John Tyler’s complete course, based on well-known folk and rock songs,

enables you to play right from lesson one and progress to an advanced level
Easy-to-follow text with clear demonstration photographs.
Ideal for classroom or private use.

fo a
 i 0

0
 The
Complete
Harmonica
Haver

Wise Publications
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This book © Copyright 1993 by Wise Publications

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 Parti
Introduction 6
First Steps To Playing 7
Notes, Rests and Ties 9
Wooden Heart 10
Second Steps To Playing 11
The Scale of C Major 12
Amazing Grace 12
Down In The Valley 13
The Streets Of Laredo 13
Morning Has Broken 14
Puff (The Magic Dragon) 15
Key Signatures 16
Amazing Grace (in F) 16
Amazing Grace (in G) 17
The Yellow Rose Of Texas 18
Vibrato 19

Part 2
Introduction 22
From Both Sides Now 23
King Of The Road 24
Other Major Keys 25
Pd Like To Teach The
World To Sing 26
Playing Tips 27
Yesterday 28
Tie A Yellow Ribbon Round The
Ole Oak Tree 29
Spanish Flea (in C) 30
Key of G Major 31
Streets Of London 32
Leaving On A Jet Plane 33
Gonna Build A Mountain 34
D And Eb Majors 35
Can’t Help Falling In Love 36
Bb Major Scale 36
Theme From A Summer Place 37
Scales For Reference 39
Yellow Submarine 40
The Midnight Special 41
Scarborough Fair 42
Where Have All The Flowers Gone 43
When I’m Sixty Four 44
Swing Low, Sweet Chariot 45
Blowin’ In The Wind 46
Summary 47
Some Harmonica History 48
 Theme From A Summer Place Scarborough Fair
Composed by Max Steiner. Traditional.
© Copyright 1960 by M Witmark & Sons, USA. © Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl.
Warner Chappell Music limited, 129 Park Street, London Wl for the All Rights Reserved. International Copyri^t Secured.
British Commonwealth of Nations (excluding Canada & Australasia) and Eire.
All Rights Reserved. International Copyright Secured.
Spanish Flea
By Julius Wechter.
Amazing Grace
© Copyright 1965 Almo Music Corporation, USA.
Traditional.
Warner Chappell Music Limited, 129 Park Street, London Wl.
© Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl.
All Rights Reserved. International Copyright Secured.
All Rights Reserved. International Copyright Secured.

Blowin* In The Wind The Streets Of Laredo

Words & Music by Bob Dylan. ' Words & Music by Jay Livingston & Ray Evans.

© Copyright 1962 Warner Brothers Music. © Cwyright 1949 Famous Music Corporation, USA.

Copyright renewed 1990 SPECIAL RIDER MUSIC. Warner CMppell Music Limited, 129 Park Street, London Wl.

This arrangement © Copyright 1993 SPECIAL RIDER MUSIC. All Rights Reserved. International Copyright Secured.

All Rights Reserved. International Copyright Secured.

Streets Of London
Can’t Help Falling In Love Words & Music by Ralph McTell.
Words & Music by George Weiss, Hugo Peretti & Luigi Creatore. © Copyright 1968,1972 Westminster Music Limited,
© Copyright 1961 by Gladys Music Incorporated, USA. Suite 2.07, Plaza 535 Kings Road, London SWIO.
Carlin Music Corporation, Iron Bridge House, 3 Bridge Approach, London NWl All Rights Reserved. International Copyright Secured.
for the territory of United Kingdom of Great Britain and Northern Ireland, Eire,
Israel & the British Dominions, Colonies, Overseas Territories & Dependencies
Swing Low, Sweet Chariot
(excluding Canada Australia and New Zealand).
Traditional.
All Rights Reserved. International Copyright Secured.
© Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl.
All Rights Reserved. International Copyright Secured.
Down In The Valley
Traditional.
© Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl. The Midnight Special
All Rights Reserved. International Copyright Secured. Traditional. '
© Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl.
From Both Sides Now All Rights Reserved. International Copyright Secured.
Words & Music by Joni Mitchell.
© Copyright 1967 Siquomb Publishing Corporation, USA.
Tie A Yellow Ribbon ’Round The Ole Oak Tree
Westminster Music Limited, Suite 2.07, Plaza 535 Kings Road, London SWIO.
Words & Music by Irwin Levine & L. Russell Brown.
All Rights Reserved. International Copyright Secured.
© Copyright 1972 Levine & Brown Music Incorporated, USA.
Sub-published by Peermusic (UK) Limited, 8 Denmark Street, London WC2.
Gonna Build A Mountain
All Rights Reserved. International Copyright Secured.
Words & Music by Leslie Bricusse & Anthony Newley.
© Copyright 1961 by TRO Essex Music Limited,
Suite 2.07, Plaza 535 Kings Road, London SWIO. When I’m Sixty Four
All Rights Reserved. International Copyright Secured. Words & Music by John Lennon & Paul McCartney.
© Copyright 1967 Northern Songs.
I’d Like To Teach The World To Sing All Rights Reserved. International Copyright Secured.
Words & Music by Roger Cook, Roger Greenaway, Billy Backer & Billy Davis.
© Copyright 1971 by The Coca Cola Company.
Where Have All The Flowers Gone
© Copyright assigned to Shada Music Incorporated, USA.
Words & Music by Pete Seeger.
Rights assigned 1971 for the UK and Eire to Cookaway Music Limited, London Wl.
© Copyright 1961 Sanga Music Incorporated, USA.
All Rights Reserved. International Copyright Secured.
Assigned to Harmony Music Limited, la Farm Place, London W8.
All Rights Reserved. International Copyright Secured.
King Of The Road
Words & Music by Roger Miller.
© Copyright 1964 Tree Publishing Company Incorporated, USA. Wooden Heart
Burlington Music Company Limited, 129 Park Street, London Wl for the Words & Music by Fred Wise, Ben Weisman, Kay Twomey & Berthold Kaempfert.
British Commonwealth, Eire, Australasia, South Africa, Benelux, Scandinavia, © Copyright 1960 Gladys Music Incorporated, New York, USA.
Finland, Italy, France, Brazil, Germany, Austria, Argentina, Chile & Uruguay. Carlin Music Corporation, Iron Bridge House, 3 Bridge Approach, London NWl
All Rights Reserved. International Copyright Secured. for the Urvited Kingdom of Great Britain and Northern Ireland, Eire, Israel and the
British Dominions, Colonies, Overseas Territories & Dependencies
Leaving On A Jet Plane (excluding Canada, Australia & New Zealand).
Words & Music by John Denver. All Rights Reserved. International Copyright Secured.
© Copyright 1967 & 1971 Cherry Lane Music Company Incorporated.
Assigned to Harmony Music Limited, la Farm Place, London W8 for the
The Yellow Rose Of Texas
British Commonwealth (excluding Canada) also the Republics of Ireland and South A&ica.
Traditional.
All Rights Reserved. International Copyright Secured.
O Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl.
All Rights Reserved. International Copyright Secured.
Morning Has Broken
Music Traditional.
© Copyright 1993 Dorsey Brothers Music Limited, 8/9 Frith Street, London Wl. Yellow Submarine
All Rights Reserved. International Copyright Secured. Words & Music by John Lennon & Paul McCartney.
© Copyright 1966 Northern Songs.
Puff (The Magic Dragon) Rights Reserved. International Copyright Secured.
Words & Music by Peter Yarrow & Leonard Lipton.
© Copyright 1962 by Pepamar Music Corporation. Yesterday
Warner Chappell Music Limited, 129 Park Street, London Wl for Words & Music by John Lennon & Paul McCartney.
British Commonwealth of Nations (excluding Canada and Austr alasia) and Eire. © Copyright 1965 Northern Songs.
All Rights Reserved. International Copyright Secured. All Rights Reserved. International Copyright Secured.
Parti
 Introduction
Learning to play the harmonica (or
mouth organ) is a lot of fun. This
tutor is rather special in the way it
teaches you to play. Part 2,
especially, contains many popular
standards.

