The Tommy Reilly Harmonica Course
Tommy Reilly
The The Harmonica Course Harmonica Course Devised and written for the Chromatic Harmonica by Tommy Reilly with James Moody (piano) Devised and written for the Chromatic Harmonica Reproduced byby kind permission of David Reilly Reproduced kind permission of Mrs Ena Reilly by Tommy Reilly This edition for the ‘Tommy Reilly Appreciation Society’ by Douglas and Barbara Tate with James Moody (piano)
Reproduced by kind permission of Mrs Ena Reilly This edition for the ‘Tommy Reilly Appreciation Society’ by Douglas and Barbara Tate
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Copyright © 2021 by Norsk Musikforlag A/S, Oslo. www.musikkforlagene.no Materialet er vernet etter åndsverkloven. Uten uttrykkelig samtykke er eksemplarfremstilling, som utskrift og annen kopiering, bare tillatt når det er hjemlet i lov (kopiering til privat bruk, sitat o.l.) eller avtale med Kopinor (www.kopinor.no). Unauthorized reproduction of any part of this publication by any means including photocopying is an infringement of copyright. N.M.O. 14812 ISMN 979-0-065-16742-8 Graphic production/print: Norsk Musikforlag A/S. www.musikkforlagene.no
Innspillingen er også tilgjengelig på Soundcloud. The recordings are also available on Soundcloud.
FOREWORD Having grown up with two of the most influential figures in the history of the chromatic harmonica, my grandfather Captain James Reilly and my father Tommy Reilly, it gives me real pleasure to be writing this foreword for the reissue of the Tommy Reilly Chromatic Harmonica Course. My grandfather developed the instrument’s modern technique and then my father used that technique, added his prodigious musical talent and took the harmonica to another level of performance altogether. Anyone who wishes to play what is probably one of the most expressive and technically challenging instruments there is, can with the help of this tutor and CDs, which can be bought separately, study with the acclaimed ‘master’ himself. The recordings are also available on Soundcloud. When former pupil and World Harmonica Champion Douglas Tate first approached my mother and suggested that the recorded Harmonica Course be reissued, she was delighted. Douglas set about the task with the help of his wife Barbara, neither knowing that Douglas would sadly not live to see the job completed. It is to Barbara Tate that I, and future players who will benefit for my father’s expertise, owe our thanks for completing the work herself. Tommy spent his life showing people that the chromatic harmonica, in the right hands, was an amazing instrument and not just a ‘pocket gimmick’. Work with the course and you will soon understand just how right he was. David Reilly Toronto 2021
APPENDIX
In the text an international usage of musical terms has been adopted. The following terms are therefore given for reference: Staff Measure Whole note Half note Quarter note Eighth note Sixteenth note Half tone
= = = = = = = =
Stave Bar Semibreve Minim Crotchet Quaver Semiquaver Semitone
For further explanations of the Rudiments of Music etc., see any good textbook on the subject.
TUNING CHART FOR THE CHROMATIC HARMONICA IN C
Editor’s Note The original Tommy Reilly Harmonica Course book was supplied with two vinyl LP records that comprise the audio tracks supplied on CD with this new version. To keep the continuity of the course it has been necessary to adhere to the original track (or Band) numbering.
CD 1 Band 1 Band 2 Band 3 Band 4 Band 5 Band 6 Band 7 Band 8 Band 9 Band 10 Band 11 Band 12 Band 13 Band 14
CD 2 Introduction Simple Rudiments of Music Study 1 and 2 The Slide Study 3 and 4 Study 5 Study 6 Study 7 Study 8 Study 9 Study 10 Study 11 Study 12 Study 13
Barbara Tate May 2006
Band 15 Band 16 Band 17 Band 18 Band 19 Band 20 Band 21 Band 22 Band 23 Band 24 Band 25 Band 26 Band 27 Band 28
Study 14 Study 15 Study 16 Study 17 Study 18 Study 19 Study 20 Study 21 Study 22 Study 23 Drink To Me Only Study 24 Study 25 Study 26
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The Tommy Reilly Harmonica Course How to hold the harmonica The correct way to hold the harmonica is shown in the photographs below. The instrument must be held so that the numbers on the cover plate are on top, with the slide button on the right. Do not turn the harmonica the other way round in order to manipulate the slide button with the left hand, as the entire technique shown in the course would then be useless. (If left handed, the harmonica can be altered by an expert so that the slide button is on the left hand side.)
