Method For Chromatic Harmonica

Method for
Chromat ic
Harmoni ca
by MaxDeAl
oe
S
HERMUSI
CCO.
METHOD
FOR
CHROMATIC HARMONICA
For all skill levels
by Max De Aloe
© 2012 SHER MUSIC CO.

P.O. Box 445, Petaluma, CA, USA,
www.shermusic.com
All Rights Reserved.

International Copyright Secured.
Made in the USA.
No part of this book may
be reproduced in any form
without written permission
from the publisher.
ISBN 1-883217-71-7
For my son Federico
and for all harmonica students
Translation from Italian: Mary Riccardi

Cover and book design: Attila Nagy, [email protected]
Cover photo: ©[email protected]
CD included
Recorded December 2011
MAX DE ALOE QUARTET

Max De Aloe – chromatic harmonica
Roberto Olzer – piano
Marco Mistrangelo – double bass
Nicola Stranieri - drums
www.maxdealoe.it
[email protected]
Contents
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
Chapter 1
The chromatic harmonica: basics . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter 2
Let’s play – exercises on the middle octave . . . . . . . . . . . . . . . . . . 7
Chapter 3
Exercises on sound and the low octave . . . . . . . . . . . . . . . . . . . . 17
Chapter 4
The high octave (third octave) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Chapter 5
Let’s use the slide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Chapter 6
Exercises and tunes in D and Bb Major . . . . . . . . . . . . . . . . . . . . . 63
Chapter 7
Exercises and tunes in A and Eb Major . . . . . . . . . . . . . . . . . . . . . 81
Chapter 8
Scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Chapter 9
The other keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Chapter 10
Exercises on arpeggios and basic chords . . . . . . . . . . . . . . . . . 129
Select discography of CDs of chromatic harmonica . . . . . . . . . . . 143

About the Author
Max De Aloe is considered one of the most active jazz harmonicists on the European scene.
He has released ten albums as a leader and is on more than fifteen as a sideman.
He has also done solo shows, soundtrack composition for theater performances and
documentary films, and creative collaborations with poets, writers and directors.
He has worked with Adam Nussbaum, Kurt Rosenwinkel, Paul Wertico, John Helliwell
(Supertramp), Mike Melillo, Bill Carrothers, Eliot Zigmund, Don Friedman, Garrison
Fewell, Dudu Manhenga, Franco Cerri, Gianni Coscia, Dado Moroni and countless
others. He has participated in various music seasons and festivals all over the world.
His professional activities are split between playing and teaching. He runs his own music
school, which he founded in 1995, (Centro Espressione Musicale) in Gallarate (Milan),
where he teaches modern piano, accordion and above all chromatic harmonica.
He was a teacher at the Accademia d’Arti e Mestieri dello spettacolo of Milan’s
prestigious La Scala theater.
DISCOGRAPHY AS A LEADER:
Max De Aloe - La danza di Matisse (Splasch Records CDH 701.2) - 1999
Max De Aloe – Racconti Controvento (Abeat ABJZ003) - 2001
Max De Aloe – L’anima delle cose (Abeat ABJZ0019) - 2003
Max De Aloe Quartetto Crocevia – Crocevia (Abeat ABJZ 0044) - 2006
Max De Aloe Quartet – Lirico Incanto (Abeat ABJZ 0060) - 2008
Max De Aloe Quartet – Road Movie-Live at Sonvico in Jazz (Barnum f 001) - 2009
Max De Aloe/Bill Carrothers – Apnea (Abeat ABJZ 0072) - 2009
Max De Aloe Quartet – Bradipo (Abeat ABJZ 0070) – 2010
Max De Aloe – Un controcanto in tasca – DVD -(Abeat ABJZ 500) - 2011
Max De Aloe – Björk on the moon - (Abeat Records ABJZ 105) - 2012
DISCOGRAPHY AS A SIDEMAN:
Marco Detto – In The Air (Splasch Records CDH 717.2)
Renato Sellani Quartet – Il poeta (Abeat ABJZ 001)
Mike Melillo-M.De Aloe-M. Moriconi–E la chiamano Estate (Philology w 188.2)
Antonio Turconi – Lettere dal bagnasciuga (ABLG 002)
Barbara Casini Quartet – Uma voz para Caetano (Philology w 232.2)
Adi Souza – Dansa da vida - (MAP Records LJ 30105)
Alessandro Carabelli Group – Over and out – (Splasch Records CDH 921.2)
Giampiero Spina - Cinema Paradiso (Splasch Records)
Jazz Magazine Vol.54 – Raccolta AA.VV. – (Emme K – JM 54)
Antonella Montrasio Mudança Quintet – Meu silencio – (Videoradio 000680)
Lia Invernizzi Quintet – Nu Drop – (Music Center BA 258)
Musica Jazz Raccolta AA.VV. - Abeat Story – (MJCD 1234)
Antonio Marco Turconi – Di sole, di pioggia o di vento – (LAB 104)
Antonella Montrasio e Max De Aloe Quartet – Pingo Pingando – (Abeat ABJZ 511)
Andrea Celeste – Something Amazing – (Zerodieci)
ii
Introduction
This method book is the result of over twenty years of individual study of the chromatic
harmonica and an equal amount of time devoted to instructing many students on
harmonica playing. Much was also gained from numerous collaborations with a
variety of musicians who have taught me a great deal.
After a long period of studying the piano, I stumbled on the chromatic harmonica
while still very young. It was a chance encounter that was to change more than just my
musical life. I have had a great love affair with the chromatic harmonica ever since,
which seems stronger with every passing day, like a long, happy marriage founded on
passion, complicity, amusement and joy, with moments of yielding and sacrifice too.
I believe that coming to the chromatic harmonica with a good knowledge of music
in place and a fair amount of live performance experience helped me realize
immediately that most existing method books for chromatic harmonica fail to put forth
an in-depth study of the instrument. Most method books didn’t (and still don’t) make
use of staves, ignoring the practice of notated music entirely. Do you know of any
method books for saxophone, trumpet, piano, or any other instrument that don’t make
use of musical notation? Why is this typically the case with the chromatic harmonica?
I have, therefore, had to put together my own teaching tool, used first on myself, then
on my students, which, while similar to the methodology used for more traditional
instruments, hopefully offers up a dynamic and modern perspective.
A central influence during my formative years was the help and musical expertise of a
great teacher, Willi Burger, one of the world’s major classical virtuosi of the chromatic
harmonica. In addition, the knowledge gained through seminars taught by other
musicians, mainly pianists, trumpeters and arrangers, was also key. I have always
strived to work with musicians more skilled and talented than myself in order to learn
from them.
In this method book the chromatic harmonica is treated as a musical instrument in all
respects, and rightly so. Tablatures (certainly more useful to the diatonic harmonica),
will not be used nor aperture numbers placed above notes. The study course is an
accessible one, devised for everybody, but will inevitably present some challenges
which will require diligence from the reader.
For example, a good soccer coach knows that the player should know the rules of the
game, acquire a good overview of the playing field, have good breathing technique,
athletic preparation, ball technique, know how to kick both on the left and right,
with his head, stop, run, kick penalties, respect the other players, be ready to yield,
be prepared to make sacrifices, but also know how to enjoy himself while playing.
The same holds true for a good teacher with regard to a student wishing to learn an
instrument. The study and practice of a musical instrument is manifold: it works on
iii
different levels and touches upon different subjects – music theory, solfège, harmony,
instrumental technique, reading skills, rhythmic proficiency and independence, speed,
developing a good sound, possible improvisational skills and much more. My aim
in compiling this method book has been to devise a course of study for the student
where he/she can gradually “train” various technical aspects of playing, above all as
they relate to the difficulties of the chromatic harmonica, an instrument which is not as
easy as it might seem. Step by step, key by key, each chapter attempts to accustom
the student to having a complete overview of the instrument through exercises and
tunes chosen for various purposes.
Naturally a method book cannot contain absolutely everything. In the following

pages, we will often just touch on ideas that can be expanded on with the help of
other method books and pieces. For example, I have intentionally omitted examining
music theory and harmony as well as rhythmic, melodic and vocal solfège, but I
reference texts where all these can be learned and studied in more detail.
Considering my own musical education, the pedagogy I have adopted is obviously

oriented towards jazz music, although the basis of study is perfectly suited to all genres
of music. Furthermore, I have avoided delving into the world of jazz improvisational
technique, as this is already dealt with in highly effective method books common to all
instruments. I am sure that everyone who completes this study book will have acquired
a good base from which to take on any manual of improvisation techniques.
Naturally, every method cannot state “absolute truth” with respect to its subject. This
book inevitably contains a conception of music and the instrument that is a reflection
of myself. But I am positive that if the following suggestions are adopted step by step,
much will be learned about the chromatic harmonica. My one great wish is that
this book succeeds in helping whoever wishes to deepen his/her knowledge of, and
passion for, a fascinating instrument, and that in the end, he/she can really draw
enjoyment from it.
In conclusion, I feel I must state that beyond the study of an instrument, it is important
to listen to great amounts of music with care and passion. It may seem like a banal
suggestion, but I have often encountered students wishing to play jazz music who
rarely listened to it. It would be like studying to become a film director without ever
watching a film. Let’s not limit ourselves then to only listening to harmonica players.
Ours is an instrument still largely to be discovered, therefore we have much to learn
from all other instrumentalists and from music in its totality. Let’s widen our scope on
music as much as possible, encompassing all different genres, historic periods and–
above all–let’s enjoy ourselves.
Good luck to everyone and enjoy your studies.
Max De Aloe
iv
` Chapter One

Chromatic Harmonica: The Basics
The harmonica is classified in the so-called “free reed” instrument family, which
includes, among the most important, the accordion, bandoneon, concertina, reed
organ and harmonium. The free reed is a screwed or riveted metal blade set into
vibration by air pressure produced by the mouth or by bellows. The pitch of the reed is
determined by its length, shape and thickness.
There are mainly two types of harmonica: the diatonic harmonica and the chromatic
harmonica.
The diatonic is the most popular and is built to play in only one key, though techniques
such as bending and over-bending make it possible to play the entire chromatic scale.
The chromatic harmonica is distinguished by its larger size and by a button on its
right side called the slide. The chromatic harmonica can produce all notes (for the
sake of simplicity: all the white and black keys on a piano) from a range of two and
a half octaves (10-hole chromatic harmonica) to over four octaves (16-hole
chromatic harmonica), depending on the model. Substantially, such a small
instrument can produce the same or even a greater number of notes found on most
other musical instruments.
This method book is intended for the 12-hole chromatic harmonica in the key of C
(three octave range), since this is the instrument most harmonica players use.
The skill acquired from this method book can be easily transferred to a 10-hole
chromatic harmonica (which lacks the last two holes of a three-octave-harmonica) or
a 16-hole chromatic harmonica (featuring an extra octave below middle C).
Let’s first understand how the notes are positioned on the harmonica.
1
Chapter 1 • The Chromatic Harmonica: Basics
It is important to note that some notes on the harmonica are played only by blowing
and others only by drawing air. When the slide is pressed, it is possible to transpose a
note one half-step higher. In the beginning, we will learn to play without operating
the slide, introducing it later on in the fifth chapter, once the initial challenges of
positioning are no longer an issue.
1.1 DIAGRAM OF THE NOTES ON A 12-HOLE CHROMATIC HARMONICA IN KEY OF C
BLOWN
BLOWN CC EE G C CC EE G G C C C C E EG GC C
WITHOUT
WITHOUT SLIDEHOLE
HOLE 11 22 3
3 4
4 55 66 7 7 8 8 9 9 10 10
11 11
12 12
SLIDE
DRAWN
DRAWN DD FF A
A B
B DD FF A A B B D D F FA AB B
hole 1: C blown – D drawn (Middle C is located on the first hole)

hole 2: E blown – F drawn
hole 3: G blown – A drawn
hole 4: B drawn – C blown
From the fifth hole on, the same sequence follows one octave higher
hole 5: C blown – D drawn