We intend you to be successful! Many Meisterklasse

people who have taken up the
harmonica have not been able to
progress very far. One big difficulty is
getting good single notes.

If you are holding the Hohner

Meisterklasse harmonica you have a
built-in bonus in learning to play,
although this mtor may be used with
any C harmonica (including
chromatics) if hole one blowing is
middle C. These would be the Cross
Harp, Pro Harp, Blues Harp and
the CX12.

We’ll deal with chromatic harmonicas

in Part 2. In addition there are various
kinds of diatonic harmonicas which
are different in layout from the Hohner
range.

You will recognise a chromatic

harmonica by the slide at the end of it.
As the notes of the Meisterklasse are
laid out in exactly the same way as the
chromatic, it will be easy to progress to
the advanced instrument at a later
stage. You will have heard the
harmonica on radio, record, TV and
films. Now, it’s your turn to play.

6
 First Steps to Playing
Wanning Up To start with, have the harmonica out
for a few minutes at a time and repeat
Take your harmonica in your hand
this sequence.
with the hole numbers on the top plate
facing you. To do the job properly,
Now for something new. Blow and draw
warm the harmonica before you play it:
in hole 5; then do exactly the same in
hold the mouthpiece in the palm of your
hole 6. You have now found four notes
hand.
and, as they are repeated lower down,
that means eight notes out of the sixteen
on your harmonica!

Put the notes you have learnt together-

like this: hole 5 blow/draw, hole 6 blow/
draw. Did that sound a httle famihar? It
is the first half of a scale and it looks like
this:

After a few minutes, it is ready for There is a lot in that httle picture and
playing. The harmonica is new, so blow you’U pick up the special language of
and draw gently. Put the harmonica to music as you go along. Just for now,
your mouth and blow a mouthful of enjoy getting four clear notes. Then you
notes - gently! If that sounded too can play this to a count of four.
heavy or too breathy, try to take it nice
5 (5) 5 (5) 5 6 5 6
and easy, and relax. Breathiness can be
cured by keeping an air-tight seal round
the notes.
1 2 3 4 1 2 3 4
Take another look at your harmonica.
Hold it in a comfortable way and let
(6) (6) 6 6 (5) (5) 5 5
your hps find the hole marked 5. Now
blow into it gently but firmly. Then,
keeping very relaxed - don’t gasp at it! -
draw in hole 5. Now blow and draw
gently a few times in hole 5. Keep that
4 -P—

1 2
W~W

3 4 1 2
WL-M.

3 4

air-tight but relaxed mouth formation Notice you moved from 6 blow to 5
round the hole. blow. Make this smooth by moving the
harmonica and not your head.
Stop for now. The next job is very
important: taplhe moisture from the
mouth organ on to the palm of the
hand.

7
How about tr3dng this fun tune entitled Think about all that now, as you play
‘Student’s Stomp’? The curves over the this next tune called ‘Happy Days’.
music are known as phrase marks
and they act like punctuation in 5 (6) (5) 6 5 (5) (5)
language. Try it:
0—0

5 5 5 5 (5) (5) (5) (5)

6 5 (6) rS) 6 fS) 5 5

Now for two forward steps.

First, look at the harmonica and hole 7.

Draw and blow in that hole a few times.
Make each note sharp and clear, then Then it’s up the scale for two more
you will know that you are sounding steps. Like this:
single notes - but not too loudly!
(7)
Just look at that tune for a moment. It is
written on or between lines which are
known as the stave. izizizzizz:^=:

Now you know six notes out of eight.

The sign at the beginning That’s twelve out of sixteen! Are the
or treble clef. single notes coming easily?

You have seen that each crotchet is

The four crotchets (or quarter notes)
worth one beat. Another note, a
to a bar are shown by the time
minim, (J ) is worth two crotchet beats
signature, (C), also called common
but is only sounded once.
time and often written as 4.
Here it is in a tune called ‘Lazy Days’.
Each bar is marked by a bar line. In 4
time, each bar must add up to four
crotchet beats. 5 6 7 (7) (6) (5)

7 6 (6) (5)

4 n"..' a

8
In the first tune below, ‘Hobbies’, we use In the second tune we count three
crotchets and minims again but this crotchet beats to the bar, as shown,
time we count two crotchet beats to the
bar.

