DEBUT

DEBUT

ISBN 978-1-78936-408-8

For all works contained herein:

Unauthorized copying, arranging, adapting, recording, internet posting, public performance,
or other distribution of the music in this publication is an infringement of copyright.
Infringers are liable under the law.

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Email: [email protected] Email: [email protected] Email: [email protected]
Acknowledgements
© 2022 by RSL Awards Ltd. and Hal Leonard Europe Ltd.
Catalogue Number: RSK200186
ISBN: 978-1-78936-408-8

Publishing Information
Devised and written by Ashley Hards
Musical Excerpts Composed by Ashley Hards, Jono Harrison, Tim Bennett-Hart
Proof Reading by Sarah Hards, Ben Hewlett, Lynette Hards
Consultants Ben Hewlett | harmonicamastery.com, Sarah Hards
Notation Engraving by Simon Troup | digitalmusicart.com
Executive Producers Norton York and Tim Bennett-Hart

Audio Team
Backing tracks created by Andy Robertson | andyrobertson.co.uk

Design
Liam Jackson | liamjacksongraphics.co.uk

Illustration
Rachel Morris | rachelillustration.co.uk

Distribution
Hal Leonard Europe

Contact
RSL Awards Ltd.
Harlequin House
Teddington
TW11 8EE
www.rslawards.com

This book has been written with the help and collaboration of HarmonicaUK,
the UK’s National Harmonica Association.
www.harmonica.uk

2
Contents

Welcome  4
Stage 1 Tremolo  5
Stage 2 Tonguing, Slurring and Dynamics  10
Stage 3 A New Note: F  16
Stage 4 Playing in 3 Time  20
Stage 5 A New Note: B  24
Stage 6 Single Quavers and Ties  29
Stage 7 Dotted Crotchets  33
Stage 8 Swing  37
Stage 9 Quaver Rests and Syncopation  41
Stage 10 Jamming  45
Stage 11 Celebration! Duets, Hit Songs  50
And Finally… Recommended Listening,
Top Secret Practice Tips  58
Congratulations!  61

3
Welcome to Rockschool
Harmonica Method!
This book will guide you through the basics of contemporary
harmonica playing. It has been designed to build your skills
and knowledge as you work through lessons. The book is
split into two main parts: Lessons and Preparation for
your RSL Debut exam.

This book has been written to offer a flexible Recommended Listening

approach for curriculum music tuition There is a section at the back of the book
(including non-music specialists), smaller to introduce you to some famous harmonica
groups and pairs, one-to-one tuition and players and songs. You might like to listen
self-learners. It will provide a great to one of the recommendations at the end
foundation before moving on to your of each stage.
RSL Harmonica exams.
Audio
Lessons (Stages) Every musical example and piece in the book
The RSL Harmonica Debut Method continues has audio tracks that can be downloaded
from where the Premiere Method left off. from the Rockschool website.
Each lesson explains what will be covered
before using games and tunes to help
you master the new skills. The games can Downloads
The downloadable content for this book can be
be played with your teacher or a friend. downloaded from RSL directly at the following
You have the opportunity to improvise URL: www.rslawards.com/downloads

and compose so you really feel you have When downloading files you will need to input
this code when prompted: M6N8ZK7SAY
mastered each section.
The audio files are supplied in MP3 format, the most widely

Pieces compatible audio format in common usage – MP3s will likely be

familiar to anyone with a computer, iPod, smartphone or similar
device. Once downloaded you will be able to play them on any
The RSL Harmonica Method ends with a compatible device; we hope that you find this extra versatility useful.
solo, two exciting original duets and two Hit
Tunes. You can prepare these pieces for your
RSL Debut Harmonica exam!

4
Stage 1

Tremolo

By the end of the lesson

you will be able to:
Use your hands to create a tremolo effect

5
 STAGE 1 Tremolo

Welcome Back!
4
& 4 ˙. œ ˙. œ œ œ œ
Student

œ w
C g C g a g e d c

& ˙. œ ˙. œ œ œ œ œ w
C g C g a g a C C

Tremolo

We are going to learn how to make the 
Now play a long note: do you hear how
famous harmonica ‘wah-wah’ sound! different and muffled it sounds?


Hold the harmonica in one hand ready 
‘Flap’ your hands open and closed to
to play. make the note ‘wah’. You can do a single
‘wah’ or lots of wahs in a row to get the

Use your spare hand to cover the back of the tremolo effect.
harmonica. Imagine you have a little creature
in your hands: you don’t want it to escape
but you must not squash it! It is very small
and wriggly so make sure there are no tiny
gaps that it can squeeze through.

6
 Tremolo TOPIC
STAGEX1

Game – Copy Cat Wobble

Play this for your friend/teacher and ask them to copy you. You get to decide
where to use tremolo! Can they make it sound the same? Now you get to copy them!

4
&4 w
Student

w w w
c e g e

We show the tremolo effect

with a wavy line over the note.

Jelly Fish

4 ~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~~~~~~

&4 w w w w
Student

C g a g

~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~

& w w
w w
e c d c

7
 TOPIC
STAGEX1 Tremolo

Street Light Blues

~~~~~~~~~~~~~ ~~~~~~ ~~~~~~~~~~~~~
4 ˙ ˙
&4 œ œ œ œ w w
Student

c d e e g a a g

~~~~~ ~~~~~ ~~~~~~~~~~~~~

& œ œ œ œ ˙ ˙ œ œ œ œ w
C C g g a g e e c d c

Summer Afternoon
~~~~~~ ~~~~~~ ~~~~~~
& 44 œ œ œ œ ˙ ˙ œ œ ˙ œ œ ˙
Student

c c e e g g C C g C C g

~~~~~~ ~~~~~~ ~~~~~~~~~~~~~

& œ œ œ œ ˙ ˙ ˙ ˙ w
g a a g a g a g C

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8
 Tremolo TOPIC
STAGEX1

Let’s Play!
Make up a song using the C major pentatonic scale!
Try some long notes with tremolo.

