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Listening

Lesson 12/69 | Study Time: 5 Min
Listening

Listening

Apart from books, your most important source of information as a musician will be recordings. Listen to albums which feature harp players. Some important Blues players to look out for are: Sonny Terry, Little Walter, Sonny Boy Williamson, Junior Wells, Big Walter Horton, James Cotton, George "Harmonica" Smith, Billy Branch, Paul Butterfield, Snooky Pryor, Jerry Portnoy, Sugar Blue, Charlie Musselwhite and Rod Piazza.

For Country, Folk and Rock playing, listen to Charlie McCoy, Brendan Power, as well as the simple but effective playing of Neil Young and Bob Dylan. Some of the best Chromatic harmonica players include Larry Adler, Toots Thielemans, and Stevie Wonder.

There are also numerous great Jazz and Blues sax players who are worth checking out. Little Walter got a lot of his ideas from listening to sax players. Some of the most Bluesy sax players are: Maceo Parker and Pee Wee Ellis (solo or with James Brown) King Curtis, Junior Walker, Fathead Newman, A.C. Reed, Eddie Shaw, Eddie "Cleanhead" Vinson, Scott Page, Illinois Jacquet, Stanley Turrentine, Eddie Harris, Ben Webster, Johnny Hodges, and Roland Kirk who often played two saxophones at a time!

Guitar Players are another good source of ideas. Listen to the guitarist on any Blues album and you will hear note bending, slides, grace notes and other techniques which are equally effective on the harmonica. Some guitarists to look out for are BB King, Otis Rush, Buddy Guy (with Junior Wells or solo), Magic Sam, Lightnin’ Hopkins and Albert Collins along with Robert Junior Lockwood and Luther Tucker who can both be found on albums by Sonny Boy Williamson.

When you are listening to albums, try to sing along with the solos and visualize which holes you would play and the techniques you would use to achieve the sounds you are hearing. This helps you absorb the music and before long, it starts to come out in your own playing. It is also valuable to play along with albums, sometimes imitating what you are hearing and other times improvising. This is very good ear training and is also a lot of fun.

Peter Gelling

Peter Gelling

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Class Sessions

1- INTRODUCTION 2- More About Major Scales 3- Sharps (<span class="symbolA">#</span>) and Flats (<span class="symbolA">b</span>) 4- Playing the Chromatic Scale 5- Solving Reading Problems 6- More About Keys and Key Signatures 7- Transposing 8- More About Blues Scales 9- Understanding Intervals 10- Minor Keys and Scales 11- Notes on the Chromatic Harmonica 12- Relative Keys 13- Performing in Public 14- Interval Qualities 15- Playing Octaves 16- The Key Cycle 17- The Harmonic Minor Scale 18- Sharp Key Signatures 19- Enharmonic Notes 20- Learning a New Minor Key 21- Major Scale Pattern 22- Overcoming Nerves 23- The Chromatic Harmonica 24- The Chromatic Scale 25- The C Major Scale 26- Swinging Notes 27- Intervals 28- Breathing Indicators 29- The Key of E Minor 30- Interval Distances 31- Major Scales in all Keys 32- The Melodic Minor Scale 33- Minor Scales in all Keys 34- Flat Key Signatures 35- The Blues Scale 36- Holding the Chromatic Harmonica 37- Eye Contact 38- The G Major Scale 39- Range of the Chromatic Harmonica 40- Table of Minor Scales 41- Understanding Music 42- Stage Presence and Stage Craft 43- Identifying Intervals by Ear 44- Using the Slide 45- Key Signatures 46- Using the Key Cycle 47- Note Values 48- Understanding Note Values 49- Developing Your Own Style 50- The F Major Scale 51- Jam Along Progressions 52- Standard Music Notation 53- Learning the Notes on the Staff 54- The Metronome 55- Microphones 56- Developing Your Music Reading 57- Keeping Time 58- Microphones for Performing Live 59- Playing Songs 60- Amplification 61- Slurs 62- Overdrive 63- Cut Common Time 64- Approach to Practice 65- Reading Without Numbers 66- Listening 67- Transcribing 68- Recording Yourself 69- Learning More about Music

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