The same applies from hole 9 to hole 12, with the exception of the 12th hole, where
a high D sounds while blowing and pressing the slide
hole 9 : C blown – D drawn

Pressing the slide, as shown below, raises each note a half-step
BLOWN
BLOWN C# E#
C# E# G#
G# C#
C# C# E#
C# E# G#
G# C#
C#C#C#E#E#C#G# C#C#
WITH
WITH SLIDE HOLE
SLIDE HOLE 11 22 3 44 5 66 7 7 8 8 9 9 101011 1112 12
DRAWN D# F# A# B# D# F# A# B# D# F# A# B#
DRAWN D# F# A# B# D# F# A# B# D# F# A# D
2
The Chromatic Harmonica: Basics • Chapter 1
POSITIONING THE HARMONICA
The harmonica is held with the left thumb (from below), and the index finger and the
middle finger (optional) from above. The thumb and two fingers are aligned along the
harmonica, while the ring and little finger will serve to hold the microphone whenever
amplification is needed. The right index finger activates the slide. An old instrument
hold has the right index finger held vertically straight, pressing the slide with the fleshy
part of the finger. However, many harmonica players play pressing the slide with other
parts of the index finger below the fingertip.
The harmonica is be held parallel to an imaginary horizontal line crossing both the
player’s eyes, and its position shouldn’t change while playing. Rather, the musician’s
head must move in search of the notes while the instrument remains stationary. Various
effects can be made by moving the harmonica, but this will be discussed further on.
If the instrument requires amplification, a hand-held dynamic microphone suitable

for vocals is very practical. The microphone is held with the ring and little finger, and
possibly the middle finger, of the left hand. It will have to be slid along the harmonica
in order to provide even amplification for all notes. If one moves from a note played
on the first hole to one played on hole 10, the position of the microphone should
change accordingly.
HOW TO PLAY THE HARMONICA
There are two existing ways to play the harmonica:
1. The Whistle Method
Perhaps the most spontaneous way, it consists of playing the instrument by closing
the mouth around the embouchure as if preparing to whistle. How much the mouth
closes is determined by the fact of producing just one note at a time. This is our point
of reference. If we hear more than one note when blowing or drawing, then our lips
are either not puckered enough on the embouchure or we are halfway between
two notes. By feeling with the tip of the tongue, we can find out if we are aligned with
the correct hole. When doing so, some harmonica players curl their tongue into a
U-shape, channeling the air stream through the middle. This is a little-used technique,
in part because not everybody’s tongue is flexible enough. Of the harmonica players I
have met, the great Bruno De Filippi used this technique.
3
2. The Tongue Blocking Method
With this method, the tip of the tongue is used to cover the hole to the left of the one
selected while playing the desired note with the right side of the mouth. For example, if
we wish to play a blown C through the fifth hole, we place our mouth on the fourth and
fifth holes and block the airflow to the fourth hole with the tip of the tongue, letting the
air stream through the right side of the mouth into the fifth hole, sounding the C.
It is difficult, if not impossible, to determine which technique is better or more

spontaneous. I suggest you try them both and see which one best suits the shape of
your mouth or simply feels better. There’s no need to hurry in choosing, but I’d venture
to say it won’t be difficult to determine which feels most natural to you. There are
teachers who encourage the student to learn both techniques by playing exercises
in both ways. As for me, I play using the whistle technique though I made an effort,
during the first two years of my studies, to perform all exercises with both techniques.
However, from the very beginning I was sure I was going to use the whistle method.
There are teachers and good harmonica players who favor one technique over the
other or believe one suits a certain musical genre more than the other. I believe that
the student should be given the freedom to approach the instrument in the most
natural and spontaneous manner possible, at least as far as these two techniques
are concerned. In my teaching experience I find more students are at ease with the
whistle technique, but I have also seen the opposite.
Important: all exercises and advice you encounter in this method book pertain to both
the Whistle Method and the Tongue Blocking Method.
BREATHING
As with all wind instruments, good breathing technique on the harmonica is essential for
sound projection. The harmonica is peculiar in that it is the only wind instrument played
by both blowing and drawing air. Harmonica playing requires conforming to all basic
principles of diaphragmatic-thoracic breathing. The diaphragm is a muscle lamina that
can be thought of as a floor separating the thoracic and the abdominal cavities.
The basic breathing technique that is the departure point for playing the harmonica is
as follows: contract the diaphragm (pushing it inwards and lifting it) to blow, and relax
it to inhale.
In order to easily understand the diaphragm’s location inside our body, we can
simulate a yawn while resting a hand on our abdomen.
Keep in mind that intercostal, thoracic and abdominal muscles also contribute to the
process of inhaling and exhaling.
4
The Chromatic Harmonica: Basics • Chapter 1
When playing high notes, the process of contraction and release of the diaphragm
normally happens in the upper abdomen. When blowing and drawing in the high
octave, the area right below the sternum is what we should feel working. With high
notes–-again–-greater pressure and greater activity is required in the upper abdomen.
With low notes, the movements of the diaphragm happen in a more relaxed way,
requiring more air but less pressure. Sounding low notes acts upon the lower abdomen.
As far as posture is concerned, we must get used to playing both standing and sitting
down. The head should be held upright, facing straight ahead, the chin slightly lifted.
Let’s avoid keeping our chin low as if watching the tips of our shoes and avoid resting
the elbows against the chest, too. Each person ultimately finds a position that permits
him to feel relaxed at all times. When practicing any instrument it is always important
to be relaxed while playing. Back to the harmonica–-the tongue generally sits low so
as not to obstruct the flow of air. The tip of the tongue rests delicately on the lower
front teeth.
Let’s not–-and this is very important–-worry ourselves to the point of exasperation over
these details. Instead, begin playing and trying to produce sounds; later on we can
test out the results of a performance that takes into account the concepts laid out
about breathing and tongue position.
It makes good sense to follow advice concerning positioning in general, but when we
begin playing it is equally important that our body not be excessively focused on its
posture, the tongue’s position or breathing.
WHICH HARMONICA TO USE
The best-known brands of harmonica are Hohner, Suzuki, Hering, Tombo, and Bends.
Even if the distribution and circulation of these brands varies depending on the
country, it isn’t easy to find a wide selection of models.
The German brand Hohner, a leader in this field, has been manufacturing harmonicas
since the last century and is, objectively, the most highly distributed brand in the world.
The most played harmonica model, and the one I suggest to whoever wishes to
approach the instrument, is the Hohner Chromonica 270 (12 holes). It is an optimal
instrument for both the beginner and professional, not overly expensive, though
models similar to this one in both style and price exist also by other manufacturers.
Toots Thielemans used this instrument for over thirty years, later developing the Toots
model, an evolution of the Chromonica 270. Two sub-models exist of the Toots model,
both featuring 12 holes: the Mellow Tone (softer sounding) and the Hard Bopper (more
reactive and aggressive).
5
There are also 16-hole models by Hohner, such as the Chromonica 280 or the Super
64. The only interesting aspect of these models is the possibility of playing an extra low
octave, but I think they are more cumbersome and less functional than the 12-hole.
Thielemans himself rarely used this kind of harmonica during his entire career. I believe
he did so only for a limited period of time during the ‘70s.
It could be interesting to use a 16-hole harmonica in specific compositions calling for

low notes which undoubtedly have a certain appeal.
In contrast, I cannot see the purpose in using a 10-hole harmonica (Chromonica 260)
instead of a 12-hole. Perhaps the only advantage for the beginning player is that a
10-hole costs slightly less than a 12-hole, and can serve to help someone beginning to
study the instrument.
I feel compelled to repeat that there are many different brands of models available
that are certainly all worth a try. But there will be plenty of time for this. The important
thing is to start on a functional, standard model. One quite problematic aspect of the
harmonica is that the reeds tend to wear out when played, with few ways of replacing
them. Either you’re lucky enough to find the extremely rare repairman, or you become
an excellent technician yourself (granted that you have the spare parts needed).
There’s no getting around it: the reeds are destined to lose their tuning or break. I
do suggest that you avoid playing on the newly bought harmonica too hard. It is
important, as well, not to play with food residues still in the mouth.
A useful piece of advice is to never expose the harmonica to sudden changes of

temperature. It mustn’t be left in the car on very hot or very cold days, just as it mustn’t
be left near a heat source. Remember to warm up the harmonica in your hands
before playing it so that the temperature of the instrument is similar to the temperature
of your breath. Limiting this difference greatly reduces condensation/moisture
problems inside the instrument.
6
Chapter Two

Let’s play – exercises on the middle octave
Now let’s play, beginning with the first exercise.
Initially we’ll only play in the middle octave (second octave: from hole 5 to hole 9), since
these notes are easier to produce than the lower or higher ones. On wind instruments,
playing notes at the top and bottom of the range is generally more complex.
In order to play, our mouth should move along the harmonica in a sliding motion, from
one hole to the next, while keeping the harmonica still.
Exercise 2.1 consists of long notes to be played trying to sustain the sound. Let’s play
single notes; at this stage, don’t worry about connecting the notes, just strive to make
them sound.
Remember what has been said about breathing. The tongue, if using the Whistle
Method, will serve to aim, meaning we’ll rest the lips on the harmonica, then using the
tip of the tongue seek out the hole to blow or draw; once it feels perfectly centered,
we retract the tongue to the bottom of our mouth and emit the sound. Basically, the
tongue aims so that we understand if we are positioned correctly in relation to the
note to be played.
If we hear two notes sounding instead of just one, the so-called “accordion effect”,
it means our mouth is misaligned with the hole of the selected note. Most likely, the
mouth doesn’t adhere well to the embouchure and some air is escaping. Or we find
ourselves halfway between two notes. Using the tongue to aim, let’s play it once more.
2.1
7
Chapter 2 • Let’s Play – Exercises on the Middle Octave
The following exercise trains us to repeatedly play two notes located in the same
hole—continually alternating a blown and a drawn note.
Don’t expect the notes to be perfect immediately. Some notes may be difficult to
sound or you may get out of breath. Instead of worrying, simply play and replay them
until they improve.
These difficulties will be overcome through lots of practice and determination and
will be even more evident and annoying when we play high and low notes. While
practicing these exercises, keep in mind the position of the instrument, the breathing
principles and, above all, take care not to insert the instrument too far into the mouth,
not to “eat it” too much.
Some notes will probably not sound so rich and full. Don’t worry for the time being.
Remember, it will take us time and patience.
“Try and try again” must become our motto when studying.
2.2
The first two exercises are of great importance and are useful in approaching the
instrument (sounding of notes, clean execution and breathing). Exercise 2.3 adds
another challenge: that of moving the mouth to an adjacent hole.
For example, when playing the first three notes, C – D are played one blown and
one drawn in hole 5; we then move to hole 6 to play a blown note, only to return to
hole 5 to play the drawn D. The transitions between these three notes will have to be
repeated many times over: this is the meaning of the repeat sign. The exercise must be
played extremely slowly. Be careful switching between the drawn D in hole 5 and the
blown E in hole 6. It isn’t a very natural transition, as it requires shifting the mouth. It is to
be played repeatedly, as are the following passages starting on D, then E and finally F.
Attention: when moving from one hole to the next, we slide the mouth along without
separating it from the embouchure. This is an important point: the mouth slides along
the embouchure and does not jump in search of the note.
8
Let’s Play – Exercises on the Middle Octave • Chapter 2
This exercise illustrates the difficulty, and at the same time the importance, of
connecting one note to the next. We should try not to leave even the smallest space,
so-called staccatos, between notes when we change holes. The harmonica player
gives fluidity to his notes by imitating the fluidity of normal breathing.
2.3
Now we’ll play the notes from C to A and back in a more continuous manner,
remembering to blow and draw deeply. Let the notes be heard. Don’t play too softly
for fear of making mistakes, but don’t attack the instrument with an excessive amount
of air either.
2.4
Attention: before going on to new exercises, let’s focus on a possible problem which
may have arisen. When playing blown notes, it sometimes happens that we exhale
some air through the nose at the same time. In other words, air “leaks” from the nose
resulting in weaker sounding notes. What’s more, apart from the diminished intensity
of sound, it also reduces the control we exert on the note played. As a result, there
is less volume and less control of timbre which will compromise our efforts later on to
achieve the vibrato effect and compromise the correct arrangement and fluidity
between blown and drawn notes. It is simple to find out if we are “leaking” air: place
a finger close to the nose when sounding a blown note and feel whether air flows out
of it. If so, return to playing one single blown note and focus on keeping the air flowing
only through the mouth. While playing the note, hold the harmonica with only one
hand; with two fingers of the other hand, close the nostrils repeatedly, and listen for
any change in sound. No change in sound heard when blocking and unblocking the
nostrils means you have achieved the correct way of playing.
9
When we get to this point, we’ll play several blown notes checking for possible
“air leaks.” “Leaking” can be a useful technique, but only once we can control it
voluntarily. For example, when a tune has many consecutive drawn notes, the first
blown note can be used to “leak” a bit of air through the nose in order to restore
the proper equilibrium to the breath. But let’s be very careful: even when done
consciously, “leaking” air from the nose will always alter our sound a bit. It should be
used carefully and definitely not on the “important” notes of a tune.
The following exercise brings us something new: two consecutive drawn notes, A (hole
7) and B (hole 8), as well as playing the high C and D. Always play the high C blowing
in hole 9 and avoid the C blown in holes 4 and/or 8. Personally, I rarely suggest playing
the C in holes 4 and 8 blown, especially to the beginner. Instead I suggest using holes
5 and 9 blown, and of course holes 1 and 12. Back to the two consecutive drawn
notes, they can be problematic to our breathing and might sound weaker compared
to blown notes; but try not to get discouraged. Moving from one hole to the next
with two drawn notes is tiring initially and will remain so for quite a while, but things will
eventually improve.
2.5
The exercises presented up to this point should be played rigorously, seeking to

