SHORT HARP TIPS
    
            (Getting Started on the Diatonic Harmonica) by Jack Ely
    
    
    	 (Also known as - Marine Band, Blues Harp, Short Harp, Richter 
         Tuned, 10 hole, Tin Sandwich, French Harp, Pocket Piano, etc.)
    
    	 All these terms refer to the little 10 hole diatonic harmonica. 
         There are many styles, brand names, models, special tunings, and 
         keys available. Costs vary from $5.00 to over $60.00. Many of the 
         lower cost harmonicas are good values.
    
    
    HOLDING THE HARMONICA:
    
    	 The harmonica is held in the crotch or "V" formed between your left 
         thumb and index finger. The highest note (tone), or hole # 10 
         should be to your right. The heel of your right thumb rests and 
         pivots on the length of your left thumb and raps around under the 
         harmonica forming a sound chamber, left fingers lay along the 
         length of the harmonica, the right fingers form a cup, meeting or 
         slightly overlapping the left finger tips.
    
    	 The sound of the harmonica can be altered by opening up your hands 
         (sound chamber). Open hands give a brighter, louder sound. Closed 
         hands give a mellower, richer sound. Rapid opening and closing of 
         the hands or fingers will produce a wavering sound (hand vibrato). 
         The hand position can infinately vary the sound of the harmonica. 
         Hand position is not he only thing that can change the sound or 
         tone of your harmonica. (See VIBRATO).
    
    
    PLAYING A SINGLE NOTE:
    
    	 Playing a single note comes with great difficulty for some. Relax, 
         you may be trying too hard. Embouchure (the method of placing the 
         lips and tongue to a wind instrument) must be precise yet supple). 
         There are two methods prescribed and much debate over which one is 
         proper. Method #1, Tongue Blocking, is where you place your lips 
         over four holes and block the air flow to the left with your 
         tongue, allowing air to flow into only the rightmost hole to 
         produce a single note. Method #2, Pucker, is where you cover only 
         one hole with your lips as though you were going to whistle. The 
         tongue does not touch the harmonica. I suggest that beginners use 
         the method they find easiest and most comfortable. However, I 
         strongly urge you to learn both methods as you develop. Method #1, 
         Tongue Blocking, seems to produce a better (or at least different) 
         tone. You may or may not be able to hear the difference. Tongue 
         blocking lends itself to playing double stops (3rds, 5ths, and 
         octaves) by blocking out unwanted notes with the tongue and 
         allowing air to flow past the tongue on either side to play more 
         than one note at a time. These are more advanced techniques you 
         will want to develop later. CRUTCH: Blow a mouthfull of notes and 
         tilt the harmonica upward while still blowing (relax). This will 
         produce a clean, single note. Not the prescribed method, but it 
         proves that it can be done. Some players do tilt their harp upward.
    
                             Diatonic Tips - Page 1


    LEARN TO READ MUSIC:
    
    	 If I may borrow a tip from a recent seminar by harmonica virtuoso 
         Stan Harper. Stan strongly urges us to learn our instrument. The 
         tone, vibrato and all the other neat stuff will come later. All 
         these techniques are worthless if we cant play the instrument. The 
         best way to learn our instrument is to learn to read music then 
         practice scales and drills. Then you will truly progress and 
         improve your playing. [A distinguished gentleman carrying a violin 
         case asked a scruffy looking hippie how to get to Carnegie Hall, 
         the hippie replied "Practice man, practice".] Why learn a half 
         dozen play by number systems, or continue struggling along playing 
         by ear, when there is an international standard for reading music.
    
    	 IMHO (In My Humble Opinion) you should develope music reading & 
         theory skills in order to play the diatonic harmonica just as you 
         would to master the chromatic harmonica. Serious chromatic students 
         should learn to play scales in any key, including chromatic scales, 
         on a "C" harmonica. This is not easily done on the diatonic. This 
         does not make the diatonic any less of a musical instrument. There 
         is more of a need for a knowledge in the areas of chord make-up and 
         progressions, blues scales, modes, etc. (Stuff I don't intend to 
         cover in this document). Not to scare anyone but I believe it is 
         more difficult to learn the diatonic, properly, than chromatic.
    