Start with Band 1 on the CD Band 1 As a preliminary exercise I want you to put the harmonica into your mouth, somewhere in the middle of the instrument, with your lips fairly well over the mouthpiece. Now blow like this . . . You will have sounded several notes at the same time. With the harmonica in the same position, try drawing in your breath, like this . . . Try blowing and drawing into the harmonica several times. Don't worry which holes you play, all I want you to do is to become used to blowing and drawing on the instrument. The next step is to learn how to play one single note. This is done by putting the harmonica into the mouth as before and pushing the tongue forward until the tip of the tongue is pressed lightly into one of the holes, allowing the tongue to spread out slightly to the left. Now blow like this . . . it doesn’t matter which hole you sound as long as you play only one single note. Now in the same way try drawing into the hole like this . . . So that you will be able to blow or draw any particular note on the harmonica, you must know the correct procedure, which is this: If, for example, you wish to play the notes in hole 3, you place the tip of the tongue into hole 2. This rule applies to every note on the instrument. So remember, the tip of the tongue is always placed in one hole lower than the one you wish to sound, allowing the tongue to spread out slightly to the left. We will now learn to play two notes. First the note G; it is found by blowing into hole 3. I'll play it for you . . . The second note is A. This is found by drawing into the same hole, hole 3, like this . . . Don't forget what I have already told you about producing one particular note. Practise these two notes until you can play them easily and clearly. Copyright © 2021 by Norsk Musikforlag A/S, Oslo. ISMN 979-0-065-16742-8 N.M.O. 14812
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At this point it will be necessary for you to learn something about music. Study the text under the heading ‘Simple Rudiments of Music’. Simple Rudiments of Music Music is written on five lines and four spaces, known as the STAFF (Fig. 1).
At the beginning of the staff a sign called a CLEF is written. There are several different clefs in music, but for this course only the Treble or G clef is required (Fig. 2).
In order that we can play music in the right time and know when to change from one note to another, we must be able to count the beats. First the staff is divided into MEASURES or BARS by lines (Fig. 3).
Next, so that you will know how long each measure lasts, two numbers called a TIME SIGNATURE are placed after the clef sign. There are different time signatures to learn as we go along, the first one being c 4/4 time, or, as it is usually known, COMMON TIME, sometimes written thus: . In time signatures the upper figure shows the number of beats in each measure, and the lower figure shows the kind of beats. Therefore, 4/4 time means that there are four quarter beats in each measure. Here is how 4/4 or common time signatures are written (Figs. 4 and 5).
The following is a measure containing four notes (Fig. 6), each one is called a QUARTER NOTE or CROTCHET and receives one count. Therefore, in a measure of 4/4 time we can have four quarter notes. A quarter note is written as a black note with a stem. The name of the note in this example is G which is written on the second line from the bottom of the staff.
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To lengthen the sound, a HALF NOTE or MINIM can be written. A half note is an open note with a stem (Fig. 7). This receives two counts and therefore equals two quarter notes in time value. Notice that a measure may contain two half notes. The note in this example is A which is written in the second space from the bottom of the staff.
A WHOLE NOTE or SEMIBREVE, an open note without a stem, is twice the time value of a half note and receives four counts (Fig. 8).
When notes are mentioned for the first time, numbers corresponding with those found on your harmonica are printed above each note. Notes without brackets are ‘blow notes’ and those with brackets ‘draw notes’. It is important to remember where each note is as numerical identification is only used once. Now play Band 2. Band 2 Fig. 9 will give you an example of time values using quarter notes, half notes and a whole note. I’ll play it for you. You will also hear the beats being counted. Follow the music carefully . . .
Now we will learn two more notes. First the note C on the third space, which is found by blowing into hole 4, like this . . . The second note is B on the third line, which is found by drawing into hole 4, like this . . . In Fig. 10 you will see the four notes you have learned so far.
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When moving from one hole to another, for example, hole 3 to hole 4, you must remember not to take the harmonica out of your mouth between the notes, or your tongue off the mouthpiece. You simply allow your lips and tongue to slide along the mouthpiece to the next hole. Try to make the change from one hole to another as smooth as possible, like this . . . and not like this . . . Do not press the tongue or lips too hard on the instrument or you will soon have a sore mouth. Now refer to the text. At this point I would like to mention something about breath control. When playing the harmonica in the early stages you may find that you are short of breath. Do not worry about this. As you progress breathing will become easier. Harmonica playing is very good exercise for the lungs, as it is the only musical instrument which is played by both blowing and drawing. Now play Band 3. Band 3 We now come to Study number 1. First of all you will hear just the harmonica part played with the beats being counted underneath.
