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Focus Harmonica
Sheetmusic to print
5 sheet music found
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1
Exploring 2nd Position, Level 2-Complete Blues Harmonica Lesson Series
Exploring 2nd Position, Level 2-Complete Blues Harmonica Lesson Series
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Harmonica
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INTERMEDIATE
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Blues
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David Barrett
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Exploring 2nd Position, Level
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Harmonica - Intermediate-Advanced - Digital Download SKU: M0.99183MEB Complete Blues Harmonica Lesson Series. Composed by David Barrett. Harmonica...
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Harmonica - Intermediate-Advanced - Digital Download SKU: M0.99183MEB Complete Blues Harmonica Lesson Series. Composed by David Barrett. Harmonica: Diatonic. Harmonica Masterclass Lesson. Blues. E-book and online audio. Mel Bay Publications - Digital Sheet Music #99183MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.99183MEB). ISBN 9781619115248. 8.75x11.75 inches.The Exploring series of books within the Harmonica Masterclass Lesson Series walks you through each of the most common played positions on the ten hole diatonic harmonica. This volume for 2nd position focuses on the basic principles of what makes 2nd Position work, scales that help maneuverability and speed with in 2nd Position, deep study into blues phrasing, and interactive jamming with David Barrett and the David Barrett Blues Band. The book contains an extensive catalog of 2nd Position blues licks and phrases that use common soloing scales. This book also goes into great depth studying blues phrasing and will help you start your journey into creating great solos. Written in notation and harmonica tablature. Includes access to online audio,.
$12.99
You Can Teach Yourself Harmonica
You Can Teach Yourself Harmonica
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Harmonica
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BEGINNER
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Instructional
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George Heaps-Nelson
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You Can Teach Yourself Harmoni
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
By George Heaps-Nelson. For Harmonica (Diatonic). All Styles. Published by Mel Bay Publications - Digital Sheet Music ...
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By George Heaps-Nelson. For Harmonica (Diatonic). All Styles. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781609747138. This book is a detailed guide to learning how to play the harmonica. The material focuses on folk and blues music, including an array of tunes in both styles. Altogether, forty-one arrangements of increasing difficulty are presented. Special techniques and harmonicas other than the standard ten-hole-twenty-reed diatonic harp are also explained. Lessons on the companion video are taught by Phil Duncan. Includes access to online audio and video.
$14.99
Minor Blues Harmonica
Minor Blues Harmonica
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Harmonica
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Blues
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David Barrett
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Minor Blues Harmonica
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
Composed by David Barrett. Technique, Theory and Reference. Style. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30453MEB. Publ...
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Composed by David Barrett. Technique, Theory and Reference. Style. E-book and online audio. Mel Bay Publications - Digital Sheet Music #30453MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781619118799.
Minor Blues Harmonica includes introductory material for new players on holding the harmonica, achieving a single note, and common techniques that sound great on the instrument. Not-so-new players will enjoy learning new songs at their current skill levels. Intermediate players will benefit from learning to play in 3rd Position to broaden their options while performing. Players at a more advanced level will learn to play in minor keysaa challenge for harmonica players, but less difficult in 3rd Position. In this book weall explore the killer sounds that 3rd Position has to offer, focusing on the following areas: 1) New players will learn to play single notes and moving around the harmonica with good tone. 2) Learning to improvise in 3rd Position in an intuitive way, even for beginners. 3) Learning astudya songs to play by yourself and at blues jams. These songs also provide valuable licks to help develop your own improvisational vocabulary. 4) An overview of music theory to help you understand whatas technically going on. (This is at the end of the book, so itas not required in order to play the examples.) 5) A chapter for the more advanced players to learn how to play the lower octave of the harmonica in 3rd Position (requires good bending skills). Youall need a C Major Diatonic Harmonica for this book and recording. Recordings of all the examples are played by author David Barrett. Includes access to online audio.
$12.99
Pitch Only - Treble Clef (Sight Reading Exercise Book)
Pitch Only - Treble Clef (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Pitch Only - Treble Clef
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,O...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Saxophone,Cello,Clarinet,English Horn,Euphonium,Flute,Guitar,Handbell,Harmonica,Harpsichord,Marimba,Oboe,Orff Instrument,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 3 - Digital Download SKU: A0.931837 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 129 pages. Dots and Beams #5313613. Published by Dots and Beams (A0.931837). This book provides its user with a series of notes on a treble staff with no rhythm values and no meter. Chapters are organized by the placement of the notes relative to the staff; on the staff, above the staff, below the staff, on and above the staff, and on and below the staff. For each pitch range there is one chapter with no accidentals and one chapter with accidentals. All exercises have a space at the beginning of each staff to write in a key signature, allowing each exercise to be read in all keys and used in many ways. The aim with this book is to allow the user to focus specifically on exercises centred around pitch without the distraction of rhythmic values or time signatures. This can begin with the practice of sight-reading but can expand to include many other learning goals. The diatonic sets contain notes with no accidentals or key signature. These collections can be read as written, using only natural notes, or in any of the 15 key signatures from 7 flats to 7 sharps. Chromatic collections include sharp and flat notes as well as natural ones. The later exercises in these chapters increase the difficulty by including B#, Cb, E#, and Fb. Ledger line chapters start with the first ledger line and gradually expand away from the staff. Exercises above the staff reach up to the space above the fifth ledger line while exercises below reach down to the space below the third. The random nature of the notes in these exercises is intentional; it forces the user to pay attention to each note and makes the exercises very difficult to memorize, ensuring that they will still present a challenge even after multiple readings. It’s important when sight-reading to cycle through the exercises quickly rather than dwelling on a single exercise for a long time. This will ensure that you’re strengthening your ability to read the notes rather than just memorizing the exercises. Some suggestions for how to use this book include: Gain comfort reading the notes and finding them on your instrument in no particular rhythm or tempo. A greater challenge can be achieved by playing them at a steady tempo or by playing them in a simple rhythmic pattern. Beginner students can begin by writing in the note names. Play each exercise in all 15 key signatures. Advanced theory students and improvising musicians can also use these exercises to practice identifying scale degrees in various keys or playing chords built on every scale degree in the chosen key. Develop comfort with chords by playing a chord built on each note in the exercise. For example: for each note in the exercise, play the major chord with that root. Increase the difficulty with different chord qualities or different chord tones, for example: for every note, play the minor 7th chord in which the given note is the 3rd. Practice transposing into different keys. This is an especially useful challenge for people who play transposing instruments such as brass and woodwind instruments. Chapters with wide ranges can present a great exercise for musicians who play instruments where large leaps are a challenge. People who play strings, mallet percussion, piano, woodwinds, and brass would be among those who would benefit from practising these awkward leaps and falls. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I highly encourage anybody using this book to find as many uses for it as possible. My hope is that as you grow as a musician you will find ever more creative and challenging ways to use these materials so that you can return to these books for years.