    	 Even the most accomplished diatonic players use harmonicas tuned in 
         different keys. Want to change keys? Change harmonicas. So a tune, 
         progression, scale, riff, etc. learned on a diatonic can be played 
         in any key by changing harps. This does not make the diatonic any 
         easier to learn or teach. The diatonic harmonica (normally) is 
         tuned differently from a chromatic. The diatonic scheme is called 
         Richter tuning after the man who developed it. This tuning, 
         developed in the 1800's lends itself to blues and country/western 
         playing. This, I'm sure, was not Richter's original intent. Maybe 
         it had something to do with the way stringed instruments were 
         tuned. I do know that it gives us blow and draw chords on the low 
         and high end of the harmonica. We'll get more into that later.
    
    	 There are many techniques or styles to learn on the diatonic 
         harmonica and it can't all be written down in standard music 
         notation. With all that said I still believe one should be able to 
         play the "C" scale and some simple melodies on the diatonic by 
         reading standard music notation. Developing this ability as 
         beginners will only help as we learn more about the layout (tuning) 
         of your harmonica. For those who would eventually study the 
         chromatic harmonica it will be a step in the right direction.
    
    PLAING THE "C" SCALE
    
            (You will need a DIATONIC harmonica in the key of "C").
    
    	 The first thing you need to do is locate the "C" note above middle 
         "C" on your harmonica. This is easy, the first blow note is middle 
         "C", THE SECOND "C" NOTE IS found in hole # 4 blow. (Note: count 
         from the left up to hole 4). The holes are numbered from 1 to 10 on 
         the top cover plate). It may help if you cover the first three 
         holes with your finger or even a piece of tape. Practice until you 
         can play this note clearly. Soon you will not need to use your 
         fingers or the tape. Now look at the chart below.
    
                             Diatonic Tips - Page 2


    
                     DIATONIC HARMONICA LAYOUT  KEY of "C"

                  __ Middle C    __ C above
                 |    (blow)    |   middle C
                 V              V

                 1    2    3    4    5    6    7    8    9    10
               +---++---++---++---++---++---++---++---++---++---+
          BLOW | C || E || G || C || E || G || C || E || G || C |
               |   ||   ||   ||   ||   ||   ||   ||   ||   ||   |
          draw | d || g || b || d || f || a || b || d || f || a |
               +---++---++---++---++---++---++---++---++---++---+
                              ^                  ^
                              |__the "C" scale __|

      Holes 4 through 7 contain the C major scale. That is the notes...
      C (do), D (re), E (mi), F (fa), G (sol), A (la), B (ti), C (do) - or
      C, D, E, F, G, A, B, C (just like the ABC's except you start with C).
    
    	 It will help if you take the time to draw the following exercises 
         on a piece of blank manuscript paper (Music Work Sheet). You will 
         find a blank work sheet at the end of this lesson.
    
                     Hole  # 4
                     |                           THE FIRST HOLE (4)
                     V                              Notes C & D
                   +---+
                   | C | <--- blow             Draw this diagram on a
                   |---|                       blank music work sheet.
                   | d | <--- draw
               _   +---+                       Now play the C (blow) &
              |    ----------------            the D (draw) notes.
              |                                Alternating C, D, C, D etc.
              |    ----------------            until you can play them
              |                                clearly and smoothly.
    The Staff-|    ----------------
              |                                Look at (read) the music,
              |    ----------------            don't play by ear only.
              |                                Think the notes as you play.
              |_   ----------------
                             O
   Ledger Line -->    --O--                    DO NOT PROCEED FURTHER
                                               UNTIL YOU HAVE MASTERED
                        C    D                 THIS EXERCISE.
    
