Flashcards

brshoemaker, you asked that I post the intermediate flashcards when I finished them. Here they are... Positions (L5) What key are you and the band playing in if you’re using an F harmonica in 2nd Position? C Reference: Music Theory Study 2 Positions (L5) What key are you and the band playing in if you’re using a G harmonica in 2nd Position? D Reference: Music Theory Study 2 Positions (L5) What key are you and the band playing in if you’re using an A harmonica in 2nd Position? E Reference: Music Theory Study 2 Positions (L5) What key are you and the band playing in if you’re using a Bb harmonica in 2nd Position? F Reference: Music Theory Study 2 Positions (L5) What key are you and the band playing in if you’re using a C harmonica in 2nd Position? G Reference: Music Theory Study 2 Positions (L5) What key are you and the band playing in if you’re using a D harmonica in 2nd Position? A Reference: Music Theory Study 2 Positions (L5) If the band is in the Key of C, which harmonica will you grab to play in 2nd Position? F Reference: Music Theory Study 2 Positions (L5) If the band is in the Key of D, which harmonica will you grab to play in 2nd Position? G Reference: Music Theory Study 2 Positions (L5) If the band is in the Key of E, which harmonica will you grab to play in 2nd Position? A Reference: Music Theory Study 2 Positions (L5) If the band is in the Key of F, which harmonica will you grab to play in 2nd Position? B♭ Reference: Music Theory Study 2 Positions (L5) If the band is in the Key of G, which harmonica will you grab to play in 2nd Position? C Reference: Music Theory Study 2 Positions (L5) If the band is in the Key of A, which harmonica will you grab to play in 2nd Position? D Reference: Music Theory Study 2 12 Bar Blues (L5) What are the notes of the I7 Chord? G B D F Reference: Accompaniment Study 5 12 Bar Blues (L5) What are the notes of the IV7 Chord? C E G B♭ Reference: Accompaniment Study 5 12 Bar Blues (L5) What are the notes of the V Chord? D F♯ A C Reference: Accompaniment Study 5 12 Bar Blues (L5) What is the Root Note of each chord within the 12 Bar Blues? I7 Chord = G IV7 Chord = C V7 Chord = D Reference: Accompaniment Study 5 12 Bar Blues (L5) What is the 3rd of each chord within the 12 Bar Blues? I7 Chord = B IV7 Chord = E V7 Chord = F♯ Reference: Accompaniment Study 5 12 Bar Blues (L5) What is the 5th of each chord within the 12 Bar Blues? I7 Chord = D IV7 Chord = G V7 Chord = A Reference: Accompaniment Study 5 12 Bar Blues (L5) What is the ♭7th of each chord within the 12 Bar Blues? I7 Chord = F IV7 Chord = B♭ V7 Chord = C Reference: Accompaniment Study 5 Harmonica Note Layout Where are all the D♭/C♯’s? 1’ and 4’ Reference: Music Theory Study 1, Section 2 Harmonica Note Layout Where are all the E♭/D♯’s? 8’+ Reference: Music Theory Study 1, Section 2 Harmonica Note Layout Where are all the G♭/F♯’s? 2’ and 9’+ Reference: Music Theory Study 1, Section 2 Harmonica Note Layout Where are all the A♭/G♯’s? 3’’’ and 6’ Reference: Music Theory Study 1, Section 2 Harmonica Note Layout Where are all the B♭/A♯’s? 3’ and 10’’+ Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 7+? C Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 8+? E Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 9+? G Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 10+? C Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 7 Draw? B Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 8 Draw? D Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 9 Draw? F Reference: Music Theory Study 1, Section 2 Harmonica Note Layout What note is 10 Draw? A Reference: Music Theory Study 1, Section 2 Scales Play the C Major Scale from 7+ to 10+, ascending and descending. 