123123 123 123 123 123 123 123

Notes, Rests and Ties

Go back over all the work you have Ready to move on to some new tunes?
done so far and be sure of all the steps.
You come now to a different order of These introduce quavers, (J'l), which
notes. So far it has been blow/draw, are half the value of a crotchet, so two
blow/draw, blow/draw, but at hole 8, quavers equal one crotchet.
there is a change. It is drazv/blozv. Try it
a few times to get used to it then, very
smoothly, moving only the harmonica,
play:
They may be joined like this:
7 (7) (8) 8
n
Here are the rests to go with the notes:

minim
Now has come the time to give each
note its proper name:
^ crotchet

•/ quaver

Watch out for them!

When two adjacent notes of the same

pitch are joined by a tie
(see * in ‘Wooden Heart’), only the first
note is sounded and that sound
prolonged into the second. A tie acts
like an addition sign. Thus,
is worth five beats.

9
 Wooden Heart
5 (5) 6 6 7 (6) (6) (7) 7 (7) 7 (6) 6

7 (7)7 (6) 6 6 7 (6) (6) 6 (5) 7 6

'V
m m-r-n- m—P-~G- -n-
r—F~T
-¥- —^-

5 (5) 6 6 7 (6) (6) (7) 7 (7) 7 (6) 6

7 (7)7 (6) 6 6 7 (6) (6) 6 (5) 6 5

7 7 7 (7) (7) 8 (8) (7) 7 5 (5)

6 6 7 (6) (6) (7) 7 (7) 7 (6) 6 6 7 (7) 7 (6)

10
 Second Steps to Playing
Single Note Playing You will have noticed that we have used
the numbers on the top cover plate to
The Meisterklasse has made it easy for guide us. However, playing by numbers
you to get single notes. Now I want is not playing by music, so don’t rely on
you to try to use your tongue. You may them too much. Music is a language and
use a ‘whistle’ method but the tongue it is not too difficult to learn it - if you
is better. Try hole 5. Block off the holes approach it in the right way. A music
to the left with your tongue. Use your teacher will always be pleased to help
lip to block the other side, like this: with the theory.

Some Musical Terms

Here are some expression marks for you

123456789 10 to learn. It won’t take long to get used to
them but it is very important for you to
know them in order to ‘read’ music
Holding the Harmonica
Now, to hold the harmonica properly.
Place it in your left hand Hke this:
staccato
rr
accent
rr
pause
rr
repeat signs

Bring your right hand round like this: diminuendo ~ (get softer)
crescendo — (get louder)

There are many, many Italian words

that you will meet and I recommend
that you study the rudiments of music.
Here are a few common ones:

piano (p) - soft

forte 0 -loud
andante - an easy walking pace
allegro - quick, lively

11
 The Scale of C Major
1 (1) 2 (2) 3 (3) (4) 4 5 (5) 6 (6) 7 (7) (8) 8
^ ^ ^ —
-^ o o Q
31=35:
~n~
o Q
$ O o
CDEFGABCCDE EGA BC

The above music shows the whole range Now you’ve tyorked at the upper scales,
of your harmonica in notation. look at the lower ones. Before you play
these tunes, notice we have two C’s in
the middle of the harmonica in holes 4
and 5. Choose one. Don’t play them
both or they will sound unpleasant.

Amazing Grace
is a triplet and means three
notes played in the time
normally taken to play two.

6 (5) 5 6 6 (5) 5 (3) 3

7 6 (5) 5 6 6 (5) 5 (3) 3 3 5

5 6 (5) 5 6 (5) 5

12
 Down In The Valley

The Streets Of Laredo

7 7 (6) 6 (6) 7 (6) 6 (5) 4 (4) 3 3

■ p — »—w--0- m— •—I- A r-h- r

^ o m J ]
- 1 j -2_m
L

13
 Morning Has Broken
We’ll go now to the lowest notes. Play Try these well-known tunes in the lower
the first tunes again using these notes: register.
they are eight notes or an octave lower Watch out for all you have learnt about
than before. Don’t blow too hard - keep note values and so on.
it gentle but firm. Check for clarity of
sound.

1 2 3 5 _(5) '(4) (3)3 (3) (4) (3) 3

14
 Puff (The Magic Dragon)
Before we play ‘Puff, there are two tricky bars and will need a bit of extra
points to consider. First, dotted notes. work Don’t forget to count. Notice also
A dot after a note makes that note half the repeat sign at the end of the piece.
as long again. Thus, in bar 4, the dotted This time, chord symbols are given -
( J.
n^iiiini ) equals + J J so ask a guitarist or banjo picker to play
Second, in bars 5 and 13, the natural along with you!
accent is displaced by the quaver/
dotted crotchet rhythm. These are

4 4 4 (4)

Em

(2) (2) 3 (2) 2 3 4 4 4 4 (3) (4) 5 (5)

7^—“Y 5- - "m J •" —e-

fm ’ • f M • n
J » T.. m ^ -=— —y -N
Dm G7 C Am D7 G7

4 4 4 4 (4) 3 (3) 4 4 3 3

i i r ■■ p
—k—Ft- —p— —L — i-i-J
C Em F C

(2)(2) 3 (2) 2 3 4 4 4 (3) 4 (4) (5) 5

15
 Key Signatures
All the tunes so far have been in the key C major is A minor, and the following
of C major. The relative minor of melody in that key will help you with the
lower notes.