    	 Note the line below the staff in the above diagram. This is called 
         a ledger line. You will have to draw this in so you have a place to 
         put the "C" note. Ledger lines are used to locate notes which fall 
         above or below the standard five line musical staff.
    
    	 Now draw a diagram for hole # 5 beside your picture of hole # 4. 
         Practice the E and F notes until you can play them clearly.
    
    	 Now play holes 4 through 5 in sequence. Play (and read) C, D, E, F. 
         Practice these two holes until you master them, do not proceed 
         until you can play C, D, E, F clearly and smoothly.
    
                             Diatonic Tips - Page 3


    
    	 To save space I have drawn all four holes needed to play the "C" 
         scale below. Continue drawing and then practicing each hole 
         separately.
    
    	 Draw hole # 6 now and practice. Play holes 4, 5 and 6. Can you play 
         them smoothly and clearly now? O. K. proceed to hole # 7. This will 
         complete your diagram. It should look like the one below. Practice 
         hole # 7. Now Play holes 4, 5, 6, and 7 in sequence. Read from the 
         music you have just written. Play smoothly and with an even tempo. 
         Think the notes as you play. Tap your foot to keep time. Not too 
         fast, speed isn't important here. CRUTCH: Look at the music (your 
         diagram). Notice that BLOW notes are on a line of the music staff 
         and DRAW notes are on a space. So, if a note is on the line you 
         BLOW. If it is on a space you DRAW. Easy, huh!
    
    	 OOPS! What happened when you got to the B note, it's on a line! 
         Well. this is where the crutch breaks, or at least bends a little. 
         The rule flip flops here. The BLOW/DRAW/LINE/SPACE reverses. So 
         when you get to the B note you just reverse your thinking. You Draw 
         A, slide up to hole 7 while continuing to DRAW and you get the B 
         note. Then BLOW C and you have played the C major scale. Practice 
         this EVERY day.
    
    	 Below is a diagram of the C scale on the diatonic harmonica which 
         is tuned in the key of C. Complete your drawings mentioned above 
         from this diagram. 
    
    	 Keep in mind that holes 1, 2 & 3  and holes 8, 9, & 10 are not 
         shown here. We are not concerned with them just yet. Later on we 
         will study the layout of these holes and find out that they are 
         tuned differently and why (or at least what can be done with them). 
         This tuning sets the diatonic harmonica apart from the chromatic 
         harmonica. This is what makes the diatonic harmonica unique and a 
         very versatile and interesting instrument.
    

            Hole # 4     Hole # 5     Hole # 6     Hole # 7
           +---+        +---+        +---+        +---+         Note: C, E, G
           | C | <blow  | E | <blow  | G | <blow  | C | <blow <- are BLOW notes
           |---|        |---|        |---|        |---|
           | d | <draw  | f | <draw  | a | <draw  | b | <draw <--  D, F, A, B
           +---+        +---+        +---+        +---+          are DRAW notes
           -----------  -----------  -----------  -----------

           -----------  -----------  -----------  -----------
                                                          O
           -----------  -----------  -----------  ---O-------
                                             O
           -----------  -----------  ---O-------  -----------
                                O
           -----------  ----O------  -----------  -----------
                   O
            --O--

              C    D        E   F       G    A       B    C
    
                             Diatonic Tips - Page 4


    
    PLAYING DIATONIC HARMONICAS TUNED IN OTHER KEYS
    
    	 Now if you pick up a diatonic harmonica which is tuned in another 
         key you can "read" the C scale notation above and it will come out 
         in whatever key the harmonica is tuned to. For instance if you pick 
         up an "F" harmonica and play the scale in holes 4 through 7 in the 
         same blow-draw progression as above it will come out in "F". This 
         is not exactly "reading" music. You are reading "C" but the 
         harmonica is making it sound like "F" or whatever key it happens to 
         be tuned to. Pick up a "G" and you'll be playing in "G", pick up a 
         "Bb" and you will play in "Bb", etc. Keep in mind you are really 
         reading or thinking in the key of "C".
    
