and you go up to the meet another A again that's known as the alien mode or the relative minor. It's known in classical terms off. See, Actually, they're all relative minors or majors, aren't they? They're all related. That's great for playing minor key tunes. You could summer times I'm not that you could play in that one. That's really lovely one on the B two B mode. The locker and mode is less used, but it works nicely. I'll start that on three drawer, uh, again. It feels a bit spooky. Bit. Spacey doesn't ever feel like it's really finished, but that's the lot Korean mode, and that is sixth position, not used very much. But you can use it if you want to. It opens up the harmonica, so that's a quick flash through all of the all of the modes and the positions, seven of them at least 25. 30 Day 24 bending hole 1: We're gonna have a look at note bending now. So whole one is the 1st 1 that we're going to learn how to bend. No bending is pitch shifting, so see what it sounds like. Ah, ah! Uh, So we take whole one and we breathe in on we say something like your or you we you Oy, oy your G gore your something. Either on as you do that, you increase the volume. Ah, you and your increase in the capacity of your mouth. You on the tongue is going back down the throat. You are you. So you have to make of this very guttural shape this cultural sound you It feels like it's the movement of the tongue which causes it on breathing in pressure needs to increase. So increase the airflow, get louder and move the tongue and say this your business or anything like that that is gonna work for you. The core my foot core, is to try and get the George lowering. Yo, are you Are you Are you something like that? You'll find it's gonna work. I'm sure of it, I'm sure. Make sure you don't play hole to so you could take some tape and just cover up whole too, to make sure you know, the air goes into that. Because that will stall it, and it won't work properly. Ah, ah ah. And in terms of notes, you're going from D down to D flat. And if you want to play the next note that chromatic note next to it, you can just blow to play the sea on. That will help you pitch the bend, because the Ben should be exactly equidistant between the drawer aid and a blow read. Okay, try that. I'm sure it will work. 26. 30 Day 25 bending holes 45&6: So let's look a whole 45 and six. No bending first hole. Four. It's pretty much the same as the same note as whole one is an octave higher, but it's the same notes. It's D when you breathe in D flat and then see when you blow. But the movement is much smaller. So on hold one. Do you remember it was you you try to get really go troll and really gross big movement you whereas on hold far four As you go higher, the movement becomes smaller So whole four instead of being you, comes Theo Year A much subtler movement year year. So you've still got this change in capacity in your mouth. You're still by the airflow. You still must increase the volume as the pitch begins to change. You might want to tape up holds three and whole five just to practice this one year and then when you getting that, try whole five. But be very careful with this one. This has only a tiny, tiny bending. It is half the size of whole four. It's movement smaller again. Then hold six. The movement, smaller even again. Six needs a bit more pressure. Have a go it anyway. Have a go to all those. But be careful. Withhold five. In fact, I probably wouldn't really bother. Withhold. Five. It's not an awful lot of use, so why don't you just leave? Hold five For the moment, try on 14 and six. That's the first step in bending. That's the first step. Let's say it gets trickier after that. Okay, have a go. 27. 30 Day 26 bending holes 2&3: So when you've learned how to bend holds 14 and five, I suppose, and six, then that's becomes known as the easy part. After you can do it on holds two and three are less easy. But you that's what I found. You might find their perfect easy hold to again. You got this, Your business. You might want to tape up the holes. The holes each side of it holds one and three on. This needs much more engagement. Much more involvement with the harmonica. I think so. Put it further into your mouth with this. Have you had tongue a bit stronger? Bring your tongue back in your mouth. You try adding a bit of attention to it. Initially, you won't need to later and increase the volume massively that this can be a little bit tricky. There are ways of making bending easier by modifying the harmonica, and you can google that and it's called closing the gaps. What do you do until you very briefly Have I got one here, this one very briefly. What you do is you can see these gaps. The gap is you can probably see the shadow closed. Open the gantlet is just in the can you see that? Go No, olive. You It's that gap that if you close it a little bit and you can just do it like that with maybe a toothpick, they will make bending easier. But it does reduce volume. So you're again Hahahaha, you or you, You, your movement in the mouth and the same with whole three. It's not much different. Thieves don't come right away. Don't worry about it. They are definitely harder. And I will tell you what the individual notes are as well. Because all of these Ben's although they sound groovy and sliding around, they are notes that relate to the piano as well. So maybe give you a chart of that. Okay, try it out, see how you get on. That's draw bending. 28. 