produce clean-sounding notes, breathing the correct way and in a legato manner.
Only after some days of practice will we be able to perform the following exercise, the
ascending and descending C major scale.
The scale should be played slowly, giving each note the same duration. We’ll feel
short of breath, similar to what we feel when running without having trained. Let’s not
stop after only one or two repetitions. We need to learn to breathe with our instrument
and manage the breathlessness as something surmountable. Also, don’t worry if your
mouth feels glued to the embouchure, unable to properly slide along the instrument.
It is very normal to have problems with salivation in the beginning. Simply moisten your
lips before starting to play and every now and then during breaks, quickly flick the
tongue over the lips. With practice, this problem will also vanish. At any rate, I strongly
advise against anchovy-pizza or pasta right before playing!!!
Apart from this dietary advice, with the suggestions explained so far we are now
already able to perform many exercises on the central octave of our harmonica.
10
If we wish to seriously study this instrument, let’s avoid immediately trying to play
melodies and employing the slide; instead, let’s concentrate on the key elements I’ve
highlighted (clean notes, breathing, legato, etc.).
2.6
In playing the C major scale, we are already presented with one of the structural
faults of the instrument. The scale ascending from C to high C requires the following
transitions: blow – draw – blow – draw – blow – draw – draw – blow. The sequence
of two draws on notes A and B breaks the cycle of breathing established over the
first six notes (blow – draw – blow – draw – blow – draw). On the harmonica, scales,
melodies and arpeggios can occur with many consecutive notes either all blown
or all drawn. There is no real pattern, or practically none, for scales, like there is with
other musical instruments. With the harmonica we are always forced to think of the
notes in relation to their position. Patterns or formulas are of little use. This concept will
become clearer as we carry on. This “obstacle” is also the source of the instrument’s
charm. An instrument that is even more complex from this point of view is the diatonic
bandoneon (for clarity, the one used in the tango and by the famous Astor Piazzolla,
among others, and considered “Argentinean”, though it was designed in
Germany).
This is why, with the harmonica, we must master breathing technique, legato playing,
and the breath so that the fact of whether a note is blown or drawn becomes
unimportant.
Now let’s play the following exercise, still slowly but aiming for a certain degree of
fluidity between notes.
2.7
11
The following exercises deal with the first jumps between non-neighboring tones. That
is, notes which are not located next to each other. Moreover–and I’m repeating
myself–always keep in mind the name of the note played and its position.
For example, playing an A in the middle octave means thinking not only that the note
is an A, but that it’s positioned on hole 7 and drawn. Unlike the piano, guitar and many
others, the harmonica is not an instrument that can be looked at while playing. Therefore,
it is important to be aware of which note is sounding and on which hole. Let’s try putting
this suggestion, which is fundamental to the study of this instrument, into practice. Turn to
exercise 2.10. Remember: high C blown in hole 9, and not blown in hole 8.
2.8
2.9
2.10
12
The next four exercises, though quite mechanical like the preceding ones, are also
melodic. For this reason, we must keep the right tempo. Count the beats of the bar
mentally. If respecting the duration of the notes and rests is difficult, stop a moment
and do a rhythmic and melodic solfège of the exercise before playing it on the
harmonica.
The exercises must be performed slowly taking great care in giving each note and
rest its proper length.
2.11
2.12
13
2.13
2.14
Now let’s play the following two tunes. Let’s respect the tempos indicated. The pieces
are recorded in two different versions on the enclosed CD: one featuring only the
accompaniment, the other complete with the harmonica melody.
Attention: practice the tune alone at first, without the accompaniment and without
listening to the recorded harmonica. This will help train your music reading skills.
Afterwards, the tune can be played along with the pre-recorded harmonica, and
then with the accompaniment only.
14
Harmonica 1 8
TRACK 1
TRACK 2
2.15
15
Harmonica 2 8
TRACK 3
TRACK 4
2.16
16
Chapter Three

Exercises on sound and the low octave
Timbre: the voice of our instrument, the soul of our music.
After having worked on the mechanical and reading exercises of chapter 2 we’ll now
concentrate more on the quality of the sound we produce. In this context, sound is
understood as the timbre of our instrument.
Timbre is definitely among the most important aspects for a performer.
In music, from classical to pop, from rock to jazz, from blues to world music, the great
musician is first and foremost recognizable by his sound.
In jazz music, just think of Miles Davis’ trumpet, so different from Chet Baker’s or Dizzy
Gillespie’s, and Charlie Parker’s alto saxophone or the unmistakable guitar of Pat
Metheny. As far as our instrument is concerned, think of the wonderful and so often
imitated sound of Toots Thielemans or Larry Adler or Hugo Diaz. In rock music, Jimi
Hendrix’s sound immediately comes to mind, or that– diametrically opposed–of Mark
Knopfler or Eddy Van Halen or a thousand other guitarists. There is page after page
of examples.
The importance of sound is even more understandable when it concerns the voice
of a singer. How recognizable is the vocal timbre of Frank Sinatra or that of Luciano
Pavarotti or Ella Fitzgerald?
To us musicians, the timbre of the instrument is like the voice of an actor: essential.
Apart from the characteristics of our instrument, its sound comes mainly from us
and can be only minimally corrected by the use of effects. Good reverb (real or
“reproduced” as it may be) can help, but it doesn’t alter an instrument’s sound
color, its nature.
At the origin of a good instrument sound stands the musician above all. Let’s never
neglect sound in favor of speed.
17
Chapter 3 • Exercises on Sound and the Low Octave
There are many musicians with superb technique and great musicality whose
instrument’s sound absolutely does not match their skill level. Timbre can be influenced
by many different variables. Some of these can be controlled and were noted in the
course of the instrument’s evolution; others are personal, physical or the like.
For example, the musician’s physical traits, his thorax, as well as his mouth, larynx,
tongue, teeth and the entire aural cavity affect the timbre of the harmonica. At
this stage, we shouldn’t expect to be able to thoroughly work on sound, but it is
important to consider this aspect. Practicing long notes is useful for developing greater
awareness of our sound on the instrument.
The next exercise presents a series of fermatas (which means we can play the notes
marked with the fermata symbol for as long as wish, regardless of their actual value).
Let’s hold them as long as we possibly can (between five and ten seconds). Focus on
the following while playing:
• Correct breathing (see chapter 1).
• Holding the note. The sound must be clear and steady, not faint. We
mustn’t play the attack of the note strongly and then let it fade away.
• Listening to the sound emitted. Holding the notes long enables us to

listen to our timbre. Try positioning the tongue, lips, mouth in such away
to achieve the sound we like most. There is no optimal harmonica
sound, only OUR sound through our instrument.
• Let’s connect the notes to each other (after having played one note
for a long time, switch to the next without leaving a gap).
3.1
18
Exercises on Sound and the Low Octave • Chapter 3
In the previous exercise I’ve chosen the notes randomly; we can really play any notes
we wish (in fact, I encourage you to do so). The important thing is how we perform
them, bearing in mind the goal of the exercise.
Attention: this kind of exercise on sound will have to be returned to often, utilizing the
notes of the first and third octave of the harmonica as well.
THE LOW OCTAVE (FIRST OCTAVE)
The following section introduces us to the notes of the low octave (first octave of a 10 or
12-hole harmonica, second octave of a 16-hole harmonica), in such a way that we can
always play blown and drawn notes alternately. Also, the following exercises take three
notes at a time into consideration, then four notes, always starting on a blown note.
Attention: the notes of the low octave are not easy to produce. It may happen that
some notes don’t properly sound for days on end. Trust me, the harmonica isn’t
broken! Patience is needed while we seek out the proper embouchure and correct
breathing.
The notes that are typically the most difficult to play are D (hole 1) and F (hole 2).
It is imperative not to give up, even if the sound seems ugly, faint and out of tune
at first. Set out from this initial sound and search patiently and willingly. It is not as
simple as pressing a button; it takes time. This is the fascinating thing about all
wind instruments.
Let’s stay with the sound we have found, even if it’s ugly, patiently holding the note.
Let’s not attack the notes; if they don’t sound, it has nothing to do with power or
air pressure.
To those who have a 16-hole harmonica, I suggest following this method book by first
learning to play the second, third and fourth octaves of the 16-hole harmonica well.
Once you feel more comfortable and have dedicated yourself to the first exercises
involving the slide, go back and deepen your knowledge of your instrument’s first
octave (the lowest) using long notes.
The longer and bigger the reeds (sounding lower notes), the more difficult it becomes
to have a good sound and articulate the notes well. The choice between a 16 and
12-hole harmonica is entirely up to the player’s discretion. For example, Stevie Wonder
always plays a 16-hole harmonica, while Toots Thielemans has almost always preferred
a 12-hole, using the 16-hole on only some recordings and concerts in the ’70s.
19
3.2
3.3
3.4
Play the same measure several times. Repetition helps refine the “mechanics” of
emitting the notes. Exercise 3.5 starts on a drawn note, though the mechanics involved
remain the same, while exercise 3.6 requires playing two consecutive drawn notes in
the low register, one of the most complex tasks when starting to play the harmonica.
We must be patient and not force the notes. We mustn’t attack the reeds; otherwise
they simply will not sound.
3.5
3.6
20
If these last exercises seem particularly difficult, take a step back and practice single
low notes, alternating blown and drawn notes as illustrated in the following exercise.
Try imagining the sound of the note that won’t play. You have to want the note. When
the note starts to sound, stay with it but without ever forcing.
It is likely that the note will be out of tune. To tune it, sound the notes while
simultaneously listening to the same pitch played in tune by, for example, a keyboard.
Doing so will bring forth the sound with greater determination while helping to tune
it. We must imitate the pitch/sound we hear. Initially the so-called “sound beats”
can be heard; that is we hear a difference in tuning between the note we play on
the harmonica and the note from the keyboard. It’s a kind of “wa-wa” effect which
produces an actual oscillation of sound waves. We must therefore act upon our sound
to minimize this “wa-wa” effect until we have one single pitch without any vibrato.
This intonation exercise will also have to be repeated in the future, on all notes of the
harmonica, in order to have control over the instrument’s intonation.
3.7
Then let’s practice long-notes on the low octave, just like we did before on the middle
octave (exercise 3.1).
Everything said about long-notes on the middle octave, applies to the low octave.
Now let’s try playing a C major scale on the low octave.
3.8
21
The following four exercises are to be practiced meticulously, respecting the tempos
indicated.
Special care must be taken with exercises 3.11 and 3.12, as they feature intervals that
are difficult to play. Jumping between holes on the harmonica is always a complex
operation, and repeated exercise is the means for becoming proficient.
3.9
3.10
22
Let’s not immediately play the following exercises, 3.11 and 3.12, from beginning
to end. Given the difficulty of the jumps between holes we’ll practice the exercise
measure by measure, doing the same jump repeatedly. For example, it is likely we’ll
encounter some difficulties when jumping from C to A, from C to B, and in the octave
jump from C to C.
Let’s take them on one at a time, repeating each interval over and over again,
ascending (3.11) and descending (3.12).
3.11
3.12
Now let’s play the following short tune.
It might not be the most interesting tune, but I promise that once we’re past the technical
issues of the first chapters, we’ll play other compositions that are more inspiring.
Attention: don’t forget to respect the tempos and follow the repeat signs.
23
Harmonica 3 8
TRACK 5
TRACK 6
3.13
24
Now we can play the tunes HARMONICA 1 (2.15) and HARMONICA 2 (2.16) of the
previous chapter on the first octave–rather than on the second octave as notated.
This will help us become aware of how things change from one octave to the next,
both from the technical and sound perspective.
In time, our skill will be such as to perform on the entire range of the harmonica with
ease, feeling no difference between the various octaves.
Often, it happens that we’re reading a song in one octave but playing it in another.
This occurs simply because we prefer the sound of one octave over the one notated,
or because we lack some of the notated notes. For instance, if we were to play the
notes of the following exercise with a 12-hole harmonica, we’d have to begin not on
the actual C in hole 1, but on the C in hole 5.
3.14
JOINING NOTES OF THE FIRST AND SECOND OCTAVE
Now I’ll introduce a series of exercises dealing with notes from the central and lower
octaves simultaneously.
We’ll begin by playing the C major scale over two octaves; from C hole 1 to C hole 9.
3.15
25
Now we’ll play the following melodic exercises to help us join notes belonging to both
octaves. As always, let’s respect the length of the notes and rests. Mentally count
each beat, trying to keep the tempo as constant as possible. It’s important not to
accelerate in the easier sections, only to slow down in difficult passages.
3.16
3.17
26
The following four exercises are so-called “mechanical” exercises that develop the
basic technique required by our instrument. These are practiced daily on every
musical instrument and help make certain passages more fluent.
It is interesting to note that after some time we will no longer notice whether we‘re
blowing or drawing; this happens naturally and we end up thinking only of the notes.
These types of exercises can eventually be practiced on the entire range of the
instrument, in all keys and at varying tempos. They are and will be a useful, necessary
mechanical tool and create a foundation for the study of improvisational techniques.
In every chapter, all mechanical exercises will be marked with a small triangle like
this p. This indicates that each time a new key is introduced in this method book, the
mechanical exercises of the other keys should be practiced again as well.
For example, the following four exercises will not be transposed to the keys introduced
later in this method book; step by step, they will have to be transposed to all twelve
major keys, and even the minor keys.
Attention: the recommendation is that, in the end, all exercises indicated with the
small triangle should eventually be practiced in all keys.
In addition, instead of performing the exercise solely in an automatic way, let’s