    	 Needless to say, diatonic harmonica players eventually own a whole 
         boat load of harmonicas tuned in various keys. There is nothing 
         wrong with this. There are many tunes that can be played in the 
         diatonic scale and there are many music and instruction books which 
         contain music written in "C". You can play songs from "C" music by 
         reading in "C" and it will come out in the key you desire by using 
         the proper harmonica. This is nice if you want to play along with 
         recordings in different keys or play for a sing-along in keys which 
         are better suited for the vocal range.
    
    	 Another feature of the diatonic harmonica is the ability to play in 
         the "close enough position". Someone coined that phrase, but I 
         don't know who to credit for it. Learning to play a single note is 
         important but this might be fun for you to try. Play a melody but 
         don't worry about sinle note. Rather, play two or three holes at 
         once. You must include the melody note of course but you will also 
         hear harmony and chords. This will sound good, you will be able to 
         distinguish the melody part from the other notes, and those other 
         notes will seldom, if ever, discord. This is because of the tuning 
         of the diatonic harmonica. There are some other diatonic harmonicas 
         available which also sound good with this technique. The tremolo or 
         echo harp has two reeds for each note, one tuned slightly off 
         pitch. This gives a natural wavering or tremolo effect and sounds 
         very pretty. Another is the octave tuned (Auto Valve, Full Concert 
         etc.). These harmonicas have two reeds for each note, one tuned an 
         octave (8 tones) apart from the other. The sound is dynamic and has 
         greater volume than a single reed. Some of these are Richter tuned 
         and some are solo tuned (like a chromatic). [Note: There is a 
         Richter tuned chromatic made by Hohner, the KOCH model 980/40]
    
    	 The items discussed so far are for beginners and ear players. The 
         intent is to get you started in the right direction and let you 
         have a little fun with the harmonica while laying down some basic 
         understanding of music and your instrument. We have only scratched 
         the surface of the diatonic harmonica. The possibilities of this 
         instrument are virtually limitless. You will surely want to go on 
         to learn about bending notes (a technique for playing notes that 
         do not appear on the tuning layout). This technique is necessary to 
         play blues, country and other styles. You will find that it is 
         possible to play in a key that the harmonica is not tuned to, i.e., 
         playing a "C" diatonic in the key of "G". This is called cross harp 
         (also called second position or suck harp due to the abundance of 
         draw notes used). I will not atempt to cover note bending or blues 
         harp, etc. here. There are many good instruction methods (books, 
         audio tapes, video tapes) already available for this.
    
                             Diatonic Tips - Page 5


    
    TONE
    
    	 Producing a clear, pretty tone on the harmonica requires proper 
         embouchure and breathing. Before you worry too much about tone you 
         should master your technique of getting a single note consistently 
         across the full range of the harmonica (See PLAYING A SINGLE NOTE). 
         If your tone is weak try this. While playing a note, pinch your 
         nose shut with your fingers. If the note suddenly gets louder you 
         are letting air pass through your nose. Pinching the nose forces 
         more air to go through the harmonica, producing a louder tone. No 
         air should be passing through your nose while you're playing, save 
         it for the harmonica. This is where breath control is important. 
         You will eventually learn to keep a reserve of air in your lungs 
         and actually be doing most of your breathing through the harmonica.
    