C Major Pentatonic Scale

& œ œ œ œ
œ œ
œ œ
& œ œ
œœ œ œ œ œ œ œ œ
œ œ
œ
cc d
d ee g
g aa C
C aa g
g ee d
d cc
C
C D
D E
E G
G A
A C
C A
A G
G E
E D
D C
C

Composer’s Corner
Write your own pentatonic tune with plenty of tremolo:

& 44
Student

Download your audio

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9
Stage 2

Tonguing and
Dynamics

By the end of the lesson

you will be able to:
Use your tongue to separate notes
Read and play staccato notes (articulation)
Read and play piano and forte (dynamics)
Improvise a melody using articulation and dynamics
 ompose and write down a melody using
C
articulation and dynamics

10
 Tonguing and Dynamics STAGE 2

Tonguing
Now we are going to learn how to make our notes
sound clearer by using our tongue to separate them.

Take a deep breath and then slowly breath out - like a long sigh.

 the same again, but whilst breathing out you try whispering ‘ta ta ta ta’.
Do
How many times can you say ‘ta’ on one breath?

Now try saying ‘ta ta ta ta’ whilst breathing in.

Now give this a go through your harmonica!

& 44 w
Student

˙ ˙ œ œ œ œ œœœœœœœœ
c c c c c c c c c c c c c c c
ta ta ta ta ta ta ta ta ta ta ta ta ta ta ta

Game – Copy Cat

Make up your own tonguing rhythms on one note and get your partner to copy you!

Download your audio

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11
 STAGE 2 Tonguing and Dynamics

Staccato – Keep it short!

œ.
We can also use our tongue to stop our notes -
a bit like putting a mini rest in between each of
them. We call this technique staccato and we
show it in written music by drawing a dot under
or over a note. Don’t confuse this with a dot
next to a note, which makes it longer!

Smooth then detached

& 44 œ œ œ œ
Student

œ. œ. œ. œ. œ œ œ œ œ. œ. œ. œ.
c c c c c c c c c c c c c c c c

Tonguing and Slurring

From now on you should tongue all the time unless you see an arc over or under your notes.
This is called a slur and we can play lots of notes on a single breath. Whisper a long ‘ahhh’
and slide from one hole to the next for a smooth (legato) sound.

Articulated Lorry

& 44 œ. œ œ
Staccato Tongued Slurred

œ œ œ
Student

œ. œ. . œ œ œ œ w
c e g C c e g C c e g C c

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12
 Tonguing and Dynamics TOPIC
STAGE X
2

Soft and Loud – Dynamics

Another way to add interest to our music is to

f p
play different sections at different volumes.
Volume changes are called dynamics.

= Forte - play strong = Piano - play soft

Look out for the dynamics in the next three pieces!

Can you change the sound of the music from strong to soft?

Remember to
Strong and Gentle slur these notes!

& 44 œ œ
Student

œ œ œ œ œ œ œ œ œ œ œ œ ˙
f c d e d
p c d e d
f c e g e
p c e c

Our most common musical terms are

Italian so not only are you learning to
read music, you are learning to read
a new language too!
13
 STAGE 2 Tonguing and Dynamics

The Elephant and the Mouse

4
&4 œ œ œ œ œ œ ˙
Student

˙ ˙ ˙ ˙
fc e g a g e
pc e g a g

& œ œœœ œ œ œœ˙ œ œ œ œ w

fC CCg g a a a g
pe g e d c

The Chase Remember to play staccato!

& 44 œ œœ˙ œ. œ. œ. ˙
œ. œ. œ. œ
Student

œ œœœ œ .
f c c c d c e g e c C C C g
pC C C g

& œ œœœ œ œ œ ˙ œ. œ. œ œ
. . œ œ ˙
fC gga g e g e
p g g e d c d c

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14
 Tonguing and Dynamics TOPIC
STAGE X
2

Let’s Play!
Improvise using the C major pentatonic scale! Use different
rhythms, tremolo dynamics and articulation to sound like a Pro!

Composer’s Corner
Write your own pentatonic tune. Add some articulation and dynamics to make your tune
more interesting.

& 44
Student

Download your audio

See page 4 for details

15
Stage 3

Playing F

By the end of the lesson

you will be able to:
 ead and play songs using the notes
R
C, D, E, F, G, A and high C
Understand repeat marks
I mprovise a melody using the notes
C, D, E, F, G, A and high C
 ompose and write down a melody
C
using the notes C, D, E, F, G, A and high C

16
 Playing F STAGE 3

Now Let’s Read F!

œ
Draw through the second hole on your
harmonica. Play these tunes to get used to
changing between C, D, E, F, G, A and C :

Stepping Up & Down (Five Note Piece)

& 44 ˙ œ œ œ œ
Student

˙ ˙ ˙ w
c d e f g f e d c

Shhh! Top secret sight-reading tip! -

Great sight-readers do not read every note!

Look at ‘Stepping Up and Down’ again. All the notes are next door to each other! This happens in
a lot of songs and we call it ‘a step’. If the notes are further apart, we call it ‘a leap’. It is easy to
read songs that move in step because you just follow the music up and down.