7+ 8 8+ 9 9+ 10 10+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 1+ to 4+, ascending and descending. Check the intonation of your bends (Harp Ninja, chromatic tuner, piano, or any other pitch-generating device). 1+ 1 2+ 2” 2 3” 3 4+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 1+ to 10+, ascending and descending. 1+ 1 2+ 2” 2 3” 3 4+ 4 5+ 5 6+ 6 7 7+ 8 8+ 9 9+ 10 10+ Reference: Movement Exercises Study 1 Tongue Block Study 3 Flutter Exercise Play 4+ 4 5+ 5 6+ 5 5+ 4 4+ with a metronome set to 80bpm, holding each note for 2 beats, performing a flutter tongue on each note. Reference: Tongue Block Study 3, Ex. 1.2 Tongue Block Study 3 Slaps and Pulls Play 4+ P 4+ P 4 P 4 P 5+ P 5+ P 5 P 5 P 6+ P 6+ P 5 P 5 P 5+ P 5+ P 4 P 4 P with a metronome set to 80bpm, playing it with a swing rhythm. Reference: Tongue Block Study 3, Ex. 1.1 Tongue Block Study 6 Octave Exercise (L6) Play 4+ 4 5+ 5 6+ 5 5+ 4 4+ with a metronome set to 80bpm, holding each note for 1 beat, performing octaves. Reference: Tongue Block Study 4, Ex. 1.2 Tongue Block Study 6 Octave Exercise (L6) Play 4+ 4 5+ 5 6+ 5 5+ 4 4+ with a metronome set to 80bpm, holding each note for 1 beat, performing octaves with slaps. Reference: Tongue Block Study 4, Ex. 1.2 Tongue Block Study 6 Octave & Pull Exercise (L6) Play 4+ P 4+ P 4 P 4 P 5+ P 5+ P 5 P 5 P 6+ P 6+ P 5 P 5 P 5+ P 5+ P 4 P 4 P In octaves with a metronome set to 80bpm, playing it with a swing rhythm. Reference: Tongue Block Study 4, Ex. 1.3 Scales (L5) Play the G Major Pentatonic Scale from 2 to 6+, ascending and descending. Check the intonation of your 3” bend. 2 3” 3 4 5+ 6+ Reference: Movement Exercises Study 2 Scales (L5) Play the G Major Pentatonic Scale from 6+ to 9+, ascending and descending. 6+ 6 7 8 8+ 9+ Reference: Movement Exercises Study 2 Scales (L5) Play the entire range of the G Major Pentatonic Scale (1 to 10), ascending and descending. Check the intonation of your 3” bend. 1 2+ 2 3” 3 4 5+ 6+ 6 7 8 8+ 9+ 10 Reference: Movement Exercises Study 2 Scales (L6) Play the G Blues Scale from 2 to 6+, ascending and descending. Check the intonation of your bends. 2 3’ 4+ 4’ 4 5 6+ Reference: Movement Exercises Study 2 Scales (L6) Play the G Altered Blues Scale from 6+ to 9+, ascending and descending. 6+ 6’ 6 7+ 8 9 9+ Reference: Movement Exercises Study 2 Scales (L6) Play the G Blues Scale from 1+ to 2, ascending and descending. Check the intonation of your bends. 1+ 1’ 1 2” 2 Reference: Movement Exercises Study 2 Scales (L6) Play the entire range of the G Blues Scale (1+ to 9+), ascending and descending. Check the intonation of your bends. 1+ 1’ 1 2” 2 3’ 4+ 4’ 4 5 6+ 6’ 6 7+ 8 9 9+ Reference: Movement Exercises Study 2 Hole Changes (L5) Play to a 12 Bar Blues jam track, restricting yourself to Hole 1. Play a note that matches each chord as they come. I7 = D (1, 5th) / IV7 = C (1+, Root) / V7 = D (1, Root) or C (1+, ♭7th) Reference: Accompaniment Study 5 Hole Changes (L5) Play to a 12 Bar Blues jam track, restricting yourself to Hole 2. Play a note that matches each chord as they come. I7 = G (2, Root) or F (2”, ♭7th) / IV7 = E (2+, 3rd) or G (2, 5th) / V7 = F# (2’, 3rd) Reference: Accompaniment Study 5 Hole Changes (L5) Play to a 12 Bar Blues jam track, restricting yourself to Hole 3. Play a note that matches each chord as they come. I7 = B (3, 3rd) / IV7 = B♭ (3’, ♭7th) / V7 = A (3”, 5th) Reference: Accompaniment Study 5 Hole Changes (L5) Play to a 12 Bar Blues jam track, restricting yourself to Hole 4. Play a note that matches each chord as they come. I7 = D (4, 5th) / IV7 = C (4+, Root) / V7 = D (4, Root) or C (4+, ♭7th) Reference: Accompaniment Study 5 Hole Changes (L5) Play to a 12 Bar Blues jam track, restricting yourself to Hole 5. Play a note that matches each chord as they