    EMBOUCHURE
    
    	 Embouchure also affects tone. Tone is affected by the way you hold 
         (shape) your tongue, the way you blow or draw through the 
         instrument and the way you position your jaw. Dropping the lower 
         jaw opens the air passage and allows air to flow more freely giving 
         a rounder tone. Try dropping your lower jaw while playing a note 
         and hear the difference. You should be bringing the air from way 
         down deep. The force (power) comes from the diaphragm. Remember how 
         it feels when you are fogging a mirror or your glasses; or how it 
         feels when you are blowing the last few breaths into a large 
         balloon? This is how it should feel when you are blowing into your 
         harmonica properly. Blow hard through a straw. This is how it 
         should NOT feel. Now, blow hard with your mouth open wide. This is 
         how it SHOULD feel when you are playing the harmonica properly.
    
    VIBRATO
    
    	 Vibrato, the slight lowering and raising of the pitch of a note, 
         also affects tone. Throat vibrato is what vocalists use. Well 
         controlled, light throat vibrato can produce a very pretty tone. 
         Heavier vibrato can be used for emphasis on a note or passage. 
         Vibrato should not be over done and it probably should not be used 
         at all on some songs. Of course this is a matter of personal taste. 
         Throat vibrato should not be done too fast. (see METHODS/VIBRATO).
    
    TONGUE BLOCKING
    
    	 Some say that tongue blocking (See PLAYING A SINGLE NOTE) produces 
         better tone than the pucker method of playing. Tongue blocking 
         sounds better (or at least different). If you are coupled 
         (embouchure) to the instrument differently it is going to sound 
         different. You should learn both methods but as a beginner I 
         suggest you choose the one that works best for you.
    
    	 Record your practice sessions and play them back. You will hear 
         what you sound like. The tape recorder is very unforgiving, it 
         repeats mistakes right along with the good stuff. Using a recorder 
         will help speed your progress. Save your tapes and compare later 
         ones with your beginning tape so you can hear the improvement. Use 
         an amp, a practice amp may be a good investment. You can hear what 
         your doing and it will give you experience using a microphone.
    
                             Diatonic Tips - Page 6


    
    METHODS of PRODUCING VIBRATO
    
    	 HAND VIBRATO (the simplest method, not really a vibrato)
    	 This is easy to master yet it can be effective. Many pros use it. 
         The hands form a "cup" or sound chamber around the harmonica. (See 
         HOLDING the HARMONICA). Vibrato is achieved by opening and closing 
         the hands. If your hands form a good seal around the harmonica you 
         can get vibrato by just wavering your bottom two fingers on the 
         left hand. Vibrato should be smooth and not too fast and should not 
         be over done. You can get vibrato by moving the right hand as well. 
         
    	 TONGUE VIBRATO (also simple)
    	 This method is also fairly simple to learn but should be used 
         sparingly. Tongue vibrato is achieved by swelling and relaxing the 
         tongue which changes the air flow. Say the words yoy, yoy, yoy. Try 
         it without the harmonica, you can feel your tongue change. Now try 
         it with the harmonica. Vibrato can be used with blow & draw notes. 
         
    	 THROAT VIBRATO (most difficult)
    	 This is the most difficult method to learn and also the most 
         desirable. This is how good players achieve that beautiful tone. It 
         can be used constantly yet subtly for good tone and emphasized for 
         a pretty or "schmaltzy" effect on certain passages. It can be 
         combined with hand vibrato. Heavy "schmaltzy" vibrato sometimes 
         sounds pretty but should be used sparingly, it too can be overdone.
    
    	 Throat Vibrato is really controlled by the diaphragm, however, you 
         feel it mostly in your throat. That's where it seems to come from.
    
    	 Here is an exercise you can do daily. It in itself will not give 
         you vibrato but it will exercise your diaphragm, improve your 
         breath control and also improve your speed playing. (1) Take a deep 
         breath. (2) let it all out. (3) Take a deep breath again. (4) Now, 
         while keeping the lungs inflated, exhale and inhale very rapidly as 
         long as you can. You are exhausting and replenishing your air 
         rapidly while maintaining an air reserve in your lungs. (Don't do 
         this too long at first as it will probably make you dizzy - 
         practice this daily and gradually increase the length of time you 
         do it). The rapid exhale and inhale is controlled with your 
         diaphragm. Your chest should not be puffing in and out but you 
         should be able to see and feel your stomach (lower abdomen) moving 
         in and out rapidly. Kind of like a dog panting. In fact, now that I 
         think about it, it's exactly like a dog panting.
    