Have a look at ‘Surfing Song’ - there are only two leaps! Can you spot them?

Surfing Song

& 44 ˙ w
Student

œ œ œ œ ˙ œ œ œ œ
g f e f f e f f e f g

& ˙ œ œ œ œ ˙ œ œ œ œ w
g f e f g e f f g g e

17
 TOPIC
STAGE X
3
2 Playing F

Parallel Lines (Duet)

4
&4 ˙ ˙ œ œ œ œ
Student

œ œ ˙ ˙ ˙
a g f f e g g a g f f

4
Try this
part too!
&4 ˙ ˙ œ œ ˙ œ œ œ œ ˙ ˙
f e d d c e e f e d d

Repeat Marks
Repeat marks are a clever way to show you a section of music needs to be played again rather
than writing it out twice.

This is an end repeat mark, it means go back and play this

section again. Either go back to the start repeat mark or go
right back to the start if you haven’t seen one yet.​

& 44 œ œ œ œ ..
Student

œ œ ˙ œ œ œ œ w
c c c c c d e f f d d e
Look out for the dou - ble dots, they mean start a - gain.

& .. œ œ œ œ œ œ ˙ .. œ œ œ œ w
C C g g a a g g f e d c
Play these two bars one more time, now you’ve reached the end!

This is a start repeat mark. Remember it! No dots = no repeat!

When you see the next end repeat you need This is the end.
to come back to this point.​

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18
 Playing F STAGE 3

Let’s Play!
Improvise using the C major pentatonic scale but remember you
can use F as well now!

Composer’s Corner
Write your own tune using all your notes, C, D, E, F, G, A, C. Add a repeat mark at the end so you
can play it twice!

& 44
Student

Download your audio

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19
Stage 4

Playing in 3 Time

By the end of the lesson

you will be able to:
 nderstand the difference in time
U
and feel between 3/4 and 4/4 pieces
Read pieces in 3/4
Improvise in 3/4
Compose and write a piece in 3/4

20
 Playing in 3 Time STAGE 4

3/4 Time
Time signatures look suspiciously like maths homework, but they are far more important than
that. The main job of a time signature is to tell you how the music should feel.​
​
4/4 Rhythms have a straightforward, steady feel to them. A lot of rock, pop and dance music
is written in 4/4.​
​
3/4 Rhythms have a swaying feeling to them.

3 beats per bar

The top number means

three beats per bar.

Don’t worry about the

bottom number just yet!

Play these tunes to feel the difference between four time and three time:

Walkin’ (in 4 Time)

& 44 œ œ. œ. œ. œ œ. œ. œ. œ œ. œ. œ. œ œ ˙
Student

fC g g g pC g g g fC g g g pe d c

Rollin’ (in 3 Time)

Look out! The are only three clicks to count you in on the backing track because we are in
three time!

& 43 œ œ. œ. œ œ. œ. œ œ. œ.
Student

œ œ œ
fC g g
pC g g
f C g g
pe d c

21
 STAGE 4 Playing in 3 Time

Don’t forget a dotted

Rockin’ and a Rollin’ minim is three beats long!

3
Student

&4 œ œ ˙. œ œ œ ˙.
œ
c d e e f e f e

& ˙ œ œ œ œ œ œ œ ˙.
f f g e d e f d c

The Hawker

& 43 ˙ ˙ œ
Student

œ ˙ œ ˙ œ
c c e e f f g g

& ˙ œ ˙ œ ˙. ˙.
g f e d c c

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22
 Playing in 3 Time STAGE
TOPIC X
4

The Old Watch Maker (Duet)

3 œ œ œ œ œ œ œ œ
&4 Œ Œ Œ Œ
Student

C C C C C C C C

3 ˙. ˙.
Try this
part too! & 4 ˙. ˙.
c g c g

& Œ œ œ Œ ˙.
Student

œ œ ˙.
a a f f e C

& ˙. ˙. œ
˙ ˙.
Try this
part too!

f g c g c

Let’s Play!
Improvise using the C major pentatonic scale but watch out -
the backing track is in three time!

Composer’s Corner
Write your own pentatonic tune. We are in three time so make sure you have three beats in each bar!

3
&4
Student

23
Stage 5

Playing B

By the end of the lesson

you will be able to:
Play the C major scale

Read and play songs using the C major scale

Improvise a melody using the C major scale

 ompose and write down a melody using
C
the C major scale

24
 Playing B STAGE 5

Now Let’s Read B!

Draw through the fourth hole on your harmonica.
Remember that note stems can go up or down -
this does not change the pitch of the note.

œ or œ
b
b

Congratulations!
Now you can play all the notes
on your harmonica!

25
 TOPIC
STAGE X
5 Playing B

C Major Scale
Here is your first full major scale. Things are going to get really exciting now. You can use the notes
in your scale to write songs and later on it will help you understand a whole family of chords that
sound brilliant together. The major scale includes every note on your harmonica.

& œœ œœ œœ œœ œ
œ
œ
œ
œœ
&&& œœ œœ
œœ œœ
œœ œœ œ
œ œ
œ œ
œ
cccccc dd
dddd eee
eee fff
fff g
ggg
gg aaaaa
a bbbbb
b C
CCCCC
CCCCC DDDDD EEEEE FFFFF GGG
GG AAAAA BBBBB CCCCC

Double Trouble

& 44 ˙ ˙ ˙ ˙ ˙ ˙ w
Student

C b a g a g C

Contrary Motion Waltz (Duet)

& 43 œ œ œ œ œ œ œ œ œ œ œ
Student

œ œ œ œ ˙.
C b a g f e d e f g a b C g e c

Try this
part too!
& 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
˙.
c d e f g a b a g f e d c e g C

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26
 Playing B STAGE 5

Let’s Go!

