Hello all, I haven't read the entire thread but after reading Dezzy's post I got the idea he, and maybe others, are looking for sheet music. Here is a website, "8notes.com", that may help. www.8notes.com/trad.asp?instrument_Id=101
oneangel7, although very helpful I have found that it isn't 100% accurate. If, after finding the desired song's key, you find that your harmonica playing doesn't sound, "quite right", it may be that the stated key is incorrect.
Spideryak, I'm with you on not knowing what the Camelot number is. Here is what I found out. The best I can figure the Camelot System is used by DJs who need to know what song keys are compatible. DJs use this when doing harmonic mixing.
I got this info from here: www.harmonic-mixing.com/howto.aspx
Hi All, It has been awhile since I have posted anything although I do lurk and read what you all have to say. I am posting today cause I found a website that I think may be of interest to some of you.
A technique I often use to improve my skills is to play along with other people's music not really trying to play what they are playing but rather using their harmonies to provide a background for my playing although sometimes I do try to copy and memorize certain riffs.
Anyway, I often have difficulty determining the key of a song that interests me. Well, I found this very useful website. Enter the name of a song, or artist, and you are presented with the key of the song, BPM, and other info. It really comes in handy for me and perhaps it will for you too.
Song Key BPM
Spideryak, pretty cool BT but much too complex and fast for my skill level. What your post did for me, however, was to use a site I found awhile back to go looking for BT progressions other than the 1, 4, 5.
The site listed below has a number of different progressions and songs using them, (click on the progression for a list), but no backing tracks. I have, for quite awhile, tried to hear how different progressions sound but have had no success at doing this listening to songs.
What your post did for me was to think of a way to find backing tracks in different progressions. I am taking a progression from the site and searching YouTube for backing tracks matching a progression. SUCCESS!!.
Finding BT with a variety of different progressions is allowing me to play along with tracks other than using the blues standard of 1, 4, 5.
Keith, I, too, have a, "long way to go". I use a book, "Modern Reading Text in 4/4", by Louis Bellson, to practice timing. Currently running my metronome at 60BPM. I have attached 2 pages from the book that I found on the Internet.
Yes Andy, you are correct. Learning to play the harmonica comes first. Timing is something that comes after you can play good solid notes. I guess that is where I am at today cause I am committed to improving my timing skills. I have approached this in the past only to give up, but, no more, I am on the, "path to good timing!"
spideryak, I wonder if by a, "split chord", you mean what I call an octave? The covering of 2 or 3 holes in the middle and playing the two holes on each end. This is great in 3rd position because there is so much you can do with this technique. As for tongue blocking the lower holes I tend to pucker holes 1 and 2 and tongue block the other 8.
As for playing octaves, (split chords?), Jason Ricci has a tutorial on this located here: www.youtube.com/watch?v=lTsT6EaAPQ8&t=3s
So, I don't get it. Well, that's not exactly accurate but here are my thoughts. Yes, I can agree with those of you who believe that playing in, "your own groove", or "playing without any outside constraints", is good as long as you don't intend to play with other musicians.
If, however, you do desire to play along with others than I don't see how you can have your own groove or not be constrained by the baseline of the band. Having a group of musicians all playing to their own groove would result in a chaotic cacophony of noise, I think, but not having a lot of experience with bands perhaps I am wrong.
Also, being able to recognize when playing on an upbeat instead of a downbeat, or coming in in the middle of a triplet or starting a riff on the final beat of a sixteenth note or swinging eighth notes and sixteenth notes, all things that can add something cool to the sound, are not possible without having impeccable timing, are they?
This is the kind of playing I am striving for and, for now, the only way I see of getting there is to use a metronome to lock in my timing and it is very difficult for me at this stage of my playing.
A lot of discussion on playing solid notes which, of course, is important, but, what about timing?
For me, I find when I practice scales and play in various positions including draw/blow bends in all three octaves on the diatonic practice becomes really challenging when I do these activities with the metronome.
Accurate timing is very difficult for me. It is so difficult, in fact, that I avoid practicing it, (that doesn't make a lot of sense does it?). Well, I have now picked it up again while trying to learn Kim Wilson's rendition of, "The Telephone Blues".
Do you ever practice using a metronome?
"Just remember Johno; there's a lot more to playing a harmonica than being able to bend a note."
Sarge, you sure have that right!
Great ideas and suggestions.....Thanks to all!
Reading lots of posts I see that many of you own many harmonicas. I am beginning to amass a few and my case for 7 is too small. I have been looking on the internet for larger cases and read lots of negative comments which begs me to ask, how do you store them?
Here is a book that I find quite useful.
Blues Harmonica For Dummies By Winslow Yerxa
Winslow also has written the book, "Harmonica for Dummies".
Sarge, and others, sorry for the lack of explanation. Let me see if I can better explain what I am trying to share.
The graphics shown in the pdf file are representative of a diatonic harmonica the left end being 1 hole right end being the 10 hole. I have updated the diagram from my earlier post.
When I speak of scale degrees I am associating a note with a number so on a 'C' harmonica and an 'A' harmonica the scale would look like this:
C D E F G A B C
A B C# D E F# G# A
1 2 3 4 5 6 7 1 - scale degrees
The number one note is the root note. I have highlighted these in red on the diagram.
Here is the Blues Scale on a C harmonica and on an A harmonica in second position, (the most popular blues position), the scale degrees is noted below the scales.
G Bb C Db D F G
E G A Bb B D E
1 f3 4 f5 5 f7 1
Once you get used to it you will find it is much easier to think in scale degrees because you don't have to remember the notes on all harmonicas.
This is why my 1st -- 4th position diagram is labeled in scale degrees.
To play the Blues Scale across all octaves you tab out the scale degree positions on the harp. You do not have to remember notes only numbers. Here is the tabbing for second position blues on the low octave applied to any key harmonica.
1 f3 4 f5 5 f7 1
2d 3' 4b 4' 4d 5d 6b -- the (") double bend and (') single bend.
As you move up to other octaves apply the same idea noted above.
Been learning and memorizing the blues scale in 1st, 2nd, 3rd, and 4th position. Here is a layout, in scale degrees, of the blues scale in those positions. Hope someone finds it useful.