always keep in mind what note is being played and where it is located on the staff
and on the instrument. The harmonica is an instrument which doesn’t allow us to see
the notes we play, making it easy to get lost initially. We may play a note without
knowing what it is, and this causes us to lose our point of reference for playing the
notes that follow. To avoid this serious problem, it is essential to ALWAYS be aware
which note is being played.
I have already explained this concept, but it is necessary to repeat it to ensure a solid
approach to the instrument. It is important for any instrumentalist to always know what
note he/she is playing. It is like talking—one should always know the meaning of the
word spoken. That said, the reality that surrounds us often contradicts us.
27
Attention: regardless of where the ‘triangle’ exercises are written, we should always try
playing them over the entire range of the instrument.
Let’s make the most of all the notes on our harmonica (from hole 1 to hole 12).
As I’ve already said, a good instrumentalist, in the long run, will feel no difference
between playing high, central or low notes.
But let’s not get carried away with these exercises: the notes must be cleaner and
cleaner, focusing on sound, never neglecting these aspects for the sake of speed.
p 3.18
p 3.19
28
p 3.20
p 3.21
Now let’s have fun with the next tune, Harmonica 4, written in 4/4 to simplify it for you,
but which could be more interesting if played in cut time.
Are you in doubt about what cut time is? In the following chapter I’ll give you a list
of helpful references if you feel you’re lacking knowledge of theory, harmony and
solfège. A good knowledge of basic theory becomes essential if we want to play an
instrument well. The need for a good basis becomes more and more evident as we
continue learning the instrument.
29
Harmonica 4 8
TRACK 7
TRACK 8
3.22
30

Chapter Four

The high octave (third octave)
Now we’ll attend to the notes of the third and final octave, the high one, which
extends from C hole 9 to the highest C in hole 12. Some of these pitches were included
in the last exercises we practiced.
Initially, the high notes are a little more difficult to sound. The higher they are, the
shorter the reed becomes. This requires blowing and drawing a bit more intensely and
bringing the lips a bit closer together (with the Whistle Method). The notes will seem a
bit “harder” to sound, but this is perfectly normal.
As I mentioned earlier, on all wind instruments the notes at both the high and low
ends of the range are the most difficult to play. Through exercise, this difficulty will be
mastered and forgotten.
In the next exercise, let’s hold the notes for as long as possible and search for the
timbre we like most, just like when we began playing notes of the lower two octaves in
the preceding chapters.
4.1
The next exercise is a kind of C major scale. Draw out each individual note. Two
ways of notating the exercise are shown. Keep in mind that we will rarely encounter
notes written so high. Often the 8va or “all’ottava” marking is used to facilitate
reading the notes (4.2). We also need to be able to recognize and play notes with
many ledger lines (4.3).
31
Chapter 4 • The High Octave (third octave)
4.2
4.3
Now let’s focus on the following exercise, to be played slowly, keeping in mind the
note being played and its position.
32
The High Octave (third octave) • Chapter 4
4.4
Next we’ll play the C major scale in the high octave only (4.5); after practicing the
high octave well, we’ll play it over all three octaves starting from hole 1 until hole 12
(4.6).
4.5
4.6
33
Let’s return now to the four tunes presented in the two previous chapters (Harmonica1,
2, 3 and 4) and try playing them in the harmonica’s high octave.
Initially, playing the same exercise/tune in different octaves not only gets us well
acquainted with the entire range of the instrument, it allows us to hear how the same
melody sounds different in various ranges.
Now on to play the following two exercises. Pay attention to the rests, especially in
exercise 4.8, which will take time to play well. It’s the rests that make this exercise
awkward to play correctly.
As suggested before, if the rhythmic subdivision is giving us trouble, we can stop and
do a rhythmic solfège of the tune.
It is never a waste of time to solfège a piece or some of its passages.
To this end, I’d like to emphasize a point which I consider of fundamental importance
in the study of any musical instrument, not only the harmonica.
In my teaching experience, I’ve noticed that the greatest difficulty a student may
have is playing a score and being exact with tempos and rests. It is mistakenly thought
that the difficulty of playing notes lies only in pitch, overlooking the fact that assigning
notes and rests their proper length within the tempo can be a pitfall.
When played alone or in a group, music must always have a cyclic nature.
Great care must be taken with timing, especially at the beginning of our instrumental
studies. Don’t interpret yet, just be precise. Don’t be afraid of sounding inexpressive
and pedantic. The time for interpreting music will come.
Attention: Playing written music means we take on at least three issues simultaneously:
• recognizing the length of the note or rest to be played;
• recognizing the pitch of the note to be played;
• transferring this information onto the instrument (i.e. knowing the

instrument from a technical point of view)
34
It is not unusual to feel blocked or experience great difficulty while attempting to do

these three things simultaneously. As with any complex problem, the only solution is
split it into smaller issues which can be dealt with one by one.
Thus we focus first on the rhythmic subdivision of the tune through rhythmic solfège
(very important phase). Then we focus on pitch through singing solfège and finally
we practice it on the instrument. The procedure might seem elaborate, but it actually
saves us a lot of time, allowing us to play correctly more quickly.
Only through the progressive development of a good study METHOD can better results
be achieved quickly.
At the end of this chapter is a list of books which can help develop knowledge of
solfège, theory and harmony.
4.7
35
4.8
4.9
36
4.10
4.11
37
As already mentioned, we must now pay particular attention to exercises 4.12 and
4.13. They are not simple melodic reading exercises at all; they require a good deal of
attention in performance. Apart from doing some preliminary solfège, remember the
importance of spending time on certain measures and passages we find more difficult.
It is not necessary to always repeat the piece from the beginning; instead we must first
isolate the difficult passages and then put everything together.
4.12
38
4.13
What follows are three mechanical exercises marked with the small triangle.
After having played them several times as notated, try them over the entire range of
the instrument.
39
p 4.14
p 4.15
40
p 4.16
Keep in mind that studying the high octave does not end here: there will be other
exercises in the following chapters to aid in playing the high notes better.
Attention: on the last hole, number 12, it will also be possible to play a D by using the
slide, but we’ll do this only when we’ve introduced the use of the slide.
What follows is a very useful exercise that, because of its importance, will be shown
in other keys later on. This exercise helps develop the use of scales, starting from any
degree of the scale. It’s not only useful for breathing and instrumental technique; it
lays the foundation for future studies on modal scales.
After having played it as notated, let’s play it on the entire range of the harmonica. In
the key of C, this exercise can be played over three octaves.
Remember to always play slowly (I suggest 90 beats per minute on the metronome per
quarter note) and connect the notes.
This exercise is a good one to perform daily at the start of a practice routine or when
warming up for a concert.
41
p 4.17
Now let’s get acquainted with a new type of exercise marked with a small arrow
and named after a month of the year. Although they feature melodic-harmonic
development and are written in different keys, each of these exercises introduces
a different basic rhythmic-melodic idea. The goal is to develop reading and
performance skills through various rhythmic-melodic challenges.
42
January 8 TRACK 9
TRACK 10
Æ 4.18
43
Suggested books:
RHYTHMIC SOLFEGE
Solfège Rythmique Cahier n.1 – Dante Agostini – Editions Dante Agostini
Solfège Rythmique Cahier n.2 – Dante Agostini – Editions Dante Agostini
SPOKEN/SUNG SOLFEGE
The Real Easy Ear Training Book – Roberta Radley – Sher Music Co.
Ear Training for the contemporary musician – Keith Wyatt, Carl Schroeder, Joe Elliott – Hal Leonard
MUSIC THEORY
Berklee Music Theory – Paul Schmeling – Book 1and 2 (CD included) – Berklee Press
Contemporary Music Theory – Level 1, 2 and 3 – Mark Harrison – Hal Leonard
MUSIC HARMONY FOR JAZZ MUSIC
The Jazz Theory Book – Mark Levine – Sher Music Co.
Harmony & Theory – Keith Wyatt e Carl Schroeder – Hal Leonard
Mechanics of Modern Music – Anthony Zano – Ed. Berben
To further knowledge of reading exercises
Reading key Jazz Rhythm ( for piano) – Fred Lipsius – Advance Music
Jazz Conception for Saxophone – Lennie Niehaus – vol. 1 (basic) – Try Publications
Jazz Conception for Saxophone – Lennie Niehaus – vol.2 (intermediate) – Try Publications
Jazz Conception for Saxophone – Lennie Niehaus – 20 jazz etudes – (advanced) – Try Publications
The technique of the flute – Rhythm Studies – Joseph Viola – Berklee Series
The technique of the flute – Scale Studies – Joseph Viola – Berklee Series
To further knowledge of exercises on arpeggios over chords