4
&4 ˙ œ œ œ œ œ œ œ œ Œ œ ˙ ˙
Student

C b a b C b a b C b a a

I See You

& 44 ˙ œ ˙ œ œ œ œ œ ˙ œ
Student

œ œ œ
C C e C C e C C a C C C e

& ˙ œ œ w œ œ œ œ ˙ œ œ
˙ œ
œ
C C b b g f e d c e g C C e

& œ œ œ œ Ó ˙ œ œ œ œ ˙ ˙ w
f f g a a g g g b b b C

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27
 STAGE 5 Playing B

Let’s Play!
Improvise using the C major scale. Remember you can play
with rhythm, dynamics and articulation to make your song
more exciting.

Composer’s Corner
Write two tunes using the C major scale. One song is in four time, the other is in three time.
How can you tell which is which? Remember to put the right number of beats in each bar!

& 44
Student

& 43
Student

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28
Stage 6

Single Quavers
and Ties

By the end of the lesson

you will be able to:
Recognise single quavers
Understand the need for ties and how they work
Read pieces using ties
Compose and write a piece using ties

29
 STAGE
TOPIC X
6 Single Quavers and Ties

Quavers – a Quick Recap:

Up to now, all our quavers have been in pairs or groups
of four (two pairs) like this:

4
or or

&4 œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ

We can chop our pairs of quavers in half.

A single quaver looks like this and they are worth half a beat:

j j
œ œ = œ + œ
Look out for single quavers: they will be appearing in the next few stages.

Ties
Sometimes we need to join two or more notes together to make one long note.

& & œ œ
˙
This note rings for two beats.​ The tie joins these one-beat notes
together to make a two-beat note.​

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30
 Single Quavers and Ties STAGE 6

Why Would You Want to Do This?

Sometimes you will want a note to ring for an odd number of beats so we have to make the note
by joining notes together with a tie. In this example we have joined a half note and an eighth note
together. This creates a note which is two and a half beats long.

4 j ‰ Œ ∑
This is a quaver rest. You will learn more about it in stage 11

&4 ˙
Student

œ
2 + 1/2

Or maybe you want a long note at the end of a bar but there are not enough beats left to fit it
in. In this example we have put a three beat note at the end of a bar, even though there was only
one beat left!​

& 44 ˙ œ ˙ Ó
Student

œ
1 + 2

Look out! Ties look just like slurs! A slur joins different notes so they sound smooth.
A tie joins notes of the same pitch so they become one note!

Tied in Knots

& 44 .. œ œ œ œ œ œœœ œ ˙ œ œ œ œ œ œ ..
Student

a b C C C C b C C a g g g a g

Kipper Ties

& b 44 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ..
Student

f a a C C g g e f a a C C a a

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31
 STAGE
TOPIC X
6 Single Quavers and Ties

Raindrops

4
& 4 .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Student

œ
d d d u d d d d u d d d d u d d
3 3 4 4 4 3 3 2 2 2 3 3 4 4 4 3

& œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ
d d u u u u u u u u d d u d
3 2 2 2 1 1 2 2 3 3 3 2 1 2

& œ œ œ œ œ ˙. ..
œ œ œ œ w
u u u u u u u u d d u
2 2 1 1 2 2 3 3 3 2 2

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32
Stage 7

Dotted Crotchets

By the end of the lesson

you will be able to:
Understand dotted crotchet rhythms
Read and play pieces using dotted crotchets
Use the dotted crotchet effect when improvising
 ompose and write down pieces using
C
dotted crotchets

33
 TOPIC
STAGE X
7 Dotted Crotchets

Dotted Crotchets
We already know that a dotted minim is a three beat note.
The dot makes the note grow by half its size. You can add a
dot to any note and the dot will make the note grow by half
its size!

We are going to have a look at what happens if you add a dot to a crotchet note:​
A crotchet is worth one beat. So a dotted crotchet is worth one and a half beats.
You can think of it as a crotchet note tied to a quaver. Look at the timing below
to see when you play your second note:

& 42 œ œ œ & 42 œ. œ
J
1 (2) +​ 1 (2) +​

Listen Up!
How do dotted rhythms sound? Crotchet rhythms sound steady and even but dotted crotchet
rhythms sound like they are skipping. The dotted crotchet is long and the quaver leads quickly
to the next note. Say the rhythm below.

& 44 œ . j j ..
Student

œ œ œ œ. œ œ œ
Chips and ketch - up. Chips and ketch - up.

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34
 Dotted Crotchets STAGE 7

Super Supper

4 j j j j
.
& 4 œ. œ œ œ œ œ ˙
Student

œ. œ œ œ œ. œ ˙
f c c e e g g e pf f d d d d c
Chips and ketch - up, chips and beans. Chips and ketch - up, chips and beans.

& œ œ ˙ œ . œj ˙ œ
j
œ. œ œ œ œ ˙
pC g g f C g g
pe g e d
f e d c
Loads of greens, chips and beans. Chips and ketch - up, loads of greens.

Tunes don’t always start on the first beat of the bar. The tune below starts on beat three so you
can see a single note before the first bar. This is called an anacrusis, or pick up note. If there
is an extra note at the start, a note is taken away at the end so you can see the final bar of the
song just has two beats.