(3) (3) 6 (3) (3) 2 1 (1) 2 (2) (3) 5 (4) (4) (3)

It is possible to play in Keys other than

C on the Student Harmonica. There
are twelve major keys altogether, and
each one has its own key signature. For
example, the key of F major has one
flat and G major has one sharp. F major G major

Amazing Grace (in F)

1 (2) (2) (3) 3 (2) (3) (3) 3 (2) (1) 1 1 (2)

F Bt F

4 (3) 3 (2) (3) (3) 3 (2) (1) 1 1 (2)

(2) (3) 3 (2) (3) 3 (2)

16
 Amazing Grace (in G)
(1) 3 3 (4) (3) 3 (4) (4) (3) 3 2 (1) (1) 3

G C G

3 (4) (3) 3 (4) (3) (4) (5) (4) (5)

(5) (4) (3) 3 (4) (4) (3) 3 2 (1) (1) 3

17
 The Yellow Rose Of Texas
3 (2) 2 3 3 3 (3) 3 (2) 2 3 5 (5) 6 6

3 6 6 6 6 (5)

2 3 3 3 (3) 3 (2) 2 3 5 (5) 6 3

3 (6) (6) (6) (6) 6 (5) 5 5 3 6 (5) 5 3 (2)

3 6 6 6 6 (5) 4 (4) 5 (5) 6 (5) 3 (2)

2 3 3 3 (3) 3 3 (2) 2 3 5 (5) 6 3 3

3 (6) (6) (6) (6) 6 (5) 5 5 3 6 (5) 5

G7 C

18
The Vibrato

Another musical device is the vibrato.

This is achieved by gently opening and
closing the hands - slowly. A fast ‘wah-
wah’ sound is very ugly to listen to.
Either the right or left hand may be
used. I always use the left so that the
right is free for the slide on the
chromatic harmonica.

19
 "t itiKIMft •»: 'TUIti- >t:»
■-»'«*jMt'•.. ,4ii VT//«i'

^ -" f ■ T,4»*»4 *^.’ Hi rw|} ii'ii:.! .' ^

. » *- %■■* -U "Ml r^iwlcl .bvif
L. . Vti ' '' -b fw'
? 'yi . v,-‘. a

<4

"'oVMBi

c
k^'.WHL.
Part 2
 Part 2
If you have studied Part I thoroughly, Holes 9-12 of the CXI 2 offer the next
you will already know many tunes and I octave up, like this:
hope will be able to play anything in C
using the notes on the Student 9 (9) 10 (10)
Harmonica.

Moving to the chromatic harmonica is a

big and exciting step. Check that you
can still remember all the things you
have learned so far. 11 (11) (12) 12

Are you looking after the instrument? ^ _ zi

I " "
Can you hear good, clear, single notes?
Are you using your hands properly?
Are you now able to play with a full
tone and open throat?

Keep the harmonica well back in the The 16 hole model has many fans
mouth. Remember, the sound matters amongst professionals in the USA and
most of all. BriUiant note playing can be on the Continent.
ruined by poor tone.
The CXI2 is recommended for its
You have now chosen the way of easy slide action and good tone.
obtaining single notes that suits you
best. Remember, the tongue blocking Warming Up
method offers the chance of playing
octaves and other intervals and, in my Remember to take your harmonica in
view, gives a richer sound, allowing your left hand with the hole numbers on
more control of the instrument. the top plate facing you. To do the job
properly, warm the harmonica before
The CX12 you play it by holding the mouthpiece
in the palm of your hand.

Now you’ve bought your chromatic, go

back over all the music played in
Part I. Now try these two new
melodies. Make sure the chromatic is
well warmed as it takes a bit more
effort to get a good sound.

You should be able to work at the

tunes without using the numbers except
This instrument has long been popular from time to time as a prop.
in this country with professionals and
good amateurs. The first eight holes of
the Meisterklasse harmonica are the
same as the CXI 2, but without the
slide.

22
 From Both Sides Now
3 3 (2) 2 (2) 3 1 (1) 2 3 3 (4) (4) 5

i.‘j' j. j'lj i i
F C

5 6 (2) 3 (2)2 (2) 3 3 3 (2) 3 (1)

■0-^
±
$ -u
Dm7 G

3 _3 (2) 2 ) 3 1 (1) 2 3 3 (4) (4) 5 5 5

* >s

£
0-0

5 6 (2) 3 (2)2 (2) 3 3 3 (2) 3 (1)

22
$
Dm7 G

6 6 6 (5)_6 (6) 6 5 (6) 6 3

(6) 6 4 (4) 4 (4) (3) 3 113

E
$
F C

3 (2) (2)2 2 1 1 2 (1)1

--

■0“ -5*- o- -o-

C F C F C"-^
F

23
 King Of The Road
Watch the rests!

4 3 2 (1) 2 00 (4) 3 CJ) 1 1 1

#-4., jT-‘n—r ' T ■■ ■ ^ .3—

G7 c ^

4 3 2 (1) 2 (2) 3 3 (4) 5 (5)4 (4) 3(3)

-i if] -fc-r-i V- i p- PK-"

r
J-J -J
F G7

6 (5) 4_4 (3) 4(3) 3 (5)4 (4) 4

2=S -to ... --J J ■ —=-^ -'J* 3 -1

4^ ^
m---

-
:-
C7 F G7 C

24
 Other Major Keys
You will remember that there are 12 In order to retain this structure,
major scales, all sharing the same basic subsequent major scales are modified
structure: by the addition of sharps or flats.
TONE TONE SEMITONE TONE
TONE TONE SEMITONE
By way of example, look again at the
scale of C major:

Start with F major: the fourth note is

Bb and you get it by playing hole 3 draw
with the slide in. Have your index
finger on the slide already and keep
your hands in the correct playing
position.

Now play the scale of F major up and

down. (-►) means put the slide in.

