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Chord Ing

The document discusses chording on the harmonica, highlighting its accessibility and enjoyment. It includes an original composition titled 'Time Machine In My Pocket,' with detailed performance directions and techniques for various sections of the piece. Additionally, it recommends listening to classic harmonica recordings and suggests studying with expert Joe Filisko for further learning.

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Giorgos Triantafyllou
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7 views

Chord Ing

The document discusses chording on the harmonica, highlighting its accessibility and enjoyment. It includes an original composition titled 'Time Machine In My Pocket,' with detailed performance directions and techniques for various sections of the piece. Additionally, it recommends listening to classic harmonica recordings and suggests studying with expert Joe Filisko for further learning.

Uploaded by

Giorgos Triantafyllou
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Chording

By David Barrett, Mel Bay’s HarmonicaSessions® eZine

June 2008

Chording is one of the most fun and most obtainable skills on the harmonica. Chording is simply
grabbing the lower three holes on the harmonica and playing a catchy rhythm of draws and blows. This
month we’ll study an original composition of mine called “Time Machine In My Pocket.”

Opening

The rhythm in this opening passage sets the tone for the whole piece. You’ll go back to this rhythm
whenever there’s a break in any of the presented melody lines.

When playing the 2 draw (in a tongue block embouchure), your tongue covers the 1 draw. Slap the 2
draw in this opening passage and use the pull articulation for the 1 blow/2 blow chord (tongue covers all
of the holes for a split second and then pulls off… creating a nice articulation for the chord. You can also
lift your tongue off the harmonica to use the TA articulation for the pull. Either way, you want a sharp—
not loud but sharp—articulation when sounding the chord. It’s also helpful to open the sides of your lips
(smile) to release a bit of air—this will give you the wistful sound we’re looking for. Listen carefully to the
recorded example to copy my technique. This is used often when chugging/chording to achieve a light,
percussive quality to the blow chords.

Section 1

For this section use slaps for a full sound. Again, note that the opening rhythm returns between phrases
of melody to keep the song moving along. At this point you’re at full volume. In the recording you’ll hear
that I start the song softly, gaining volume as I get closer to this section.

Section 2

Here parts of the opening rhythm and parts of the Section 1 melody are mixed together.

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Section 3

Now we’re playing Section 1 up an octave. If you haven’t developed the skill to play octaves on the high
end of the harmonica (this passage will challenge the best of you) then only play the top notes. Notice
the chording still being used in the spaces—this makes for quite a jump, but helps the theme of the song
continue through this high-end passage (thanks to Joe Filisko for this recommendation).

Section 4

The 5 draw focus in this section helps to make this part of the song very bluesy. This is a nice deviation
from the more major sound of the song.

Section 5

This section is real fun to play, with it’s syncopated rhythm and thick 3 draw/4 draw chords. You’ll also
notice that my tone has changed to be thinner, more “bitey” in quality.

Performance Directions
Start the song off quietly and build up in volume as you reach Section 1. This mimics the sound of a train
coming, an often-used tool of early harmonica playing. Play with a very loose embouchure. You’ll notice
that I play more than one note most of the time (commonly adding the hole above as notated). This
gives you a fuller sound. After you play through once you can repeat the song as many times as you
wish and then fade out (the train disappears into the sunset).

Recommended Listening
Though this piece is not very classic in its presentation, it has its roots in country and pre-war blues
harmonica. Below are some recordings you’ll benefit from listening to. I would also highly recommend
studying with Joe Filisko if you have the opportunity to work with him at a workshop… he’s the leading
expert in this type of playing.
• Harmonica Masters, Classic Recordings from the 1920’s and 30’s (Yazoo 2019)
• Harp Blowers 1925-1936 (Document DOCD-5164)
• Blow’n the Blues, A History of Blues Harmonica Classics 1926-2002 (Indigo IGOTCD 2536)
• Filisko & Noden, Live (Self released, visit www.joefilisko.com)

About the Author David Barrett


http://www.harmonicamasterclass.com/david.htm

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