(only after having studied Ch. 10)
Patterns for jazz – J. Coker, J. Casale, G. Campbell, J. Greene – ed. Alfred
The technique of the flute – Chord Studies – Joseph Viola – Berklee Series
44
Chapter Five

Let’s use the slide
The button on the right side of the harmonica is called a slide. It is played with the right
index finger using either the fleshy part of the third phalanx (near the fingertip) or the
first phalanx.
Personally, I mainly use the first phalanx of my index finger for the slide and only in
some cases, the fleshy part of the finger.
In my opinion, there are advantages and disadvantages to both positions but I can
assure you that harmonica players will all hold differing views. The use of the fleshy
part of the index finger is much more useful for playing high notes on the harmonica.
By contrast, the use of the first phalanx permits a more stable hold of the harmonica.
In addition, this position is more appropriate when holding a microphone for
amplification.
However, I’d suggest that you choose the way that works best for you, trusting in your
instincts and comfort in performance.
There are also some harmonica players who use the fleshy part of the thumb, but this
position, in my view, is less stable for the instrument because both thumbs are normally
used to hold the instrument.
When the slide is pushed, the note sounds one half-step higher. This works in the same
way for both blown notes and drawn notes.
For example, if the note C is produced by blowing on the first hole, this means a C# or
Db will sound when the slide is pressed. Or if the note F is produced by drawing on the
sixth hole, it means if the slide is pressed, F# or Gb will sound. To play a flat, we have to
always start one step lower and raise it up a half step with the slide. If we want to have
a Db, we have to play a C#, that is, a C with the slide pressed.
By using the slide, you can automatically create enharmonic sounds. Enharmonic
sounds are notes that are written differently but produce the same sound (ex: E# is
enharmonic for F, Cb is enharmonic for B, etc.).
45
Chapter 5 • Let’s Use the Slide
For example, F is found by drawing the 2nd, 6th and 10th holes, but it can also be found
by blowing the 2nd, 6th and 10th holes with the slide (an E#). This way we have an F on
the same hole that can be played drawn or blown with the slide.
We have the same note with a C blown on the 4th and 5th hole (just like on the 8th and
9th) but we discover that by using the slide, there is a drawn C on the 4th and 8th (B#).
We must be careful because the slide has no intermediate steps except for the
purpose of producing particular effects. For this reason, it is important to practice
being fast and, above all, precise in passing from notes needing the slide to those
without.
Thanks to the slide, we are able to play in all keys.
Once the use of the slide has been established, we can play a G Major scale starting
on the 3rd hole. I suggest the following: G (3 bl), A (3 dr), B (4 dr), C (5 bl), D (5 dr), E (6
bl), F# (6 dr + slide), G (7 bl). The same goes for the next octave.
Now let’s continue with the G Scale over 2 octaves.
5.1
If this is too difficult, it is better to practice the scale on the first octave (from hole 3 to
hole 7) repeatedly for a time. Then play the same skillfully without speeding up on the
higher octave (from hole 7 to hole 11). After that, we can put the two scales together
to form a two-octave scale.
ATTENTION: Here we find a new passage on the harmonica requiring practice, namely
the passage E, F#, G. Let’s play these 3 notes up and down as fluidly as possible in a
slow tempo. You shouldn’t hear spaces between one note and the other. The notes
should be smooth and played uniformly without pulling on the reeds too much. You
should try to play cleanly but above all, it’s important to get used to the passage
from F# to G. They are played in two very different positions that must eventually be
performed naturally and spontaneously.
46
Let’s Use the Slide • Chapter 5
5.2
5.3
Now let’s practice the following technical exercises.
p 5.4
47
p 5.5.
p 5.6
48
Performance speed and the use of the metronome
An important element that hasn’t been mentioned is the performance speed of

exercises and tunes.
Until now, I have invited you to play slowly. Let’s keep in mind that as you progress,
once a piece has been practiced slowly, you should try to speed it up step by step,
without overdoing it. How quickly you play (especially for practice purposes) is always
based on your level of skill.
We should always try to keep the speed of a piece in relation to the most difficult part
of that piece.
A mistake to avoid is playing at a certain speed only to slow down at the hard part.
The best thing is to isolate the group of notes or the whole bar that you find difficult
and then insert it into the whole piece. If the exercise/piece is problematic, we have
to practice it bar by bar, as all performers do. This is an essential focal point of this
method of study.
In addition, after a piece has been practiced, a metronome can be a useful tool.
The metronome itself doesn’t help us resolve tempo problems. It simply gives us a
reference point that helps keep us from speeding up or slowing down.
However, it is our rhythmic knowledge that makes us understand each note’s duration
and its relation to the tempo. Playing in time while giving each note its correct value is
an essential element that calls for our utmost attention.
Don’t forget, the real difficulty in “reading” and following a score is not so much
playing the correct notes but playing the correct notes with the correct duration.
Piece 5.7 is not a trivial one and will take some effort to play correctly.
Exercises 5.8, 5.9, 5.10 and 5.11 are a good testing ground for our rhythmic knowledge.
49
5.7
50
5.8
5.9
51
5.10
52
February 8
TRACK 11
TRACK 12
Æ 5.11
53
Let’s go on to the key of F Major and the related technical exercises on the scale. Be
careful of the passage from Bb to C. For the time being, I suggest using C blown on the
fifth hole and on ninth hole.
5.12
p 5.13
54
p 5.14
p 5.15
As I’ve already said in the introduction, this is a method book for the chromatic
harmonica that, even though it starts with the basics and doesn’t aim to enter into
improvisational technique, is surely oriented toward jazz (especially after the first few
chapters). We have in fact arrived at the point where it starts being important to
perform musical pieces with a so-called “swing” feeling.
We’ll limit ourselves to thinking that when we find two eighth notes in a row, we should
play the first note on the beat longer and the second, on the upbeat, shorter and
accented. Jazz has a preference for accenting weak beats (the second and fourth
beats in a 4/4 measure) and upbeats as opposed to downbeats. This is an absolutely
oversimplified explanation but it can at least give you a general idea. Playing with
“swing feel” is a common term in jazz but with the passage of time various exceptions
have developed. Playing with a “swing feel” varies from musician to musician, from
type to type, from era to era. The main suggestion here is simply to listen. There is no
other way. It is like trying to explain the accents and inflections in languages of people
from the same country but coming from different villages, provinces and regions.
55
You just need to listen. Get some jazz pieces from various musicians from various
historic periods. It could even be interesting to listen to the same piece, a jazz
standard, played by different musicians!
On the CD for this method, I myself am trying to play in a clear way and as close as
possible to the rules of jazz but, obviously, I can hear my own distinct “pronunciation”.
Now let’s try and play the following tunes (not technical exercises) with that in mind.
5.16
56
5.17
57
5.18 is exactly like 5.10 in G Major transposed to F Major.
It’s interesting to try and play the same piece transposed, because you understand
how lowering things just a step changes many things on our instrument.
5.18
58
5.19
5.20
59
March 8
TRACK 13
TRACK 14
Æ 5.21
From here on out, you will find tunes and exercises that could contain passing notes
outside of the scale of reference or modulate into other keys. In addition, we’ll get to
know pieces marked with a little square. They are compositions I wrote for some of my
CDs which I’ve selected for this method book’s level of instruction. I hope you enjoy
them. If you like them, I invite you to also listen to recordings of the original versions.
60
Let’s begin with the piece Anguilla found on the CD entitled Crocevia (Abeat Records
ABJZ 0044). The piece starts out in F Major but modulates to A Major already by the
fifth measure only to wander into other keys as it develops. These modulations are very
common in the jazz repertory.
n 5.22 Anguilla M. De Aloe
61
At the end of every chapter, I’ll recommend a series of tunes to listen to and play in
relation to the key and difficulty of the corresponding chapter. The pieces will be mainly
in the jazz style. This will enable us to integrate into this method book, well-known pieces
taken from the New Real Book 1, 2 and 3 (by Sher Music).
Beautiful love (Dm) – The New Real Book 1

Bernie’s tune (Dm) – The New Real Book 1
But beautiful (G) – The New Real Book 1
Bye bye blackbird (F) – The New Real Book 2
Chega de saudade (Dm) – The New Real Book 1
Darn that dream (G) – The New Real Book 1
Day Dream (F)- The New Real Book 3
Desafinado (F) – The New Real Book 1
Emily (G) – The New Real Book 3
Fly me to the moon (Am) – The New Real Book 2
Here’s that rainy day (G) – The New Real Book 1
Honeysuckle Rose (F)- The New Real Book 2
In a sentimental mood (Dm) – The New Real Book 3
I should care (C) – The New Real Book 1
I thought about you (F) – The New Real Book 1
I’m old fashioned (F) – The New Real Book 1
Just friends (G) – The New Real Book 3
The lamp is low (G) – The New Real Book 3
Laura (G) – The New Real Book 3
Like someone in love (C) – The New Real Book 1
Line for lyons (G) – The New Real Book 1
My romance (C) – The New Real Book 1
Nature boy (Dm) – The New Real Book 1
On the sunny side of the street (C) – The New Real Book 2
Polkadots & moonbeams (F) – The New Real Book 1
Satin doll (C) – The New Real Book 1
The shadow of your smile (3) – The New Real Book 3
St. Thomas (C) – The New Real Book 1
Take the “A” train (C) – The New Real Book 1
The way you look tonight (F) – The New Real Book 1
Unforgettable (G) – The New Real Book 2
Waltz for Debby (F) – The New Real Book 1
Yesterdays (Dm) – The New Real Book 1
62
Chapter Six

Exercises and tunes in D and Bb Major
Now let’s look at a new key: D Major, where besides F# (holes 2 – 6 – 10 drawn with the
slide) we also find C# (holes 5 – 9 - 12 blown with the slide).
As mentioned before, it is possible to sound a D, using hole 12 drawn and pushing the
slide, which is the highest note in C major on the chromatic harmonica. Since hole 12 is
the last one on the harmonica, it would be of no use to have another C natural drawn
while pressing the slide (as happens with an analogous position in holes 4 and 8). For
this reason, harmonica makers preferred adding an additional note, a D. In this way, it
is possible to play a major scale of exactly three octaves in the keys of both C and C#/
Db, as well as in D.
Now let’s get some practice in the key of D with the scale and its corresponding
technical exercises. Try playing all of them over three octaves using the harmonica’s
maximum range, regardless of how they’re written.
When playing the scales, avoid looking at the music after the first few times. Unlike
reading tunes where we have to always try and follow the score, with scales and
exercises marked with p we must try and memorize the passages as we play.
6.1
63
Chapter 6 • Exercises and Tunes in D and Bb Major
p 6.2
The following exercise is comprised of a series of eight identical repeated notes. If

we play with the pursed lip technique, we can play the repeated notes by tonguing,
that is, practically inserting the tip of the tongue into the embouchure. You can think
of saying “too-too-too-too”, aided by bringing the tip of your tongue between your
pursed lips.
64
Exercises and Tunes in D and Bb Major • Chapter 6
This technique, which is very common for the flute, tends to produce the sound of a
“carnival trumpet” on the harmonica that could work for special effect. This is where
each harmonica player’s taste comes in.
Personally, I’m not so fond of the sound made by this tonguing technique on the
harmonica and I prefer to play repeated notes with a sound coming more from the
throat/larynx.
p 6.3
65
p 6.4
p 6.5
66
Here are four tunes (6.6, 6.7, 6.8, 6.9) for reading (not so simple) and then a typical
melodic rhythmic tune (6.10).
6.6
6.7
67
6.8
68
6.9
69
April 8
TRACK 15
TRACK 16
Æ 6.10
Now, the tune entitled Crocevia subdivided in three parts, from the CD of the same
name. The first and third are in C Major while the central part modulates into D Major.
70
n 6.11 Crocevia M. De Aloe
71
Let’s move on to the key with two flats in its key signature: Bb
ATTENTION: Up until now, I’ve always suggested playing C by blowing into holes 5, 9
and 12. Now let’s experiment with two new passages on this scale.
Bb: hole 3 drawn with the slide