30 Day 27 simple impro in C: Let's talk a little bit about improvisation. Improvisation is in simple terms, making it up as you go along in technical turns, simultaneous composition and performance. Whoa! Scary. Let's go with the making it up as you go along bit. That sounds much easier, doesn't it? Anything you play will sound great. Is one approach on. Another approach is find some notes, which work well, which sound good if it sounds good and it works well, it is good, isn't it? And who's to say otherwise? So there's a sort of industry standard called a pentatonic scale five note scale, which just works really well in improvising. So I want to give you one in the key of C right now. The Sea pentatonic scale. It's derived from the C major scale that we learned earlier. Andi. It just has to notes missing, and that seems to make all the difference. So here's the pentatonic scale in C first position. Do that again, Theo C. Four breed out de hopeful over. Then he five. Breathe out G. Hold six. Breathe out a whole six. Breathe in on. You can at that point started again, but I'll just put another see on top seven. Breathe out. It will go all the way up on and also will get all the way down from Whole for so it goes across the three octaves range of the harmonica. Let me just play a little bit for you now. Just very simple thing, Theo. 29. 30 Day 28 simple impro in G: Okay, Back into pentatonic. So that last one c was a c major pentatonic on this is gonna be a g major pentatonic. Uh uh uh. Downwards. Theo. Let's play it from the six Blow six Blow ji six drawer a seven drawer. Be, uh Now we've got ah de de on a draw e on a blow. Uh uh G on nine blow. Now that's a little bit high, but it does still work When you can bend notes, then hopefully you've got some of that now. But when you really cracked it, you'll be much more comfortable in the lower end. I think the's are very good for playing in major key music. Major Pentatonix A good from major key music. Let me show you how that sounds thing. 30. 30 Day 29 simple impro in Dm: Now let's look at the D pentatonic. The D minor pentatonic is going to be a minor pentatonic without bending notes. That's how it will be. You can change that, but the way it falls off the instrument is simply d minor. Pentatonic on. It's the same as the D scale. What we learned earlier. The Dorian Mode third position but two notes missing on that makes all the difference again . These pentatonic scales. They're just wonderful. The two notes that take taken out. I just sold all the problems. So here's what it sounds like. Uh uh de for Drawer five. Draw G six. Blow A six draw See seven below and D A drawer Course it keeps on going down the harmonica down to one draw on that requires to bend notes in there. So when you're ready for that, you'll be loving it down in that area. So this is third position, and it's very bluesy and jazzy. You can add a few little Ben notes in there to make it sound even more bluesy thing. Theo, Here's what it sounds like with some piano chords. Basic piano chords thing 31. 30 Day 30 simple impro in Em: Now, let's have a look at the fifth position. We're not gonna do all of the positions, but these will give you These are the main ones that you need to know about. Here's 1/5 position. This is the e minor scale. Again, it's a minor scales That's good for blues and jazzy stuff to play with me Now E is going five blow G six blow. Ah, a six. Draw you seven drawer, Theo A draw. Ah, e uh, A blow. Ah, got a real nice feel to that one, hasn't it? You can really six audio. It falls under the fingers. You might say you can play it going down from that five locals keeps on going until you fall off the end of the harmonica. Theo War gets a bit tight at the top. In there, things kind of bluesy to may. It's a minor pentatonic. So the minor Pentatonix you can use in minor and major key music very often, whereas the majors its only major. So these minor Pentatonix are really a gift from God. They are absolutely fantastic. Really recommend learning them. Let me show you how it sounds with some basic simple piano chords, Theo 32. 30 Day 31 wrapping up: So now we've had 30 lectures. Andi, each one being about two minutes long. And I've gone through at Brewery. Next speed, How to play the harmonica. Now? I can't cover that in depth. I have got a course, which is 15 hours, which covers it in depth. But this one is not like that. It's just 30 30 days, two minutes or so per lesson. Andi, I hope that you've got a lot out of it now. You know, we've skimmed the surface of a lot of things. We can't go out. Like I said, we can't go in great detail with this type. Of course. So what next? Well, by now you've got an idea of what you like playing on the harmonica. Now, if you like tunes, then you want to go to check out my instant harmonica course tunes. Now, if you here's a secret for you if you let me just check No, nobody watching. If you type in the words in capital $10 T e N d o l L A r s in one word into the coupon box off the instant harmonica courses. You'll find a good deal of them. Will let you have it for $10 instead of 40 or 50. So why did you learn some tunes next? If you like more the blues e stuff. Why do you check out the 12 Bar blues again? The $10 Thing's Gonna work. 12 Bar Blues. It's under instant harmonica again. On There's an eight bar Blues on Let's, um, Sonny Terry as well. So there's an awful lot you can learn If you want to really get into blues, maybe you want to check out my 101 blues riffs course again. I could give you a coupon for that if you contact me. And if you re like the Sonny Terry stuff, there's a whole big course five hours course on that and chugging as well. There's an awful lot there. So you've got a little bit of an idea now of what you like to do on your harmonica. So have a look around. Have a look at my courses and others, of course. Check out what else is about Andi. See what's gonna work best for you. I'm obviously if you need me, you can message me if you need a Skype less not something that that you can contact me If you're in the u. K. You can come and see me. If I'm traveling around, you might be out to meet up with me there. Otherwise get in touch. Enjoy the harmonica. Andi, good luck.