(2) 3 (3) (3) 5 (5) 6

XE

$ XE
XE

(6) 6 (5) 5 (3) (3) 3 (2)

$ XE
O XE
XSZ

25
I’d Like To Teach The World To Sing
(1) 1 (1)(2){1) 1 (1)(2) (2) 3 (3) 3 (3)3 (3)

F G7

3 (3) 4 (3) 3 (3) 4

1 (1) (2) (1) 1 (1) (2) (2) 3 (3) 3 (3) 3 , (3)

3 (3) 4 (3) 3 (3) 4 (3) (2) 3 (2) (1) (2) (1)

S’"!- ■ M ■ -
CT »- J d: :»■ -.'d- z
C7 C7 C7 Bb F

1 (1) (2) (1) 1 (1) (2) (2) 3 (3) 3 (3) 3 (3)

- ij
^t^j jg
TTr
j
^ V «>■ ■* i'

3 (3) 4 (3) 3 (3) 4 (3) (2) 3 (2) (1)(2)

26
Playing Tips after the sign. The natural sign (t])
restores a note that was previously sharp
Now for a few tips. On a chromatic
or flat to a natural one. These are called
harmonica two little tricks will help you accidentals and they generally occur
to save breath. (In fact you can edit your when notes are required that fall outside
own music.)
the home key.
Every F in a draw hole can also be Here to help you is a beautiful melody
obtained by blowing in the same hole that will enhance every facet of your
with the slide in (except hole 10 on the playing. It will need a great deal of
Educator 11 when the blow note is G). work. Play it with a good tone and use
the vibrato tastefully.
Every C, except middle C on the
Chrometta 8 and the Super Watch the natural B and sharpened C.
Chromonica, may be obtained by You will find Cll in holes 4 or 5 blowing
drawing in the same hole with the slide with the sHde in. Hole 5 is the better
in. choice here. Chord symbols for guitar,
banjo, and the like are included. Try
This does not apply to the very top hole:
playing it with somebody else: you’ll
the draw note is D = an extra note.
enjoy the experience.
Accidentals
The accidentals are marked with a sUde
Another musical device is to put a sharp mark (-►). The hole numbers with a
sign (jl) to raise or a flat sign (b) to bracket are draw notes.
lower the note that follows immediately

27
 Yesterday

(5) (5) 5 (3X3) 3 (3) (3X3) 3 (2) (3) 3 (1) (2) (3)(3)

Bl. C7 C Dm Bb

(5)(5)5(3)(3)3 (3) (3)(3) 3 (2) (3)3_01(2) (3)(3)

Bb C7 F
m Dm G Bb F

(3) (3) (5) 6 (6) 6 (5) 6 (5) 5 (5) (3)

a.:—ig 331

Em7 A7 Dm Bb Gm C7 F

(3) (3) (5) 6 (6) 6 (5) 6 (5) 5 6 (6)

:— ■— ^— W-^ — ■V ^ - a- -©-
■J ■
z c; c
i— ....J ^—
——

3 (2) (2) (3) (4) 5 (5) 6 (6) 6 (5) (5)

i p—^

Em7 A7 Dm Dm7

28
 (2) (3) (3) (2) (3) 3 (1) (2) (3) (3)

I i II
Bb F G

Tie A Yellow Ribbon

’Round The Ole Oak Tree
Let the slide in and out clearly and precisely.

(2)(2)(3) 4 4 4 2 2 5 5 5 (5) 4 4 (3)

$ i m
p p 0
Am Cm
(3) (3) (3) 4 (3) 4 4 (3) 4 ( ) 7 7
4 ( ) (2) 3

D7 Gm Bbm
(3) (3) (5) (5) 7 7 7 (5) (5) (3) (3) (5) 7 7 (7)7
m

F Dm G7 Bbm
5 5

$ C7 Bbm ^
351

C7
5

6 5 (5.)(3) 4 2 3 2 2 (5) 4 4 4 7
( ) (5)

<9- u-P~y

Am
S
Cm

29
 4 (5) 4 (1) 4 (3) (3) (4) (3) (4) (3) (4) (3) (2) 3
h ^ ^ -— —1-:
'J
r ^ j
cJ ■ H-r
m ^

D7 Gm Bbm
(3) (3) 3 2 3 (3X3)(3)(3) 2 >.(3X3)(3)(3) (3)(3I5_(5)
-4 ^ 'T Kn 11 ■ f 1—1 J J I* ^
-r. •W
n 1—
*2 s 1 Jrr
7 ” Jm
m m j ^? r-M—
Jrm jr.c—
w z—
F A7 Dm F F+ Dm

6 (5) (4)(3)(4)(3)(4)(3) 2 3 (3) (3) (3) 5 (5) 5 6

Spanish Flea (in C)

5
7• 7•••
3 7 7 5 7 5 5 7• 5 7••••
7 3 7 7 5 2(2)(2)
Ja
ijf 4 ~ rf'iff 1 -i 1* nfii
^ ^ - r
—T—
1* L— “tff V Ai ay/ 1 III
111 III
rr
-—• r • •- ^“
tJ U- 1

0 2 6 5 6 (5) 5 5 (3) 3 3 (2)(5)(3)(5)5 (4) 3 (2X2)

A • •
U m m ■ ^ 1.. '— ^ -^ _A_^ ^^ -—-
~rm' ~i • 7 ttf)— 2_p 1 ^1 i ^ n
r ,#• J •
1r_7 i
L r ^1
IT—
17 ^ ji, -1J
vir f ^ ^ HT- ^ y- f ^
C E7 /l7 D7 C

2 3 5(3)_^5) 3 ( 3) (5) 5 (T)(6) 7^^^_^ : 7(7) 7(T)(5)

• -*• ""■v.
B-L^ o_m_M1 M lP-«Lr \
J' J TJi rc ■ ^ h ri7pi
1 1 ' • •1
1
»<1 J** P • y
1 r •// . ^ *1
1
C F Bb Eb Ab Db G G7
[H 5
1 1 i 1 1 5 73 37 5 77377 5
• * • • • • • • •
^=m-M. •
JFm.r mi r ,

^4—i— -u
'1 ■' -

30
 (5) (5)(6)(5) 7 (6) (5) 5 4 (3) 3 3 (3) 4 (4) 5 (5)
>
Hr ■-1. - ^
=f^ — -J-
A-
V*
.1

2 (2) (2) 2 6 5 6 (5) 5 (3) 3 3

Lfi^r'iirr
G7 C E7 A7

(2) (5) (3) (5) 4 (4) 3 (2) (2) 2 3 4 (3) 5 (5)

D7 G7 C Bb

3(3)(I)5 (T) T 7 7 7 (7) 7 (5) (5)

m 1 »
m m

^ Eb Ab
J-U-^ Db G
5 7 7 3 7• •7 5 73 375 77377 5
• • • •
nf-rff^==
I rr u > "1 '.:. "1
^
C tacet
-
LfJ ^' If ^ ^ E^=^-=-l

Key of GMajor
It’s now time to look at the key of
G major. Here is the scale. Notice the
is a draw note with the slide in.