Now you will hear the harmonica part played with piano accompaniment but without the beats being counted. Listen carefully. . . . This time you will hear the piano accompaniment only and I want you to play with it. In order that you may start correctly with the piano you will hear four beats counted before you begin. The study will be played twice through for you to practise and each time you will hear the counts 1, 2, 3, 4, before you begin. The first time will have the beats counted underneath and the second time you will hear only the piano accompaniment. Now, are you ready? . . . Study number 2 will follow the same procedure as study number 1. First the harmonica part only with the beats counted underneath. Then the harmonica part with the piano accompaniment and no counting, and lastly the piano accompaniment only with the beats counted the first time. Before you begin to play with the piano you will hear the counts . . . 1, 2, 3, 4. Now, are you ready ? . . .
Now refer to the text.
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The SLIDE is a fundamental part of the chromatic harmonica and I believe its use should be taught very early in the course. The slide is operated by the first finger of the right hand. (Left handed players who have had their harmonica altered will use the first finger of the left hand.) The slide button should be pushed in fully and positively. As the slide is spring-loaded, it will return to its original position when the pressure is released. Here are the two notes using the slide, they are G sharp and A sharp (Fig. 11). A SHARP sign is written thus: #and has the effect of raising a note one half-tone.
In order to restore a sharp note to its original position a sign called a NATURAL is used, and it looks like this § - Fig. 12 shows an example of its use:
Note that, in addition to the numbers over the notes, arrows are written. Notes with arrows above the numbers are played with the slide pushed in. These notes can be heard on Band 4 which should now be played. Band 4 Listen to the two new notes you have learned using the slide, shown in Fig. 11: — G sharp . . . and A sharp . . . A sharp sign placed in front of a note raises the pitch of that note by one half-tone. A halftone is the smallest interval between any two notes, From G to G sharp is a half-tone, as is A to A sharp. Listen to the sound of these two half-tones . . . Now play the note G. You will remember that it is found by blowing into hole 3. Now push the slide in and blow into the same hole - this will sound the note G sharp. In the same way play the note A, which is found by drawing into the hole 3, then push the slide in and draw into the same hole. This will sound the note A sharp. Now once again play the note G. While continuing to blow this note push the slide in. Do the same thing with the note A. Here is what it should sound like . . . You will notice that there is no break between the notes. A common mistake that is made is failing to push the slide in quickly enough. It will sound like this . . . instead of like this . . . Another mistake frequently made is accenting the second note like this . . . instead of making the change as smoothly as possible like this . . . Studies 3 and 4 will be on Band 5.
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Band 5 One of the new notes you have learned, G sharp, will be used in Studies 3 and 4. We will follow the same pattern as we did in Study number 1. First the harmonica part alone with the beats counted underneath, then the harmonica part with piano accompaniment and no counting, after this comes the piano accompaniment alone, with counting, and finally the piano accompaniment without counting. Each time the piano part only is played, you will hear the counts 1, 2, 3, 4, before you begin to play. Now here is Study number 3 . . .
Now try Study 4 …
In Fig. 13 you will see a note followed by a DOT, which means that the length of the note is increased by half its time value. For example, a dotted half note is equal in time value to three quarter notes. Follow the music while I play it with the beats counted underneath . . .
Now refer to the text. A note can be lowered one half tone by using a sign called a FLAT and is written thus - !(Fig. 14). This sign placed before the note B indicates that the note is now B flat.
To restore a flat note to its original position the natural sign is again used, Fig. 15 shows an example of its use.
Sharps, Flats and Naturals occurring within a composition are known as ACCIDENTALS. When a note is raised or lowered by an accidental, all notes of the same name and position on the staff are affected within that particular measure. 6
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When a natural sign appears with brackets, thus (§) it is a reminder that the note is natural. Notice that when the note B flat is played it sounds exactly like A sharp, because they are both found in the same hole (3 draw with the slide pushed in). This is known as an ENHARMONIC change, i.e. change of name but not of sound. Now play Band 6. Band 6 In Study 5 we will be using the note B flat, which, as you know, is found in hole 3 draw, with the slide in, and another new note, C sharp, which is found by blowing into hole 4, with the slide pushed in (Fig. 16).
I'll play these two notes for you, first B flat . . . now C sharp . . . Here is Study 5 . . .
Now see the text. The next time signature to be used is 3/4, which has three quarter note beats in each measure and is the time signature used for writing waltzes. Fig. 17 is an example of 3/4 time.
In addition to having notes of different time values, signs called RESTS are used, which are also of varying time values. A REST is a period of measured silence and each note value has a corresponding rest. Fig. 18 shows an example of a quarter note rest at (a), a haIf-note rest at (b) and a whole note rest at (c).
In Study 6, notice that in measures four and eight there are two quarter note rests. N.M.O. 14812
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