C: hole 4drawn with the slide
D: hole 5 drawn without the slide
or
Bb: hole 3 drawn with the slide

C: hole 4 blown without the slide
D: hole 5 drawn without the slide
(obviously, the same thing holds true for the higher octave)
Let’s play these passages a few times up and down and try inserting them into the
new Bb scale.
This is not to say that there is just this one way to play the scale (we can also keep
playing the C blown in holes 5 and 9). It is just a suggestion. I recommend playing the
scale and its exercises with C in its various positions. Each of us will choose the way that
flows best for us.
TO RECAP:
There are two notes on the harmonica that can be played in different positions.
These notes are:
1. F that can be played drawn on holes 2, 6 and 10 and blown with the
slide (E#) on the same holes (2, 6, 10).
2. C that can be played both blown on holes 5, 9 and 12 and in two

other positions: on holes 4 and 8 blown without the slide and drawn
with the slide.
ATTENTION: these are alternate positions and it is up to us as harmonica players to

choose which position to use based on what technically seems more in keeping with
the passage we’re dealing with.
What follows next is the scale and its exercise 6.13.
72
6.12
p 6.13
73
6.14 is to be played in different ways following the five variations presented here. This
is a series of very useful exercises which aid in managing various intervals between the
different steps of a key.
p 6.14
VARIATIONS on the same exercise to be played over the entire range of the scale.
p 6.15
p 6.16
p 6.17
p 6.18
74
Now we will see some rhythmic variations with the following exercise. Play it without a
metronome and then with, gradually speeding it up. We can begin with a tempo of 80
beats per minute and accelerate from there.
6.19
75
1.20 Bb Blues
6.20
76
The following tune, May, was written over the chords of the famous Autumn Leaves
but in 3/4 time. Let’s first practice the theme of Autumn Leaves in the New Real Book
1. To conclude, I’m presenting you with my tune Partiamo all’alba, from the 2010 CD
Bradipo (Abeat ABJZ0070) and Björk on the moon (Abeat ABJZ 0105), the title track
from the 2012 CD.

May 8
Æ 6.21 TRACK 17
TRACK 18
77
n
6.22 Partiamo All’alba M. De Aloe
78
n 6.23 Björk on the Moon M. De Aloe
79
Suggested tunes for this chapter:
A child is born (Bb) – The New Real Book 2

Almost like being in love (Bb) – The New Real Book 3
Autumn leaves (Gm) – The New Real Book 1
Basin Street Blues (Bb) – The New Real Book 1
Come Sunday (Bb) – The New Real Book 1
Elm (Gm) – The New Real Book 1
Everything happens to me (Bb) – The New Real Book 1
I’m all smiles (D) – The New Real Book 1
In your own sweet Way (Bb) – The New Real Book 2
It don’t mean a thing (Bb) – The New Real Book 2
Manha de carnival (Gm) – The New Real Book 2
A quiet place (D) – The New Real Book 2
Someday my prince will come (Bb) – The New Real Book 1
There is no greater love (Bb) – The New Real Book 2
Tristeza (D) – The New Real Book 2
Up jumped spring (Bb) – The New Real Book 1
Wave (D) – The New Real Book 1
You must believe in spring (D) – The New Real Book 3
80
Chapter Seven

Exercises and tunes in A and Eb Major
This chapter is structured exactly like the last two, with an emphasis on exercises and
tunes in two new keys: A and Eb.
At first, working with keys richer in sharps and flats can cause a few more problems
but it is just a matter of getting accustomed to them and practicing them. While
practicing, we should not necessarily favor only simpler keys but concentrate more on
troublesome passages presented by the new sharps and flats.
In the key of A major, more care is taken to play through the notes E-F#-G#-A smoothly.
The first four exercises (7.1, 7.2, 7.3, and 7.4) deal with the scale and technical exercises
in the key of A Major.
Remember to play through step by step all the technical exercises we have
encountered until now and we’ll encounter in the two keys of this chapter, too.
Let’s not neglect technique in favor of just playing pieces that are more pleasurable
to perform.
7.1
81
Chapter 7 • Exercises and Tunes in A and Eb Major
We can observe how varying the key of the same exercises changes the passages, the
position of the sharps and flats, the order of the holes and the alternating of blown and
drawn notes. Playing the same passages in different keys on our instrument causes many
changes. For this reason, separate practice time should be devoted to each key.
p7.2
82
Exercises and Tunes in A and Eb Major • Chapter 7
p 7.3
The following technical exercise focuses on the performance of large intervals in the key
of F# minor (that is the relative minor of A Major).
It requires a good deal of attention. After having played it carefully, try and replicate it
in the keys that we’ve encountered so far.
p 7.4
83
Now let’s play close attention what follows (7.5 and 7.6). It won’t be easy to play
and it’s best to handle it measure by measure, concentrating on the single triplets.
Be careful of the double sharps, the flats and other alterations in the key. These are
followed by June, in A Major, built over the harmony of the jazz standard Out of
Nowhere (normally played in G Major, however).
7.5
84
7.6
85
June 8
TRACK 19
TRACK 20
Æ 7.7
86
Now on to the key of Eb, with its corresponding first exercises on the scale.
7.8
p 7.9
87
p 7.10
p 7.11
88
7.12 Eb Blues
89
The next exercise is in D Major, 6.9, transposed up a half step into Eb. As in Chapter
5 with exercise 5.18, the aim is to demonstrate how tricky playing the same exact
thing transposed into another key can be. Let’s try and play it and then go back and
tackle 6.9.
7.13
90
n 7.14 Tango Fuori Stagione M. De Aloe
91
The preceding tune Tango Fuori Stagione and the one following it, Aliando, can both be
found on the CD Racconti Controvento (Abeat Records ABJZ 003 from 2001).
n 7.15 Aliando M. De Aloe
July is composed over the same harmonic line as the preceding tune Aliando.
92
July 8
TRACK 21
TRACK 22
Æ 7.16
93

Baby, It’s cold outside (Eb) – The New Real Book 2
Blue Bossa (Cm) – The New Real Book 1
Blue Moon (Eb) – The New Real Book 3
Dindi (Eb) – The New Real Book 1
For all we know (Eb) – The New Real Book 3
The gentle rain (Cm) – The New Real Book 3
Gush (F#m) – The New Real Book 3
I fall in love too easily (Eb) – The New Real Book 3
Imagination (Eb) – The New Real Book 1
Moonlight in Vermont (Eb) – The New Real Book 1
Misty (Eb) – The New Real Book 1
Once I loved (A) – The New Real Book 1
Out of this world (Eb) – The New Real Book 1
Over the rainbow (Eb) – The New Real Book 3
Reincarnation of a lovebird (F#m) – The New Real Book 1
Sing me softly of the blues (A) – The New Real Book 2
Skylark (Eb) – The New Real Book 1
Someone to light up my life (A) – The New Real Book 2
Solar (Cm) – The New Real Book 1
Solitude (Eb) – The New Real Book 3
Speak no evil (Cm) – The New Real Book 1
Tenderly (Eb) – The New Real Book 1
There will never be another you (Eb) – The New Real Book 1
These foolish things (Eb) – The New Real Book 1
Triste (A) – The New Real Book 1
The next chapter is entirely dedicated to scales. For each key, you will find the major
scale and its relative minor. In addition, pentatonic and blues scales in both major and
minor keys are presented here.
It isn’t necessary to practice all the scales presented here before going on to Chapter
9, but it is a good idea to at least practice all the major scales. The pentatonic and
blues scales are a first step toward the technique of improvisation and should certainly
peak our curiosity.
94
Chapter Eight
Scales
95
Chapter 8 • Scales
96
Scales • Chapter 8
97
98
99
100
101
Bb
102
Eb
103
Ab
104
Db
105
Gb
106
Chapter Nine

The other keys
Now we can dedicate ourselves to the remaining five keys: E, Ab, B, Db and Gb.
Exercise 4.17 was not written in these five keys but can be used as a preparatory
exercise transported into whichever key we’re dealing with. Let’s begin with E Major.
p 9.1
p 9.2
107
Chapter 9 • The Other Keys
9.3 is exactly like 7.5 in A Major transposed in E Major.
9.3
108
The Other Keys • Chapter 9
9.4 has many rhythmic variations and some not-so-simple technical passages. Then comes
the rhythmic melodic tune August, written over the well-known standard jazz harmony
from There will never be another you (but usually played in the key of Eb Major).
9.4
109
August 8
TRACK 23
TRACK 24
Æ 9.5
110
Now let’s go on to the key of Ab. Following the technical exercise 9.6, we can play the
tune Nel Golfo Mistico from the 2008 CD Lirico Incanto (Abeat records ABJZ 0060).
Remember to always take advantage of the tips found at the end of each chapter
about jazz standards that can be played in the various keys we are focusing on.
p 9.6
111
n 9.7 Nel Golfo Mistico M. De Aloe
112
Now another tune from my CD, Ul Giuan Marcora from the aforementioned Crocevia.
To be more precise, this tune is played by an accordion on the CD but it doesn’t
matter. It can be played as a tango-cancion or also works as a slow bossa nova.
The important thing is to highlight its melancholic, nostalgic character. In this type of
number, we can bring out the sound of our instrument, digging deep on some notes
and playing with the dynamics.
Remember to never play everything at the same volume. Dynamics have an

important role in what we’re playing. Think of an actor reciting lines and think of how
much value the tone of his voice adds to the meaning of the words. The same holds
true for music.
n 9.8 Ul Giuan Marcora M. De Aloe
113
September 8
TRACK 25
TRACK 26
Æ 9.9
114
Now let’s tackle the key of B Major. 9.10 is to be played in various modalities using the
following four variations.
p 9.10
p 9.11
p 9.12
p 9.13
p 9.14
115
9.15
116
October 8
TRACK 27
TRACK 28
Æ 9.16
117
The key of D flat Major is next. For these new keys, remember to return to the technical
exercises we did in the preceding keys.
After exercise 9.17, which highlights intervals of a fifth, we find a Bb minor blues (9.18)
and a little tune (9.19). After that we find the rhythmic melodic tune November,
composed over the harmonies of the jazz standard Body & Soul. This famous ballad was
written in 1930 by Johnny Green and made famous by the greats of jazz (Ella Fitzgerald,
Billie Holiday, Coleman Hawkins, John Coltrane, Keith Jarrett, Sonny Rollins; etc.).
p 9.17
118
9.18 Bb Minor Blues