An Early Start

j
& b 43 œ œ. œ
œ œ œ œ œ . œJ œ ˙ œ ˙
Student

œ
c f g a a g a g C g a g g f

& b œ . œj œ œ œ œ ˙ œ œ œ œ ˙ œ ˙
˙.
e f e d c c c C a g f g f f f

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35
 TOPIC
STAGE X
7 Dotted Crotchets

Back to the City

4 jœ œ œœœœœ œ œ œ ˙
&4 œ
Student

œ œ. œ. œ .
œ œ . .
fc cce g c c e g a a a a g g
pa a b

j j jœ œ ˙ ˙
& œ . œ œ œ œ. œ œ œ œ. œ
fa a f d pe g e c fd f a b C C

Let’s Play!
Improvise over the tune using C major. Use some of your cool
dotted rhythms. Remember to think ‘chips, and ket-chup’!

Composer’s Corner
Write a tune in C major. Can you use your dotted crotchet rhythms?

& 44
Student

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36
Stage 8

Swing

By the end of the lesson

you will be able to:
 nderstand and recognise the difference
U
between swing and straight rhythms
Read and play music using a swing rhythm
Improvise using a swing rhythm

37
 STAGE
TOPIC X
8 Swing

Swing Rhythms
Sometimes things are not quite what they seem…

You know a lot about rhythms and you can confidently read most styles of music.
However, some musical styles have a bouncy feel to the quavers and we have to
read the score slightly differently. We call this swing.

If we are playing straight, we are playing normally. The quavers feel steady and even:

Straight

& 44 œ œ œ œ œ œ œ œ
Student

If we are playing swing, we are playing with a bouncy rhythm. The second quaver in each pair
is played later than written and it feels lighter. Try saying ‘boun-cy boun-cy’, as you read these
quavers. Make the ‘boun’ slightly stronger and longer than the ‘cy’.

Swing

& 44 œ œ œ œ œ œ œ œ
Student

boun - cy boun - cy boun - cy boun - cy

ti - ger ti - ger ti - ger ti - ger

Both lines of music look identical but they sound different! Watch out for an instruction at the start
of the piece so you know whether to play straight or swung.

You can talk through your harmonica! Try saying

‘ti-ger ti-ger ti-ger ti-ger’ through the harmonica.
Try some other words. This is called chugging and
you will learn more about this technique in Grade 1.

38
 Swing STAGE 8

Straight or Swing?
Sometimes the composer is helpful and will make it clear if you should play straight or swung but
sometimes they expect you to know:


Rock and pop songs are usually played straight.
Jazz and blues songs are usually played swung.

Play these tunes, which should be played straight and which are swung?

Rock

& 44 œ œ œ œ œœ ˙ œœœœœœ
Student

œœ œœœœ œœ œ œ œ œ ˙
c c d d e e g g a a C C C C a a g g e e d d c c

Blues

& 44 œ œ œ œ œ œ œ œ œ œ œ œ ˙ œœœœœœ
Student

œœ œœ œ œ ˙
c c d d e e g g a a C C C C a a g g e e d d c c

Pop

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Student

œœœœ˙
c e e f f f e g C C C C C g a a f e e c d c

Jazz

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Student

œœœœ˙
c e e f f f e g C C C C C g a a f e e c d c

39
 STAGE 8 Swing

Game – Copy Cat

Your teacher or friend will play one of the tunes below.
Which one are they playing? Can you play it too?

4 4
&4 œ œœœ œ œ œœ &4 œ œœœ œ œ œœ
Pop Jazz

˙ ˙
C g g a g e d d c C g g a g e d d c

& 44 & 44
Rock Blues

œœ˙ œœ˙
œ œœ œœœ œ œ œœ œœœ œ
c c e f f e f g g g c c e f f e f g g g

Let’s Play!
Play over the two backing tracks.
Which one is straight and which one is swung?

Composer’s Corner
Write a swing tune with lots of pairs of quavers. Remember to write ‘Blues’ or ‘Jazz’ or just ‘swing’
over the music so the performer knows to swing the tune!

& 44
Student

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details

40
Stage 9

Quaver Rests
and Syncopation

By the end of the lesson

you will be able to:
Read and play rhythms with quaver rests
Recognise syncopated rhythms
Play pieces using simple syncopation

41
 STAGE
TOPIC X
9 Quaver Rests and Syncopation

Quaver rests –
Keep it short
j =j ‰ ‰
A single quaver rest looks like this:
œ œ =

If we replace the second quaver of the pair with

a rest the tune has a detached, staccato effect: & 44 œj ‰ œj ‰ œj ‰ œj ‰
1 + 2 + 3 + 4 +

If we replace the first quaver with a rest, we are

& 44 ‰ j ‰ j ‰ j ‰ j
starting to explore syncopated rhythms which
is much more exciting:
œ œ œ œ
1 + 2 + 3 + 4 +

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42
 Quaver Rests and Syncopation STAGE 9

Syncopation - Putting the Fun in Funky!

Music doesn’t have to be steady and sensible. Sometimes rhythms jump out of
unexpected places and surprise us. In order to understand why some rhythms
sound funky, we need to understand about strong and weak beats within each bar.
Clap the examples below and accent (clap louder) where you see the accent sign >

4
The strongest beat in each bar is beat 1.
&4
œ œ œ œ
>1
This sounds like a musical anchor for your rhythm.

2 3 4

Beat 3 is also strong. Accenting beats 1 and 3

& 44 œ
œ œ œ
>1 >3
gives a strong solid feel, like rock music.