come. If a note is not available for a particular chord, move up or down one hole, and then come back. I7 = F (5, ♭7th) / IV7 = E (5+, 3rd) / V7 = Move up to A (6, 5th) or down to D (4, Root) Reference: Accompaniment Study 5 Hole Changes (L5) Play to a 12 Bar Blues jam track, restricting yourself to Hole 6. Play a note that matches each chord as they come. I7 = G (6+, Root) / IV7 = G (6+, 5th) / V7 = A (6, 5th) Reference: Accompaniment Study 5 12 Bar Blues (L5) Play the 3rd of each chord with the Charleston Rhythm to a 12 Bar Blues jam track. Pick chord tones that are close together on the range of the harmonica. I = B (3 or 7) / IV = E (2+, 5+, or 8+) / V = F# (2’… 9’+ not practical) Reference: Exact exercise not in a lesson, but concept taught in Accompaniment Study 5 12 Bar Blues (L5) Play the 5th of each chord with the Charleston Rhythm to a 12 Bar Blues jam track. Pick chord tones that are close together on the range of the harmonica. I = D (1, 4, or 8) / IV = G (2/3+, 6+ or 9+) / V = A (3”, 6, or 10) Reference: Exact exercise not in a lesson, but concept taught in Accompaniment Study 5 12 Bar Blues (L5) Play the ♭7th of each chord with the Charleston Rhythm to a 12 Bar Blues jam track. Pick chord tones that are close together on the range of the harmonica. I7 = F (2”, 5, or 9) / IV7 = B♭ (3’… 10”+ not practical) / V7 = C (1+, 4+, 7+, or 10+) Reference: Exact exercise not in a lesson, but concept taught in Accompaniment Study 5 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying and play it in the AAA Chorus Form. Reference: Improvising Study 1 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying and play it in the Af Af At Chorus Form. Reference: Improvising Study 1 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying and play it in the AAB Chorus Form to a jam track. Use your favorite V-IV-I lick (bars 9, 10, resolving on bar 11) and turnaround lick (bars 11 and 12) from the same song as your B. Reference: Improvising Study 1 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying and play it in the Af Af B Chorus Form to a jam track. Use your favorite V-IV-I lick (bars 9, 10, resolving on bar 11) and turnaround lick (bars 11 and 12) from the same song as your B. Reference: Improvising Study 1 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying (truncate it if it’s longer that two bars) and play it in the AA B/A C Chorus Form to a jam track. Improvise the B, making it contrast your A. Use your favorite V-IV-I lick (bars 9, 10, resolving on bar 11) and turnaround lick (bars 11 and 12) from the same song as your C. Reference: Improvising Study 1 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying (truncate it if it’s longer that two bars) and play it in the AA B/A C Chorus Form to a jam track. Make a very slight change from the A (commonly changing the last note to match the IV7 Chord) to make your B. Use your favorite V-IV-I lick (bars 9, 10, resolving on bar 11) and turnaround lick (bars 11 and 12) from the same song as your C. Reference: Improvising Study 1 Improvising Take a lick (a I Chord lick is best) from the song you’re currently studying and play in all the Chorus Forms (six total). Use your favorite V-IV-I lick (bars 9, 10, resolving on bar 11) and turnaround lick (bars 11 and 12) from the same song for your last four bars. AAA, Af Af At, AAB, Af Af B, AA B-contrast/A C, AA B-slight change/A C Reference: Improvising Study 1 Improvising (L5) Hit play on a jam track and start with 1 draw (D, 5th of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 1 draw to play (Chorus 2 of “Temperature” for example). Reference: Improvising Study 2 (Focus Notes) Improvising (L5) Hit play on a jam track and start with 2” (F, ♭7th of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 