9.19
119
November 8
TRACK 29
TRACK 30
Æ 9.20
120
Next comes the final key of F sharp Major with 6 sharps in the key signature and
enharmonic with G flat with 6 flats in its key signature. We finish with 9.23 and then with
the rhythmic melodic tune December, this, too written over the harmonies of another
well-known jazz standard: Take Five, composed by Paul Desmond and made famous
by the Dave Brubeck Quartet.
p 9.21
p 9.22
121
9.23
122
December 8
TRACK 31
TRACK 32
Æ 9.24
123
At this point, it seems important to touch on two topics that are very essential in the
study of the harmonica, namely vibrato and bending.
VIBRATO
The subject of vibrato is generally a very complex one, in part because it brings to
mind stylistic, interpretive and historical differences and their consequent technical
difficulties.
In wind instruments which have a solid tradition of performance and instruction, there
are various schools of thought on how to carry out this technique. However, with the
harmonica, keep in mind that we are faced with two fundamental challenges: one,
the lack of didactic material for our instrument; and two, the fact that it is the only
instrument which produces sounds by both blowing and drawing air. One thing we
can do is to attempt to modify for the harmonica certain techniques taken from other
wind instruments.
Before we begin, what is vibrato? Vibrato is a light undulating fluctuation that acts
on the timbre, dynamic and very subtly on the intonation of our sound. Vibrato is
produced on a note by slightly altering the emission (or drawing in) of air. The easiest
way to vibrate a note is to move the actual instrument while playing a particular note.
I feel compelled to advise against this technique. No other wind instrument player
vibrates by moving his instrument, yet on the harmonica, it is often done because it’s
easy to do. That said, this type of vibrato can be very interesting for those who play the
diatonic harmonica. Another way I’d advise against doing vibrato on the chromatic
harmonica is by moving the right hand close to and away from the instrument case.
I’d now like to recommend two other vibrato techniques called diaphragmatic and
laryngeal (also defined as throat vibrato). For these two modalities, let’s concentrate
on one blown note. When we are able to vibrate one or more blown notes, we can
go on and develop the same technique on drawn notes. It’s important to take into
account that passing from blown to drawn vibrato calls for yet another skill.
With diaphragmatic vibrato, our starting point is the same logic as diaphragmatic sound
emission (chap. 1), getting accustomed to sounding slightly accented notes so that the
air pressure undergoes minute variations. Play triplets on the same note, first slowly and
then faster and faster. The aim here is to have all these note repetitions on the same hole
give a single sound that oscillates just enough to produce a vibration. These triplets must
absolutely not be played by tonguing but rather by “pulsing” with the diaphragm.
In the end, we should produce a constant, undulating sound with no sudden lurches.
Keep in mind that the process is a long one and requires a great deal of patience. It is
not enough to simply try it a few times. Time and practice are essential.
124
Laryngeal vibrato is produced thanks to the muscles of the larynx which also has
among its many functions, that of regulating the opening of the glottis. By alternating
opening and closing the glottis, a vibrating effect is created in the note being played.
To make a good laryngeal vibrato, it’s important to be free from unnecessary muscular
tension in the neck area and around the larynx in particular.
Laryngeal vibrato is often mistakenly avoided because it is said to create a bleating

effect, so much so that the French defined this type of vibrato as chevrotment (from
chevre, goat). But attention – this type of vibrato can be performed very well to
wonderful effect if we manage to not create too much tension in the throat; such
tension tightens the undulating movement of the larynx. Let’s not dismiss it outright. It
becomes “bleating” only if done poorly. The same steps are taken with this vibrato as
with the diaphragmatic vibrato: short notes repeated over and over become a single
vibrated sound.
Often, breathing from the diaphragm can be glorified, but let’s not forget that
everything can contribute to “our sound” in accordance with our particular taste.
The subject of vibrato, as you’ve probably sensed, is extremely varied and as such,
I’ve limited myself to dealing with it in these few lines about the basics. For those
interested in furthering their knowledge of the subject, it is useful to find texts and
exercises in flute methods such as Trevor Wye and James Galway. There is a vast
literature regarding vibrato.
In conjunction with vibrato, I feel I want to make some final concluding thoughts.
• Before trying vibrato, we must have attained an excellent tone and

decent technique.
• Sound is not always improved with the use of vibrato. Miles Davis, for
example, created a musical sound completely free of vibrato and the
same goes for many jazz players and musicians in general who have
chosen the same path.
• Listen to all kinds of vibrato, effects and embellishments of other harmonica

players and instrumentalists and try and understand where to focus your
efforts. What type of vibrato do you like? Where to use it? Remember
that the words written in this method book are of little use if they are
cut off from the marvelous music that exists and those who performer it.
Every great musician we listen to is a valuable teacher for each of us.
125
• While we’re doing the vibrato exercises, it is vital to want to play

them not only with the breath, the diaphragm, the throat or
whatever else but also with the head. Imagine the vibrated note.
• In addition, let’s remember that all the effects we can produce

(vibrato, trills, tonguing, guttural sounds, bending, etc.) vary greatly
depending on whether we’re playing a chromatic or diatonic
harmonica and depending on the different types of music. Just
think of how different Toots Thielemans’ vibrato is from Franz
Chmel’s. Harmonica instruction mustn’t be reduced to
a single model or a single sound.
BENDING
Bending is another very important subject for harmonica players.
Bending is an effect that allows us to modify the intonation of a note resulting in an

impressive “sliding sound”. Bending is of the utmost importance for those playing the
diatonic harmonica. In fact, the diatonic harmonica makes up for its lack of all 12
notes of the chromatic scale by using bending and overbending to move notes a half-
step, and in some cases, a whole-step or even a step and a half. This is done through
the use of a particular technique that creates a kind of vortex of air that blocks the
reed that we’re drawing, for example, and sounds the reed that normally only sounds
when blown. This subject is beyond the scope of this method book, as this type of
bending cannot be done on the chromatic harmonica because, unlike the diatonic
harmonica, the valves positioned on each reed act as an obstacle to producing this
type of effect.
Bending on the chromatic harmonica has the principal aim of slightly lowering the
intonation of the note that is being played, giving it a distinctive effect. In both blown
and drawn notes, these elements apply:
• the tip of the tongue is arched and moved downward which

consequently swells the inner part of the tongue more.
• the larynx is lowered (think of yawning)
• the entrance or exit of air is slightly forced
To do a bend on a drawn note, the larynx has to be lowered much more than when
blowing. Touch your Adam’s apple while inhaling; start forcing the air a bit to make a
bend and you should clearly feel your Adam’s apple drop.
126
As with vibrato, bending will become a very personal technique which each of us
must do in the most functional way, both musically and technically, depending on the
shape of our oral cavity.
There are countless variables in esthetic and stylistic dictates regarding the quality
of bending.
Listen to what you like and try and follow that road until you are capable of creating
your own personal version of it. In fact, after firmly establishing skills on our instrument
(reading musical rhythms and melodies, instrumental technique, timbre, etc), we can
begin thinking about interpreting the music. Bear in mind that while many strengths will
spring from our way of playing, some of our weaknesses emerge as well, and they, too,
can become a way to set our “musical art” apart. There is no “right” way of making
a sound or doing embellishments, otherwise we would all play in the same exact way
with the same exact sound. As I outlined in the introduction to this method book, we
should listen to the sound and technique of other instruments. Then, after reaching
a certain level, we can share musical experiences with others. It’s fine to play to
playbacks or sequencers, but playing with others teaches us so much.
We should never be afraid to play with musicians better than us.

The three basic elements a musician cannot disregard are:
• listening to plenty of music (don’t be lazy – go and listen to concerts)
• practicing his own instrument
• playing with others
127

Airegin (Fm) – The New Real book 1
Along came Betty (Ab) – The New Real Book 2
Body and soul (Db) – The New Real Book 2
Chelsea bridge (Db) – The New Real Book 1
Django (Fm) – The New Real Book 2
Falling Grace (Ab) – The New Real Book 2
Isfahan (Db) – The New Real Book 2
Naima (Ab) – The New Real Book 2
So many stars (Db) – The New Real Book 2
Sophisticated lady (Ab) – The New Real Book 2
Stardust (Db) – The New Real Book 2
Caravan (Fm) – The New Real Book 3
Dancing in the street (E) – The New Real Book 3
In a mellow tone (Ab) – The New Real Book 3
A little tear (Db) – The New Real Book 1
Lonely woman (Gb) – The New Real Book 3
Lush life (Db) – The New Real Book 1
Part-time lover (Db) – The New Real Book 3
Smile please (E) – The New Real Book 3
Stompin’ at the Savoy (Db) – The New Real Book 3
That girl (B) – The New Real Book 3
Three views of a secret (E) – The New Real Book 1
What’s love got to do with it (B ) – The New Real Book 3
More on jazz improvisation:

The Jazz Theory Book – Mark Levine – Sher Music Co.
How to Improvise – Hal Crook – Advance Music
The Serious Jazz Practice Book – Barry Finnerty – Sher Music Co.
Elements of the Jazz Language for the Developing Improviser – Jerry Coker – Warner
Jazz Improvisation – George Bouchard – Ed. Jamey Aebersold
The Blues Scales – Dan Greenblatt – Sher Music Co.
The Real Easy Book – vol. 1 – 2 and 3 – Sher Music Co.
Transcribed solos of famous jazz musicians are also fundamental. Try and transcribe them
directly from the CD (there are programs online that make it easier to transcribe by cutting
the performance speed in half without changing the key).
These transcription books are a must:
Charlie Parker Omnibook – Atlantic Music Corp. (C key)

Miles Davis – Kind of blue – Hal Leonard
The Chet Baker Collection – Hal Leonard
128
Chapter Ten

Exercises on arpeggios and basic chords
It isn’t possible to study a musical instrument without also studying chords. Chords
make up the harmonic fabric of a composition. For all monophonic instruments, an
in-depth study of melody and rhythm are a prerequisite to the study of chromatic
harmony, and that is what we have be doing up until now.
Those who play harmonic instruments (piano, guitar, accordion, vibraphone, etc.)
know how much skill is required for practicing chords. The study of chords and their
harmonic relation is central, above all, in the field of jazz. However, serious study of a
monophonic instrument cannot omit this topic, and the student must in time be able
to recognize chords and know how to “arpeggiate” them melodically.
These exercises are arpeggios over the most important chords. It will be up to us to
get to know other types of chords, step by step, over time. The first step is to begin
to arpeggiate major triads.
Let’s begin with exercise 10.1. The C Major triad.
Attention: it is not only important to recognize a chord by reading it; we must also
memorize the notes that comprise the chord.
Let’s start practicing all the 12 major triads. We must learn what notes they’re made
up of and be able to play them on our instrument.
Much time must be dedicated to the first three exercises of this chapter because
they will then be played in the other 11 keys. After these preliminary exercises, we
can now get to the heart of this chapter.
129
Chapter 10 • Exercises on Arpeggios and Basic Chords
10.1
10.2
10.3
130
Exercises on Arpeggios and Basic Chords • Chapter 10
All of the following exercises demonstrate one type of arpeggio over the first three
chords; with only the chord symbols of the next chord to follow, we must be able to
play all the remaining arpeggios on our own.
This is a very useful type of exercise and its scope is twofold:
• to aid us technically
• to initiate us into the study of the basic chords that will later help us
approach improvisational jazz technique
As I’ve already written, this book is not concerned with improvisational jazz technique
but will certainly lay out the basics for approaching it and acquiring the necessary
technical skills. With a pencil, we could mark down the metronome speed we’re able
to play each exercise at. Next, as we gradually increase the speed, we can find the
point where we start having problems and work there on our “breaking point” until
we’re able to execute the exercise with ease. Then, day after day, we can go on to
play faster tempos. Marking the increase in speed after days, months and even years,
helps us track our progress.
This is important for focusing on technique. If we notice that we have more difficulty
only in certain keys, then we can spend time on the arpeggios in that particular key.
We can work technically on the arpeggio that gives us more difficulty and then reinsert
it into the whole exercise.
10.4
131
10.5
10.6
10.7
132
Now let’s begin studying 12 minor triads.
We can use 10.1, 10.2 and 10.3 as preliminary exercises on the minor chord.
After thoroughly practicing them, they can be applied to the next exercises.
10.8
10.9
133
10.10
At this point, I recommend playing the exercises till now in this chapter with
augmented and diminished triads as well.
Now let’s find out the most common types of 4-note chords.
At first, it is necessary to practice the individual chord, just as we did with the major
and minor triads.
The next exercise, 10.11, gives us a feel for a 4-note chord. Let’s transpose this exercise
into the various keys and the various types of chords: major triads with a major 7 –
major triads with a minor 7 – minor triads with a minor 7 – half-diminished (diminished
triads with a minor 7) and diminished (diminished triad with a diminished 7).
10.11
134
ATTENTION: never favor speed over precision. We should never lose control of our
dynamics and sound.
10.12
10.13
135
10.14
10.15
136
10.16
10.17
137
10.18
10.19
138
10.20
10.21
10.22
139
10.23
10.24
140
10.25
10.26
141
10.27
10.28
142
Select Discography of CDs of Chromatic Harmonica
JAZZ
TOOTS THIELEMANS – Man Bites Harmonica – Riverside