2 4

Beats 2 and 4 are weaker but if they are accented

& 44 œ
œ œ œ
>2 >4
the music takes on a lighter bouncy feel like jazz
or reggae.
1 3

The quavers in between these notes are even

& 44
œ œ œ œ œ œ œ œ
>+ 2 >+ 3 >+ 4 >+
weaker and the music really starts to get
interesting when we accent these notes…
1

Here are the same examples, but this time you are only going to clap the accented
beats. Make sure you keep counting every beat!

& 44 Œ Ó & 44 Œ Œ
œ œ œ
>1 2 3 4
>1 2
>3 4

& 44 Œ Œ & 44 ‰ j ‰ j ‰ j ‰ j
œ œ œ œ œ œ
1
>2 3
>4 1
>
+ 2
>+ 3 >+ 4 >+

43
 STAGE 9 Quaver Rests and Syncopation

SynCoP8

4 ‰ jŒ œ ‰ jŒ
&4
Student

œ œ œ œ œ. œ. . œ œ œ œ œ. œ. œ.
c d e d c e g c d e c d e d

f p f
Make it fun - ky let’s go now! We can play soft, now play loud.

‰ Jœ. Ó
œ. ‰ œ.j œ
& œ œ œ œ Œ
. œ œ œ œ œ.
f g a f e d c d e c d c C

p f
Syn - co - pa - tion is so fun, dan - cing to the rhy - thm!

Late Night Latin

4 j ‰ j‰ j œ œ j ‰ œj ‰ j œ
& 4 œ. œ œ œ . . ˙
Student

œ. œ œ . œ. ˙
fc e g g a a g pc e g e ff e d

j œ. œ. œ. Œ
& œ . œ ‰ œj ‰ œj œ œ ˙ j‰ j‰ j
œ. œ œ œ œ
. .
pf g f d e d c f d d e d c C C C

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44
Stage 10

Jamming

By the end of the lesson

you will be able to:
Jam with friends!

45
 STAGE 10 Jamming

Call and Response –

Jamming
We have spent a lot of time improvising in our method books.

Now we are going to learn to Jam.

This is often called Call and response.

It’s simple:

1 Find a friend.

2 They will play a few notes (the ‘call’).

3 You
 play a few notes back (the ‘response’).
You can try to copy them, or you can play a different response.

4  The calls can get longer as you feel braver.

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46
 Jamming STAGE
TOPIC 10
X

Here are some ‘call’ ideas to get you started:

Call Me Back
Call sponse
Re

4
&4 œ œ œ œ œ œ œ ˙ ’ ’ ’ ’ ’ ’ ’ ’
C a g e e g a C

Call sponse
Re

& œ œ œ œ œ œ ˙ ’ ’ ’ ’ ’ ’ ’ ’
C a g e g a g

Call sponse
Re

& œ œœœ œ œ œ ˙ ’ ’ ’ ’ ’ ’ ’ ’
g g e g g g a g

Call sponse
Re

& œ œ œœœ ’ ’ ’ ’ ’ ’ ’ ’
œ œ ˙
g g g e g c d e

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47
 STAGE 10 Jamming

Don’t Call Me No More

3
& 4 .. ˙ . œ œ ˙. ˙.
Call

œ
a a g e g a

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’
sponse
Re

& ˙. ˙.
Call

œ œ œ ˙.
a g e d c c

&’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ..
sponse
Re

Game – Copy Cat

This time you have to make up your own calls!
Keep them short to start with… how long can you go?

Download your audio

See page 4 for details

48
 Jamming STAGE
TOPIC 10
X

Let’s Play!
The great thing about a jam is that any instruments can get
together and play. If you know someone who plays a different
instrument, get together and jam!

In the meantime, try jamming with a friend over the drum track:

Download your audio

See page 4 for details

49
Stage 11

Celebration!
Congratulations, you have
reached the end of the RSL
Debut Harmonica Method Book!
Learn the five tunes in Stage 11 and play them
in your RSL Harmonica Debut exam! Look on
www.rslawards.com for details how to enter
your exam.

Southern Express
Race Day
Circus Skills
Perfect
Lean On Me

50
 Celebration! STAGE 11

Play the five tunes with the backing tracks in your exam. You only need to learn the top
parts of the duets for the exam but you can have fun playing the lower parts with a friend!

Southern Express

4 j j œ
&4 œ. œ œ
œ œ œ ˙ œ œ ˙
Student

˙ œ.
fc c d c e g a a b C g f e

&œ œœœ œ œ œ œ ˙ j œ œ. œ. œ. ˙
œ. œ .
pa g a g e f e f e d d f a g a b

jœ
& œ. œ œ œ œ ˙ œ œœœ œ œ. œ. ˙
fC g C g a g e f e f e c d c g

œ . jœ
& œ œ œ œ ˙ œ œœœ œ œ. œ. ˙
pC g C g a g e f e f e c d e c

j j
& œ. œ ˙ œ. œ ˙ œ. œ.
.̇
a a g f f e d f a

.̇ œ. j
& œ. œ. œ œ œ œ. œ. ˙
g a b fC g C g e d c

Download your audio

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51
 STAGE
TOPIC X
11 Celebration!