    
    EXERCISES FOR VIBRATO:
    
    	 Example #1 - Play a single note at a slow tempo while tapping your 
         foot in time, play one note per tap. Now play two notes per tap, 
         (keep the same tempo). Next, while keeping the foot tap constant, 
         play three notes per tap. Finally, smooth out the note so that it 
         becomes a wavering sound instead of three separate notes. To get 
         the vibrato you must flat the note slightly. It is the repeated 
         lowering and raising of pitch which produces vibrato. This exercise 
         should be done in one breath. You can think of it as playing a half 
         note, then two quarter notes, then triplets and finally a constant, 
         smoothed out, wavering tone. Practice the exercise below.
    
                             Diatonic Tips - Page 7


    
    VIBRATO EXERCISES #1
    
    Tap->  ........ 1 ........   ........ 2 ........   ........ 3 ........
    
    Play->  Taaaaaaaaaaaaaaaa     Taaaaaaa Taaaaaaa     Taaaa Taaaa Taaaa
    
    Value->     half note         1/4 note 1/4 note       tri - pl -  et      
         
    
    
    VIBRATO EXERCISES #2
    
    	 (Without the harmonica) Say AHhhhhhhhhh. Now chop up the AHhhhh 
         with little coughs. AHhAHhAHh etc. Practice this while exhaling and 
         inhaling. This will probably make you choke or gag and cause your 
         eyes to water, especially on the inhale. If it does, you're doing 
         it right. Gradually increase the speed of the "cough" and 
         concentrate on smoothing it out and eliminating the cough sound. 
         (Maybe this is where the term throat vibrato comes from because you 
         can feel it there). As you smooth out and eliminate the cough sound 
         you can feel that it is your diaphragm that is doing the work. Now 
         try this while playing a note on the harmonica. It is easiest in 
         the low register, high notes are harder to get vibrato on, so start 
         out with the low notes and you will see (hear) results quicker. An 
         E (blow 5) and F (draw 5) on a 10 hole are probably the easiest to 
         get vibrato on. Notes lower or higher come with a little more 
         difficulty. Eventually you should be able to get vibrato throughout 
         the range of the harmonica, then you will have good tone. Vibrato 
         should not be too fast, moderate speed gives best results.
    
    	 Experiment with both methods above. Find out which example works 
         best for you and then practice daily. Good luck and good vibrato!
    
    
    SUMMARY
    
    	 This completes this section of DIATONIC TIPS for now. Many of the 
         techniques you learn through study of this material will be useful 
         on the chromatic and other harmonicas. I have attempted here to 
         give you some information not available in most other harmonica 
         methods. This is by no means a complete method in itself. Study 
         from other harmonica methods, listen to recordings and develope 
         your style. I don't think there is any single method and there are 
         no shortcuts to becoming a musician. Remember the three rules of 
         musicianship; practice, PRACTICE, P R A C T I C E !
    
    	 I hope this material helps you. I would be interested in any 
         comments or suggestions you might have.
    
                                 SPECIAL CREDIT
    
    	 I would like to thank my favorite mentor, Julian Hall, of Chicago, 
         whom I met and studied under at a Murad - Pedersen Harmonica 
         Seminar in Akron. His teachings and encouragement not only improved 
         my playing but gave me the desire and ability to pursue teaching 
         harmonica myself. A dream which was a long time in coming true.
    
    	     					Jack N. Ely
    
                             Diatonic Tips - Page 8


          (Use this MUSIC WORK SHEET to draw your practice exercises)
    
    
    
    



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                             Diatonic Tips - Page 9