TOOTS THIELEMANS – Footprints – Emarcy
TOOTS THIELEMANS – Only trust your heart – Concord Jazz
TOOTS THIELEMANS – For my lady – Emarcy
TOOTS THIELEMANS – Harmonica Jazz – Columbia
TOOTS THIELEMANS – Chez Toots – Private Music
TOOTS THIELEMANS – Live in the Netherlands – Pablo
TOOTS THIELEMANS – European Quartet, live – Challenge
TOOTS THIELEMANS & KENNY WERNER – Thielemans & Werner – Emarcy
TOOTS THIELEMANS & BILL EVANS – Affinity – Warner Bros.
TOOTS THIELEMANS & FRED HERSCH – Concerto pour Harmonica – Tob Music
TOOTS THIELEMANS – DVD – Toots Thielemans in New Orleans
STEVIE WONDER – Eivets Rednow – Alfie – Motown
LARRY ADLER – Maestro of the Mouth Organ (The Thirties) – Asv

LARRY ADLER – The Glory of Gershwin – Island Mercury
LARRY ADLER – The Golden Era – Pegasus
LARRY ADLER – Live at the Ballroom – Newport Classic
JERRY ADLER – The Harmonica magic of Jerry Adler – Usa Music Group
CLAUDE GARDEN – Garden Club – Elabeth
BORRAH MINEVITCH – Borrah Minevitch & his Harmonica Rascals – Jasmine
TRIO RAISNER – Harmonica & big band – Vintange Music
HENDRIK MEURKENS – Slidin’ – Concord Jazz

HENDRIK MEURKENS – A view from Manhattan – Concord Jazz
HENDRIK MEURKENS – New York Nights – Challenge
HENDRIK MEURKENS – Celebrando – Zoho Music
WILLIAM GALLISON – Calling you – Verve Forecast

WILLIAM GALLISON – Line Open – Waking Up
WILLIAM GALLISON & MADELEINE PEYROUX – Got you on my mind – Waking Up
MAURICIO EINHORN – Conversa de Amigos – Delira
143
OLIVIER KER OURIO’ – Central Park Nord – Pee Wee
OLIVIER KER OURIO’ – Oversea – Dreyfus Jazz
OLIVIER KER OURIO’ – Siroko – Emotive Records
OLIVIER KER OURIO’ – A ride with the wind – Naive
GREGOIRE MARET – Scenarios – Obliqsound

GREGOIRE MARET – Gregoire Maret – Entertainment One Music
MIKE TURK – Turk’s Works – TinSandwich Music

MIKE TURK – The Nature of things – TinSandwichMusic
MIKE TURK – A Little taste of Cannonball – Organ music
JON ERIKSEN – Talkin’ To Myself – Guacamole Records
HERMINE DEURLOO – Crazy Clock – Tin Wood Music

HERMINE DEURLOO – Soundbite – Earforce Records
HERMINE DEURLOO – Glass Fish – Challenge Records
LE MONDE DE KOTA – Murmures – Radar
BILL BARRETT – Gut Puppet 4 – Woetone Records
ENRICO GRANAFEI – In search of the third dimension – Miles High
DAMIEN MASTERSON – Intercambio – GoodOmen
BRUNO DE FILIPPI – In New York with Don Friedman Trio – Carosello

BRUNO DE FILIPPI – You and the night and the music – Carosello
BRUNO DE FILIPPI – You my love – Giant of Jazz
ALBERTO BORSARI – Alfonsina y el mar – Polygram
LUIGI FERRARA – Another day – Philology
FEDERICO BERTELLI – Harmonitaly – SpiritoJazz
ANGELO ADAMO – My Foolish Harp – Red Records
ANTONIO SERRANO & FEDERICO LECHNER – Sesion Continua – Nuevos Medios

ANTONIO SERRANO & JOSHUA EDELMAN TRIO – En el Central – Museek Flazz
JENS BUNGE – Shangai Blue – Rodenstein Records

JENS BUNGE – With all my heart – Yvp Music
ADAM GLASSER – Free at first – SunnySide Records
144
TANGO
HUGO DIAZ – Tangos – Acqua Records

HUGO DIAZ – Tango compilation – EMI
FRANCO LUCIANI – Armonica y tango – AQ

FRANCO LUCIANI – Acuarelas de bolsillo – AQ
FRANCO LUCIANI – Armusa – Acqua Records
ANTONIO SERRANO – Armonitango – Msi Music
LUIS SALTOS – A Hugo Diaz – Random Records
JOE POWERS – Amor de tango – Joe Powers records
GIANLUCA LITTERA – Sconcertango – Zone di musica
BRASIL
TOOTS THIELEMANS & ELIS REGINA – Aquarela do Brasil – Philips

TOOTS THIELEMANS – The Brasil Project – vol.1 – Private Music
TOOTS THIELEMANS – The Brasil Project – vol.2 – Private Music
GABRIEL GROSSI – Arapuca – Delira Musica

GABRIEL GROSSI – Diz que fui por aì – Phantom
GABRIEL GROSSI – Horizonte – DG
GABRIEL GROSSI & MARCO PEREIRA – Afinidade
MAURICIO EINHORN – Travesssuras – Delira Musica

MAURICIO EINHORN & SEBASTIAO TAPAJOS – Einhorn & Tapajos – Polygram Barclay
HERMINE DEURLOO & INSUNZA – Sozinhos – Jazz between the Dikes Records
HENDRIK MEURKENS – Sambahia – Concord Picante

HENDRIK MEURKENS – October Colors – Concord Picante
HENDRIK MEURKENS – Sambatropolis – Zoho Music
VITOR LOPES – Chorando as Pitangas – Lopes

VITOR LOPES & UM TRIO VIRALATA – Viragem – Penvenan
145
CLASSICAL MUSIC
JOHN SEBASTIAN – Harmonica Concertos – Urania
ROBERT BONFIGLIO – Romances – High Harmony

ROBERT BONFIGLIO – Villa Lobos Harmonica Concerto – RCA
ROBERT BONFIGLIO – Harmonica Classics – Bonfiglio Record
TOMMY REILLY – Harmonica Concertos & Virtuoso works – Chandos

TOMMY REILLY – Walton, Grainger, Smetana, Borodin, Arnold – BBC Radio Classic
TOMMY REILLY – Serenade – Chandos
TOMMY REILLY – Serenade vol. 2 – Chandos
TOMMY REILLY – Works for harmonica and orchestra – Chandos
WILLI BURGER – Classical Chromarmonica – Eucled

WILLI BURGER – Concerto – Eucled
WILLI BURGER – French Compositions – Eucled
WILLI BURGER – Music form Spain and South America – Eucled
WILLI BURGER – Harmonica – Activ Classics
LARRY ADLER – Genius of Larry Adler – Decca

LARRY ADLER – Harmonica Virtuso – Legacy
LARRY ADLER – Larry Adler in concert – Emi classics
FRANZ CHMEL – Fantasia Baroque – PSB

FRANZ CHMEL – Classic Harmonica vol.1 – Chmel
FRANZ CHMEL – Classic Harmonica vol 2 – Chmel
FRANZ CHMEL – Classic Harmonica vol3 – Chmel
SIGMUND GROVEN – Philharmonica – Simax Classics

SIGMUND GROVEN – Grieg Album – Grappa Records
SIGMUND GROVEN & IVER KLEIVE – Harmorgan – Simax Classics
YASUO WATANI – Harmonica Nostalgia
KING’S HARMONICA QUINTET – King’s Harmonica Quintet – KHQ CD 03
JAMES HUGHES – James Hughes plays James Moody – Grosvenor
GIANLUCA LITTERA – Villa Lobos Harmonica concerto – BMG
CLAUDE GARDEN – Ambiance Classique Vol. 1 – ILD
146
VARIOUS
BRENDAN POWER – Plays the music from Riverdance – Greentrax

BRENDAN POWER – State of the harp – Jayrem Records
SVANG – arruta – Aito Records

SVANG – Svang – Aito Records
HAZMAT MODINE – Bahamut – Barbès Records – world
CLINT HOOVER – Dream of the serpent dog – Mr Bipps Records
PHILIP ACHILLE with MELINDA HUGHES – Smoke and noise – Nimbus
JAMES HUGHES (with Philip Achille) – A Taste of summer wine – Tasman Records
THE ADLER TRIO – Harmonicadence – Adler

THE ADLER TRIO – The Adlers live – Adler
These are some of the recordings I’ve had the pleasure of listening to and feel I can
recommend. I’m certain there are more excellent CDs of the chromatic harmonica
out there, just as I’m certain there are even more great performers that I’ve yet to
discover. The internet makes it easier to go searching for old and new talented
players, making fascinating music on this wonderful instrument. Perhaps, before long,
you may be among them.
It is my hope that this method book has helped you and that you’ve also had fun
using it.
Enjoy the music.
Max
147
Sher Music Co. – The finest in Jazz & Latin Publications
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Method For Chromatic Harmonica

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Method For Chromatic Harmonica

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Method for

© 2012 SHER MUSIC CO.

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Translation from Italian: Mary Riccardi

MAX DE ALOE QUARTET

Select discography of CDs of chromatic harmonica . . . . . . . . . . . 143

Naturally a method book cannot contain absolutely everything. In the following

Considering my own musical education, the pedagogy I have adopted is obviously

Good luck to everyone and enjoy your studies.

Chromatic Harmonica: The Basics

1.1 DIAGRAM OF THE NOTES ON A 12-HOLE CHROMATIC HARMONICA IN KEY OF C

hole 1: C blown – D drawn (Middle C is located on the first hole)

hole 5: C blown – D drawn

hole 9 : C blown – D drawn

Pressing the slide, as shown below, raises each note a half-step

POSITIONING THE HARMONICA

If the instrument requires amplification, a hand-held dynamic microphone suitable

HOW TO PLAY THE HARMONICA

There are two existing ways to play the harmonica:

1. The Whistle Method

2. The Tongue Blocking Method

It is difficult, if not impossible, to determine which technique is better or more

WHICH HARMONICA TO USE

It could be interesting to use a 16-hole harmonica in specific compositions calling for

A useful piece of advice is to never expose the harmonica to sudden changes of

Let’s play – exercises on the middle octave

Now let’s play, beginning with the first exercise.

The exercises presented up to this point should be played rigorously, seeking to

Exercises on sound and the low octave

Timbre: the voice of our instrument, the soul of our music.

Timbre is definitely among the most important aspects for a performer.

• Correct breathing (see chapter 1).

• Listening to the sound emitted. Holding the notes long enables us to

THE LOW OCTAVE (FIRST OCTAVE)

Now let’s try playing a C major scale on the low octave.

Now let’s play the following short tune.

JOINING NOTES OF THE FIRST AND SECOND OCTAVE

In addition, instead of performing the exercise solely in an automatic way, let’s

It is never a waste of time to solfège a piece or some of its passages.

• recognizing the length of the note or rest to be played;

• recognizing the pitch of the note to be played;

• transferring this information onto the instrument (i.e. knowing the

It is not unusual to feel blocked or experience great difficulty while attempting to do

Solfège Rythmique Cahier n.1 – Dante Agostini – Editions Dante Agostini

Solfège Rythmique Cahier n.2 – Dante Agostini – Editions Dante Agostini

Contemporary Music Theory – Level 1, 2 and 3 – Mark Harrison – Hal Leonard

MUSIC HARMONY FOR JAZZ MUSIC

The Jazz Theory Book – Mark Levine – Sher Music Co.

Harmony & Theory – Keith Wyatt e Carl Schroeder – Hal Leonard

Mechanics of Modern Music – Anthony Zano – Ed. Berben

To further knowledge of reading exercises

To further knowledge of exercises on arpeggios over chords

Patterns for jazz – J. Coker, J. Casale, G. Campbell, J. Greene – ed. Alfred

Let’s use the slide

Thanks to the slide, we are able to play in all keys.

Now let’s continue with the G Scale over 2 octaves.

Now let’s practice the following technical exercises.

Performance speed and the use of the metronome

An important element that hasn’t been mentioned is the performance speed of