3 (3)''(4) 5 (5) 6 (6) 7 (6) 6 (5) 5 (4) (3) 3

Ql O
o O
o zQ: o o
$

31
 Streets Of London
Breathe in a relaxed manner

(4) (4) (4) (4) (5) (5) (4)(3) 3 3 (4) (4)

2 2 2 3 3 3 3 3 (3) (3) (4)

C G A7 D13

(4) (4) (4) (5) (5) (5) (5) 3 (7) 3 (4) (4) (4) (4)

— 0— © m--

-MLr ^ r
■ ■ ■ 1•-
w—
-

4^ G D
•La—J
Em

2 2 3 3 3 3 3 (1) 2 (2) 3
Q a ^ -w—i—^ 1
K1 f
'A
•
—vsl;
-- ^^
m-w-w—
- • ^
—-.1

C G D7 G C

3 3 4 4 4 (4) (4) (5) (5) 5 (4)

A ^
|v^ - ■ 1
m _ -
^ [ 1
VV|7 -^^^-
M —
G C G D7 G

(3) (3) (3) (3) 2 2 3 (2) (1)

32
 Leaving On A Jet Plane
3 (3) 4 (4)3 (1) 2 2 3 (3) 3 4 (4)3 (1)
‘~y ^ li-1—1—f ^^-
M ^ 1 — -1-
la_i 1. • ^ . .J i -
— '-- V

G C G
2 3 (3) 3 (4) (4K3) 3 4 (4K3) 3 3 3 (3) (3)
m
1
} jB« _
rJK m.m • ^ ' rw
\.vi/ ^ • '— —^ • N,-^ \ •
-1-^
^ C G E D
3 (3) 4 (4)3 (1)(1) 2 3 (3) 3 4 (4) 3(1)(1)
—f=h-
1* j —nn 1
. r5ik ^ -i
' a* ^-V • «

2 2 3 (3) 3 4 (4) (3) 3 4 (4) (3) 3 3 (3) (3) (5)

-in
1 • 1
TTK r*-3-r - ^ • j
- ^^ L»

C G Em D
Chorus
(5) (45" (5) 4 (4) 3 (5) 4 (4) (5) 4 (4)3
git , --n--*1 1 , ^
—C
Tm -» ^ ^ ^ 1 A A
^^ M -
^ ^ ^
' U 1 '

33
 (5) 4 (4) (5) 4 (4) (3) 3 (3) (3) (5)

#' r cr r r 11 r
G Am D7
22 5

(5) (4) 6 (5) 5 (5) (5) <4) (5) 5 (5) 5 (4) 3

l9-

o
(5) (4) (4) (4) (3) 3 3 (3) (3) 3(3)

Bm A7 D7

Repeat & fade

(3) (5) (5) (4) 6 (5)5 (5) (5)(4)(5) 5(5)(5)(4)3

i i
T51

Am7 D7
/ rlr f I r [;[;rt7:q>.-TTrcfrj^

Gonna Build A Mountain

C = 4time
(1)(1) 2 3 (4) (4) (1)(1) 2 3 3

—#-- "T—^ ' 1

-o-
G Am7 G Am7 G Am7

(1)(1) 2 3 (4) (4) (1)(1) 2 3 (3)

.■ J ' ■ W gg- i -
o
Am7 G Am7 G
J ^ Am7

34
 3 3 (4) 5 (S) (5) (5)(5)(5) 6 (5)
4
$ 5
D7 G7 Cmaj7

3 (4) 5 (5)(5X5X5) (4) 3 (3X3X3X3)(2) (1) 3

-4-4'-4- 0 ^m A A A —1— V“i— 11

Mrfn- -r m*
— .
M • M ^ m ..m
■— <3 . - w
- *
Cm G Em7 Am7 D7 G Am7

Try this one again but an octave higher

this time. Start with hole 5 draw. Let it
swing.

D and Eb Majors
We are now going to learn two more
keys and their scales - D and E b
majors.

D major
(1) 2 (2) 3 (3) (4) 5 (5) 5 (4) (3) 3 (2) 2 (1)

I
i
30:
$
3S1
3CE 3s: 3x:
o o

Eb maior
^ , (1) 2 3 3 (3) 5 (5) (5) (5) 5 (3) 3 3 2 (1)
,7 - -. '' ^ ' ^ — .. —
")-o—® ^ CT
■ ‘ O o ^
-- o

A slow ballad in Eb will test your tone when to use the shde. If you have the
and phrasing. It suits the plaintive Super Chromonica, there is a low Bb
nature of the harmonica superbly. Get that is a problem. You will have to come
all the emotion ypu can from this down to the C from hole 3 drawing with
melody. Watch the repeat signs and the slide in.
keep the dotted notes smooth. Notice

35
 Can’t Help Falling In Love

El> Gm Cm A!, E\> Bl>7 Al» Bl>7

^ 1 f * 1 1rs| rS, rf
f# ii 1 1 r-.-T 1J* ^ o — ^
^ ‘-J
-1

g a - a c it:-* . ■ ■■ •
——
Cm Fm Et Bl»7 El> Gm Am7 Gm Am7

3
-J-rh-P -T"—" -1^1^
7 -1 J* • P <* 1
---- «-Ld* J ^
Gm Am7 D7 Gm Cl Fm7 Bt.7 E Gm Cm
D.S. al Fine

* With harmonicas that commence on middle C hole 1 play:

The low Bl> is below middle C,

drawingWixh the slide in. It is not
numbered as it varies on different
models.