Race Day

4
&4 ˙ ˙ ˙ ˙ œ œ œ. œ
Student

œ w
C b a g a b C g e d

Try this
part too! & 44 ˙ ˙ ˙ ˙ œ œ œ œ œ w
e g f e f g f e g g

&˙ ˙ œ ˙ œ. œ. œ œ œ ˙ Ó ..
œ
Student

f g e g C C C b a b C

&˙ œ œ œ œ œ Ó ..
˙ œ œ ˙ ˙
Try this
part too!

c c c e e a f g f g e

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52
 Celebration! STAGE 11

Circus Skills

3 œ œ
&4 œ œ œ œ ˙.
Student

œ œ œ
pe f g g e g a f a g

Try this
part too! & 43 ˙ . ˙. ˙. ˙.
pc c f c

& œ. œ œ. ˙ Œ Œ
Student

J œ. ˙ œ. œ.
a b C g e d c d

Try this
part too! & ˙. ˙. ˙. œ. Œ Œ
f g g g

&˙ œ. ˙ œ. ˙ œ. ˙.
Student

fC C b b a a g

Try this
part too! & ˙. ˙. ˙. ˙.
ff g c c

& œ. œ œ. œ œ œ. ˙. œ. Œ Œ ..
Student

J
a b C b a b C C

& ˙. ˙. Œ Œ ..
˙ œ œ.
Try this
part too!

f g c e c

53
 STAGE 11 Celebration!

Perfect (Ed Sheeran)

~~~~~~~~~~~~
& 43 œ
Tenderly

œ ˙.
Student

œ
pd e g g

~~~~~~~~~~~~~~
I found a love

& œ œ. œ. ˙.
5

b a g b
for me.

& œ œ. œ. ˙ œ. ˙. Ó œ
fa
9

b b b g g g
Dar - ling just dive right in and

& œ œ. œ. ˙. Ó œ.
13

g a b a b
fol - low my lead. Well

& œ œ. œ. ˙.
pb
17

a g b

j
I found a girl,

& œ. œ œ œ ˙.
21

b a g g g
beau - ti - ful and sweet.

& œ œ œ ˙ œ. ˙ œ. œ ˙
25

g a b C C b b a g
I nev - er knew you were the some - one

& œ œ. œ. ˙. œ. œ. œ.
29

g a b a b b b
wait - ing for me. We were just

Words and Music by Ed Sheeran

Copyright © 2017 Sony Music Publishing (UK) Limited
All Rights Administered by Sony Music Publishing (US) LLC,
424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright Secured All Rights Reserved
54
 Celebration! STAGE
TOPIC X
11

& œ œ œ œ. Œ Œ œ. Œ Œ œ Œ Œ
33

b a g b b b
kids when we fell in love.

& œ œ œ œ. Œ Œ œ. Œ Œ œ Œ Œ
37

b a g b b b
Not know - ing what it was.

& œ œ œ ˙. ˙. ˙.
41

b a g C b g
I will not give you up

& œ Œ Œ ˙. ˙. œ Œ Œ
45

d b a
this time.

& œ œ œ œ. Œ Œ œ. Œ Œ œ Œ Œ œ œ œ
49

b a g b b b b a g
Dar - ling just kiss me slow, your heart is

. œ. ˙.
& œ Œ Œ Œ Œ œ Œ Œ œ œ œ
54

b b b b a g C
all I own, and in your eyes,

& ˙. ˙. œ
Œ Œ ˙. ˙.
59

b g d b b
you’re hold - - ing mine

& ˙. ˙. ˙. ˙. ˙.
64

a g

55
 STAGE 11 Celebration!

Lean on Me (Bill Withers)

& 44 œ Œ Œ
Student

œ œ œ œ œ œ œ œ œ
pc c d e f f e d c
Some times in our lives, we all have pain,

&œ Œ œ œ. j Œ
3
œ œ œ œ
c d e e d
we all have sor - row.

& Œ œ œ Œ œ
5
œ œ œ œ œ œ œ
c c d e f f e d c
But, if we are wise we know that there’s

&œ Œ j Œ
7
œ œ œ œ. œ œ
c d e d c
al - ways to - mor - row.

j
&œ œ œ œ œ œ
j
œ œ œ œ œ Œ
9

C g g a g e e g a C
Call on me bro - ther, if you need a hand,

&œ œ j Œ
11
œ œ œ œ œ. œ œ
e e d d c d c
need some - bo - dy to lean on.

Words and Music by Bill Withers

Copyright © 1972 INTERIOR MUSIC CORP.
Copyright Renewed
All Rights Controlled and Administered by SONGS OF UNIVERSAL, INC.
All Rights Reserved Used by Permission
56
 Celebration! STAGE
TOPIC X
11

j
&œ œ œ œ œ œ
j
œ œ œ œ œ Œ
13

C g g a g e e g a C
Might have a prob - lem, that you’ll un - der - stand,

&œ œ œ œ œ œ. j
15
œ œ ˙
e e d d c d c
need some - bo - dy to lean on.

& Œ œ œ œ Œ œ œ
17
œ œ œ œ œ
c c d e f f e d c
If there is a load you have to bear,

& Œ j Œ
19
œ œ œ œ œ. œ œ
c d e e d
that you can’t car - ry.

&œ Œ œ œ Œ œ
21
œ œ œ œ œ œ
c c d e f f e d c
I’m right up the road, I’ll share your load,

&œ Œ j Œ
23
œ œ œ œ. œ œ
c d e d c
if you just call me,

& œ. j Œ j Œ
25
œ œ œ. œ œ
d c d c
call me, call me.

57
 STAGE 11 Celebration!

Inspiration Station
Here is a list of some of the most talented harmonica players in the world.
Look them up and have a listen. Maybe you will join them some day!