$10.00
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
Rhythm Only - Book 1 - Eighths and Sixteenths - Assorted Meters (Sight Reading Exercise Book)
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Instructional
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Nathan Petitpas - Dots and Bea
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Rhythm Only - Book 1 - Eighths
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Dots and Beams
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Hor...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Baritone Recorder,Baritone Saxophone,Bass Guitar,Bassoon,Cello,Clarinet,Double Bass,Drum Set,Drums,English Horn,Euphonium,Flute,Hand Percussion,Handbell,Harmonica,Harpsichord,Marimba,Multi-Percussion,Oboe,Orff Instrument,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Timpani,Trombone,Trumpet,Tuba,Ukulele,Vibraphone,Viola,Violin,Voice,Xylophone - Level 1 - Digital Download SKU: A0.931835 Composed by Nathan Petitpas - Dots and Beams. Instructional. Score and parts. 137 pages. Dots and Beams #4776185. Published by Dots and Beams (A0.931835). This collection presents its user with a series of increasingly difficult rhythms on a single pitch. The rhythmic material in this series is organized into 10 difficulty levels. Each difficulty level contains four exercises in each of the following time signatures: 2/4, 3/4, 4/4, 6/8, 9/8, and 12/8. This gives exercises in 2, 3, and 4 beats per bar in both simple and compound meters. The first two exercises of each time signature have no ties while the remaining two exercises in each time signature include ties. In Book 1 of this series you’ll find difficulty levels 1 to 5, while Book 2 completes the set with levels 6 to 10. The exercises in this collection are intentionally random and difficult to internalize. They don’t follow any predictable or standard groove pattern, but instead are random successions of eighth- and sixteenth-note groupings within the prescribed difficulty level. In keeping the rhythmic material as unpredictable as possible the door is left open for the materials to be used in conjunction with any number of exercises, while forcing the user to process every rhythm as its own event without relying on pattern recognition to help in identifying the rhythms. To curate the difficulty of rhythm in as objective a way as possible I looked at all of the possible eighth-note and sixteenth-note groupings within the basic unit of one beat. Each difficulty level builds on the exercises of the previous by adding groupings that are slightly more conceptually challenging. Difficulty Level 9 contains all possible groupings, while Level 10 focuses on the more challenging groupings by omitting easy ones. Some suggestions for how to use this book include: Practice sight-reading. When doing so it is encouraged to cycle through the exercises quickly rather than dwelling on a particular exercise for a long period of time. The goal in practising sight-reading is not to learn the material but to develop the skill of reading new material. Use a metronome! The most important thing you can do with this material is learn how to read these rhythms and play them in time. Advanced metronome work: Place the metronome click on weak beats. With the metronome clicking only on the beat you run the risk of relying on the metronome to give you the time. Placing the metronome click on non-strong beats forces you to take responsibility for the time. For example, instead of putting the metronome click on each quarter-note in 4/4, play the exercise with the metronome giving the second eighth note of each beat, or the last sixteenth note, or beats 2 and 4, or only the downbeat of each bar. Be creative with this one! The possibilities are limitless. Develop independence between hands by playing a repeating pattern in one hand while reading an exercise in the other. Expand on this by adding patterns in hands and feet while reading a rhythm with a remaining limb. This is a great exercise for drummers and percussionists but any instrumentalist could benefit from coordination practice. Use these rhythms to practice scales. Instead of playing scales in straight sixteenth-notes, try playing them in the rhythms given in these exercises. Write in sticking patterns, dynamics, accents, phrase marks, or other articulations for you or your students to practice. If you’re not happy with the ties I included, feel free to add some of your own. Combine the above exercises in any way that you think will be beneficial to your practice. As with any of the Dots and Beams books, the uses for this particular collection are limited only by the imagination of the musician using it. I encourage anybody using this book to find as many uses for these exerci.
$10.00
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1
Focus Harmonica