Bb Major
Bb Major
(3) 4 (5) (5) (6) 7 7 (7) 7 7 (6) (5) (5) 4 (3)

r* ^ ^ o ^
Jr 1 £> —MJt
1^1 ^ V

36
 Theme From A Summer Place

Bl> Gm7 Cm7 F B\> Gm7 Cm7 F7 Bb

3 (3) (3) (5) (3) 3 (3) 4 (2)_ 3 (4) (3)

Cm7 F7 Bk Cm7 F7 Bl, Gm7Cm7 F7

2 3 (3) (3) (5) (3) 3 (3) 5 (5) (3)

^-
==fF Nw1#-^— •-
:—zm — —ji fF]
• ~ * : —J %

B\> Gm7 Cm7 F7 Bb Cm7 F7 Bb

3 (3) 4 (3) (3) 5 (T) (3)4

-5^ -#
m
Cm7 F7 Bb Gm7 Cm7 F7 Bb Gm7 Cm7 F7

77-•-
1 Mai— P —Ji—L
■y---f- M d-

(3) (5) 4 (2)3(3)5 7 (6) 7 (7) (7) 6

j f-- m-
r^:--
- -w~
m
-T=^—F
r 1
Bb F9 Bb Gm7 F BV

37
 7 (7) 8 (7) ' (7) 8 (7)
■El J2.'
jr

Cm7 F7 Bt Gm7 Cm7 F7 Bl>

(7) 8 (7)_

i -P.-
i
4 ¥
Gm7 F7 Bb Gm7 Cm7 F7 Bb

38
 Scales for Reference

A Major
(3) (4) 5 (5)6 (6) 7 (7) 7 (6) 6 (5) 5 (4) (3)
O ^ Q o
o -o- o 331

$ O O O

E Major
2 (2) 3 (3) (4) 5 (5) 6 (5) 5 (4) (3) 3 (2) 2
-o- xs: oi- -O- XE
$
331
JCEZ
-o o XE

B Major
(4) 5 (5) 6 (6) 7 (7) (8) (7) 7 (6) 6 (5) 5 (4)
X3 ^ o -O-
PI XE
XE -O-
XE

Ab Major
3 (3) (4) 5 (5) 6 7 7 7 6 (5) 5 (4) (3) 3
-O- 33^Q-
*v- O XE ^ -o XE
1? O O

Db Major
1 (1) 2 (2) 3 (3) (4) 5 (4) (3) 3 (2) 2 (1) 1
O ^ • Q-
$ XE
XE
XE
0-0

Chromatic scale - this pattern for all octaves

1 1 a) 2 (2) (2) 3 T (3) (3) (4) 4

-o- s o- i3~~::io
o jfo—o-
4y iro

(1)

39
 Yellow Submarine
March Tempo
(4) 5 (5) (4) (3) (4) 3 (4) (4)

—-M-
^«—
^ ^^ ^ ^
gZzl

D C G Em7

(3) 3 2 2 (4) (4) (3) (4)' 5 ^ (5) (4) (3) (4)

#-■<■*—#-
i t .-J :e:

1
•|--V

•
>
.-

G Em7 Am C D G D

% (5) (5) 6 (3) (3) 3

i t ■.i.r d —j
M •-M gr J- 0—
G D G C G

(5) (5) 6 (3) (3)

n ^
Jf F --«--0-0-0 “
a-.j . 3I. fl J
- ^

a**... i’
D

3 (4) 5 (5) (4) (3) (4) 3 (4) (3) 3 2 2(4)(4)

-__ m_m-
_M1 ^ 1 . __■..j
M 1- ^ .-r-i-
•_ _ _ .
' r ^
^ |V ^ A —tR-
•^ 1 ■ J. Jl
1
T
\
•

-0=-0-\
!>:..* f * * [j 11 C/ --J-~ 4-1

^ ^ ^ C G Em7 Am C
D.S. and Fade
(3) (4) 5 (5) (4)(3)(4) |i 3 ^ FI

0^- .P=
^ f J1 r 0
——
-• 1—git-

D G D C G G

40
 The Midnight Special
(3) (3) 3 2 3 (3)(3)3(3)3

G C7

2 (1)(1) (1) 2 (1) (4) (3) (1)23 (3) (3)3

. oi -
c
n-\y\--
1/ %/ ■n-rmi
—rrrS -- ' ^ 1 r ar^ - j j
vI/-^ Lm^ -- ^ -w-Ss.J w-
3* j0-m-^=;

G D7 No Chord

(3) (3) 3 2 3 (3)(3) 3(3) 3 3 2 (1)

h
If
■
^^ . n«
—
l’1 •/ J
FA ^
v ’ 1

G C7 G^

(1) 2 (1) (4) (3 ) (1)2 3 (3’)(3)3 2 3

^ k
^ r —, I" *—h"r —k”
•• •L ic Jf ■
^sv■ ** ^
ff^2 ^-
“7-—ar^
J w-
-J- —-
No Chord

(T) (3)3 (3) 3 (3) (3) 3 (3) 3

41
 Scarborough Fair
2 2 (4) (T) 3 (2) 2
—m^ IN
—n-
riW -Tr-
n-i-
Em
~r—^ r r
u'
D
J'
'p r
-r—■—-^^s——L--per-

Em

(4) (5) 6 (5) 4 7 (3) '(4)

- jr ¥ .v~ — 3-IS— •— _
' f ^ — \W
_

G Em A Em

6 6 6 (5) (4) (4) (3) 3 (2) (1)

jC 3-p~ 9-ST— 1
3r- • r w— H=l=^

C G Em D

(1) 2 (4) (3) 3 (2) 2 (1)