Diatonic Chromatic Tremolo

Harmonica Harmonica Harmonica
Players: Players: Players:
Howard Levy - Robert Bonfiglio - Classical Donald Black - Scottish
A great all round player
Toots - Jazz
Little Walter - Chicago Blues
Stevie Wonder - Pop
Annie Raines - Chicago Blues

Lee Oscar - Fusion

Rachelle Plas - Fusion

John Popper - Rock

Charlie McCoy - Country

Buddy Green -
Bluegrass/Classical

Will Pound - Folk

58
 Celebration! STAGE
TOPIC X
11

Listening to Music
It can be helpful to listen to music and try to put into words what we’re hearing. Can you
listen to some pieces from each style on the previous page and talk with your teacher about:

Rhythms how many beats are there in a bar? Can you clap to the drum beat?
Tempo does the piece feel fast? Slow?
Instruments what instruments can you hear?
What is the ‘mood’ of the piece? Is it happy? Sad? Mellow? Relaxed?
What do you think gives it that mood?

Lastly, use the space below to write down the titles of any new artists or songs you’ve discovered…

TOP TIP
Listening to all
kinds of music
helps us to become
better musicians –
in fact, listening is
just as important
as playing!
STAGE 11 Celebration!

How to Practise

Here are some tips to

make your practice
fun and successful!
1. Break it down! 5. Listen!
You have to do a lot of things at the Your ears are so important! Does the
same time when you play music. It is music sound right to you? Recording
much easier to learn if you just work your playing is a great way to hear
on one thing at a time. How about how you are doing.
clapping the rhythm? Or checking you
are breathing in the right places? 6. Little and often!
Or lots and often, as long
2. Chop it up! as it is often.
Don’t try to learn a tricky piece in
one go. Just practise one or two bars. 7. Feel proud!
Go over and over them until they are Think of a goal before you start to
just right. You can work on the next practise. It should be tiny, like learning
bit tomorrow! to play one bar. Now play until you
can do it. Nice one!
3. Slow it down!
Play slow... No, slower than that...
OK a bit slower still. Play slow, get it
right, then gradually speed it up.

4. Graffiti time!
It’s true. You can write on your music!
If you work out how to play a tricky
bit you can write something to help
you remember. Maybe add a smiley
face too.
Stage 12

Congratulations!
You have mastered the 4 hole
harmonica and it is time to
move on to a new instrument.

61
 STAGE 12 Congratulations!

What’s Next? Buying

your next harmonica​
What should you buy? Is it hard to play?
It depends what kind of music you are The holes are closer together so you need to
into: If you are into rock and blues, then make your mouth shape (this is called your
the ten hole is probably the way to go. embouchure) smaller to play single notes
If you are more into jazz or classical and this will take a while. Don’t worry though,
music then you should be thinking you will be playing chords to start with and
about an eight hole Solo harmonica like that will feel easy!
the Hohner Melody Star. They are
quite different instruments! This final stage will give you some new
songs to play on your new harmonica and
you will learn how to play chords.
So what is different?
Both types of harmonica have a greater
range of notes than your four hole instrument.
The middle holes (4, 5, 6 and 7) on the ten hole
are just the same as your four hole harmonica.
The top four holes (5, 6, 7 and 8) on the eight
hole are the same as your four hole.

This means the TAB is different for different

types of harmonica!

62
 Congratulations! STAGE
TOPIC 12
X

These chords and songs have been written for a 10 hole

diatonic harmonica. Go to the RSL Harmonica homepage
at www.rslawards.com to find bonus material if you have
an eight hole Solo instrument or a chromatic harmonica.

C major chord
& œœ
œ
Blow in holes 4, 5 and 6 at the
same time to play the C major
chord. The score shows the three
notes stacked on top of each other
to show they are played at the 456
same time.

D minor chord
Draw in holes 4, 5 and 6 at the same
time to play the D minor chord.
& œœœ
$%^

63
 STAGE 12 Congratulations!

Starlight

4
& 4 .. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
C Dm
Student

œ œ. œ. œ œ. œ. œ œ. œ. œ œ. œ. . . . .
456 $%^
ta t - k ta t - k ta t - k ta t - k ta t - k ta t - k

Am

& œœœ œœœ œœœ œœœ œœœ œœœ œœ

œœœ. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
. . . . œ . . . . . . .
456
ta t - k ta t - k ta t - k ta t - k ta t - k ta t - k

œœœ .. www
F C

& œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
. . . . . . . .
ta t - k ta t - k ta t - k ta t - k ta

The Flying Scotsman

& 44 .. œœœ
Swing
C

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Student

. . . .
456 $%^ 456 $%^ 456
ta t - k ta ta t - k t - k ta ta

& œœœ œœœ œœœ œœœ œœœ œœœ œœœ ..

œœœ. œœœ œœœ œœœ
. . .
$%^ 456 $%^ 456
ta t - k ta ta t - k t - k ta ta

Download
Downloadyour
youraudio
audio
See
Seepage
page44
for
for
details
details

64
Now you are well on
your way to mastering
your new harmonica!
Check out the RSL harmonica page at www.rslawards.com
for extra tips, tricks and bonus material!

65
Blank manuscript for your notes

&

&

&

&

&

&

&

&

&

&
66
Blank manuscript for your notes

&

&

&

&

&

&

&

&

&

&
67
Blank manuscript for your notes

&

&

&

&

&

&

&

&

&

&
68
DEBUT

For your nearest store visit:

www.rslawards.com/store
Phone +44 (0)345 460 4747
Email [email protected]

ISBN 978-1-78936-408-8

9 781789 364088
Catalogue Number: RSK200186
ISBN: 978-1-78936-408-8