2” to play (Chorus 4 of “My Blues” for example). Reference: Improvising Study 2 (Focus Notes) Improvising (L5) Hit play on a jam track and start with 2 draw (G, Root of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 2 draw to play (Chorus 3 of “The Split” for example). Reference: Improvising Study 2 (Focus Notes) Improvising (L5) Hit play on a jam track and start with 3 draw (B, 3rd of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 3 draw to play (Chorus 4 of “Temperature” for example). Reference: Improvising Study 2 (Focus Notes) Improvising (L5) Hit play on a jam track and start with 4 draw (D, 5th of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 4 draw to play (Chorus 4 of “Temperature” for example). Reference: Improvising Study 2 (Focus Notes) Improvising (L5) Hit play on a jam track and start with 5 draw (F, ♭7th of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 5 draw to play (Chorus 5 of “Gary’s Blues” for example). Reference: Improvising Study 2 (Focus Notes) Improvising (L5) Hit play on a jam track and start with 6+ (G, Root of the I7 Chord) to see where it takes you. Try to use a Chorus Form if you can as you play. If nothing comes out that you’re happy with, search your past study songs for a lick that starts with 6+ to play (Chorus 6 of “The Split” for example). Reference: Dynamics Performance Take a study song that you know well and really work tremolo into your performance. Record yourself so that you can listen back to hear how well you did. Reference: Blues Harmonica Fundamentals & Tremolo and Vibrato Performance Take a study song that you know well and really work dynamics into your performance. Record yourself so that you can listen back to hear how well you did. In most cases, the performer thinks their using a lot of dynamics (loud louds and soft softs), but when listening back, they realize that their dynamic range is actually very small. Reference: Dynamics Performance Take a study song that you know well and try to work in the use of your hands more in your performance. Try Wa Wa’s, note shaping (where you start in a particular position and slowly open or close your hands to make the note sound more interesting), muted passages and fully open passages. Record yourself so that you can listen back to hear how well you did. Reference: Cupping & Hand Effects Performance Take a study song that you know well and use a different jam track to perform it to. Keep the groove the same, but experiment with tracks that are slightly slower or faster. Also experiment with tracks that are more bluesy or lighter in feel than your original track. This is an important practice to help bulletproof your performances (the band will never sound exactly the same as the track you’re used to playing with). Performance Record yourself playing a study song that you know well and listen back to it once for the use of tremolo and then once again for the use of dynamics. If you feel you could have use more of these elements (pretty much everyone can, especially dynamics), record yourself playing it again, trying to add more. Repeat the recording and listening process until you feel like you’re using these two elements well. Reference: Blues Harmonica Fundamentals, Tremolo & Vibrato, and Dynamics Accompaniment Paying Play a random track from your recorded music collection that has vocals and practice playing fills between the vocals. Reference: Accompaniment Study 4 Accompaniment Paying Play a random track from your recorded music collection that has vocals and practice playing chord tones under the vocals and playing fills between the vocals. Make sure to bring your volume down when playing under the vocals. Reference: Accompaniment Study 4 