Em

42
 Where Have All The Flowers Gone
3 (3) 3 (2) 2 (1) 1 5 (5)

(4) (3) 3 3 (3) 3 (2) 2 (1) 1

Jr
& r -^
. X
- M - • ^-
£ M M — T-
^ —• -1 k-' ^ =«
G C Am

(2) 2 1 (1) 3 (3) 3 (2) 2 (1) 1

5 5 (5) 5 (4) (3) 3 (3) (2) (1)

A — ' k1 ^-
A
/5 •/ P p •d
1
1^ i
C» J
*
F G F

43
 When Fm Sixty Four

dim dim

5 (3)5(5) (5) 5 (3)5(4) (3)6

m m
AVJ A7 D9 G13 C
3rd time ^
5 (3)5(3) 5 (2)3 3 (3)2

0* 0* 0 > 0\ - ~0
J 0 \ 0 —0^ m
4
Am
(3) (4) 5 7 (7) 7
-p-
I X5Z

Am E7Am E7Am E7Am E7Am

6 (5) 5 (5) (5) (3) 5 (3) 3 (3)

$
Dm
XE
P F G
i

|1 6 4- ^CODA
3 (2) 2 (1) 1 3 ' 3 3 (4)(5)6

44
 Swing Low, Sweet Chariot
Slowly with feeling
(4) 3 (4) 3 3 2 (1) 3 (4) (5)

III. 1 1 ir.-r-r^-^
ffW ^ ^ ^ W ^ ^ W W W
\Sy a ® -0^--—- m

Fine
(5) 6(5) (4) (5) 3 2(1) 3 (4) (3) 3

'/ 1 p- |«=^ —i—f—= S K 1 ., = ==f=-

®—r— JJJJ1 ——
-
D D7 G C G D G

(4) (5) 3 2 3 3 2 3 2 (1) 3 (4) (5)

-i-#
^ ^^-rjj^
It
.
k
c
1
—TT --r-m—rn—A_A
s.

—1
y d W- ■
G
D.C. al Fine
(5) 6 (5) (4) 4 (3) 3 3 2 (1) 3 (4) (3) 3

—9-s—^^1—c 1
X 5 ...0— r m J J \ 1 IS LJ •1
-n^s- 1 ^ ♦ ar J r s •t.1
^ 1
-if-
D D7 Em C G Em D7 G

45
Blowin’ In The

46
 Summary
You are now a very well established Harmonica Music
player. If you have been using your
hands properly you may have You can now play from any music book,
discovered that with the hands open following either the special melody line
you get a good firm sound that can be or the top hne of the piano part. You can
muted by playing with the hands have endless hours of fun sharing music
together. with your friends and you can join any
combination of instruments - provided
you are all in tune with each other!

There is a wealth of music in the classics

as well as standards and pop. Start with
the easier graded music for vioUn, flute
or oboe. As you progress, you will find
much suitable music that is pubhshed
for these instruments.

Keep at it. Listen to yourself very

critically. Practise your scales. Take
great care with your tone. Here’s to a
hfetime of music making.

Care and Maintenance

With care, a harmonica will last years.

If you are doing a great deal of playing I
suggest that you get two or three
instruments - if money allows - and
alternate them. They are still very
cheap by musical instrument
standards!

Remember, the more gently you blow a

new harmonica, the longer it will last.

47
 Some Harmonica History
It is worth remembering that One reed plate is tuned to C major,
the harmonica developed from an the other to Cb major. Judicious use of
instrument some 5,000 years ago. the slide enables the player to perform in
By that standard, most other musical any key.
instruments are very modem!
The different models have given
The invention of a free reed instrument rise to a wide variety of playing styles.
called the sheng (lit. ‘sublime voice’) is Larry A^ler, the man who gave the
usually attributed to the Chinese harmonica concert hall stams, plays
explorer Nya-Kwa about 3,000 BC. a chromatic instmment. Belgian
Shengs come in various sizes and the bom Jean ‘Toots’ Thielmans became
Chinese and Japanese culture that another chromatic virmoso, this time
produced them is still very much alive: in the jazz style.
sheng ensembles have given recitals in
Britain during recent years. The small ten-hole vamper -
‘the harp’ - is the celebrated blues
In the early 19th Century, Christian instmment. Here the players divide
Friedrich Ludwig Buschmann assembled into two camps: there is the country
the first mouth organ (probably the most blues style as exemplified by Sonny
accurate description of the instmment). Terry, and the amplified Chicago-style
Buschmann’s invention, known as the blues of players like Little Walter.
Mund Aeoline, was picked up by
Christian Messner, who was so fascinated Harmonica groups, such as
by it that he produced copies on a The Monarchs, The Dutch Hotcha
commercial basis. Trio and The Jerry Murad
Harmonicats, also developed a
However, Messner was not into the big characteristic style which they owed
time; that was left to Matthias Hohner, a to their use of chromatic, chord and
clockmaker whose mouth organ-making bass instmments in ensemble.
cottage industry rapidly developed into a
factory one, producing millions of The sound of the harmonica
harmonicas to be sold all around the pervades a great deal of music. Listen
world. out for its unique timbre, and try to
hear some of the work of the
The basic instmment was so constmcted instmment’s great stylists - it will help
that the player could accompany himself improve your technique.
in a simple way. However, the challenge
to build a more versatile instmment And, hopefully, with the aid
could not be ignored and the chromatic of The Complete Harmonica Player
harmonica came into being. a whole new world of music will open
up to you.
This instmment, which continues to be
developed and perfected, is basically two
harmonicas put together in one body.

Printed and bound in Great Britain by

Caligraving Limited Thetford Norfolk 48 3/97 (27326)
 This easy, enjoyable and rewarding course, based on songs by
Bob Dylan, Lennon and McCartney, John Denver
and others, assumes no knowledge of the harmonica or music.
Easy-to-follow text is illustrated with demonstration photo^aphs.
You will play from lesson one, learning the basics of musical
notation as you go, and progress to more advanced playing.
Follow this course and learn to play with ease and assurance.
Ideal for classroom or private use. Author John Tyler
has used this method successfully for many years
to teach both children and adults^^^'-^"^^^

9 78071 930582