Accompaniment Paying (L6) Play a random track from your recorded music collection and practice playing like a horn section or organist. Reference: Accompaniment Study 6 Chords (L5) Play the V7 Chord from 1 to 4+. Check your intonation (pitch accuracy) visually with a program like Harp Ninja. D F# A C / 1 2’ 3” 4+ 3” 2’ 1 Reference: Accompaniment Study 5 Chords (L5) Play the V7 Chord from 1 to 4+. Check your intonation (pitch accuracy) audibly with a piano or other pitch-generating device. D F# A C / 1 2’ 3” 4+ 3” 2’ 1 Reference: Accompaniment Study 5 Chords (L5) Play the IV7 Chord from 1+ to 3’. Check your intonation (pitch accuracy) visually with a program like Harp Ninja. C E G B♭ / 1+ 2+ 3+ 3’ 3+ 2+ 1+ Reference: Accompaniment Study 5 Chords (L5) Play the IV7 Chord from 1+ to 3’. Check your intonation (pitch accuracy) audibly with a piano or other pitch-generating device. C E G B♭ / 1+ 2+ 3+ 3’ 3+ 2+ 1+ Reference: Accompaniment Study 5 Scales Play the C Major Scale from 1+ to 4+, ascending and descending. C D E F G A B C / 1+ 1 2+ 2” 2 3” 3 4+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 1 to 4, ascending and descending. This creates the D Dorian Scale, which works well for 3rd Position playing, or the ii Chord (Dm Chord) in 2nd Position. D E F G A B C D / 1 2+ 2” 2 3” 3 4+ 4 Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 2+ to 5+, ascending and descending. This creates the E Phrygian Scale, which works well for 5th Position playing, or the iii Chord (Em Chord) in 2nd Position. E F G A B C D E / 2+ 2” 2 3” 3 4+ 4 5+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 2” to 5, ascending and descending. This creates the F Lydian Scale, which works well for 12th Position playing, or the IV Chord (F Chord) in 1st Position. F G A B C D E F / 2” 2 3” 3 4+ 4 5+ 5 Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 2 to 6+, ascending and descending. This creates the G Mixolydian Scale, which works well for 2nd Position playing. G A B C D E F G / 2 3” 3 4+ 4 5+ 5 6+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 3” to 6, ascending and descending. This creates the A Minor Scale, which works well for 4th Position playing, or the vi Chord (Am Chord) in 2nd Position. A B C D E F G A / 3” 3 4+ 4 5+ 5 6+ 6 Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 4+ to 7+, ascending and descending. C D E F G A B C / 4+ 4 5+ 5 6+ 6 7 7+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 4 to 8, ascending and descending. This creates the D Dorian Scale, which works well for 3rd Position playing, or the ii Chord (Dm Chord) in 2nd Position. D E F G A B C D / 4 5+ 5 6+ 6 7 7+ 8 Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 5+ to 8+, ascending and descending. This creates the E Phrygian Scale, which works well for 5th Position playing, or the iii Chord (Em Chord) in 2nd Position. E F G A B C D E / 5+ 5 6+ 6 7 7+ 8 8+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 5 to 9, ascending and descending. This creates the F Lydian Scale, which works well for 12th Position playing, or the IV Chord (F Chord) in 1st Position. F G A B C D E F / 5 6+ 6 7 7+ 8 8+ 9 Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 6+ to 9+, ascending and descending. This creates the G Mixolydian Scale, which works well for 2nd Position playing. G A B C D E F G / 6+ 6 7 7+ 8 8+ 9 9+ Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 6 to 10, ascending and descending. This creates the A Minor Scale, which works well for 4th Position playing, or the vi Chord (Am Chord) in 2nd Position. A B C D E F G A / 6 7 7+ 8 8+ 9 9+ 10 Reference: Movement Exercises Study 1 Scales Play the C Major Scale from 7+ to 10+, ascending and descending. C D E F G A B C / 7+ 8 8+ 9 9+ 10 10+ Reference: Movement Exercises Study 1