You are to be applauded for your teaching of children.
You said, "If I can't play in front of anyone, then I can't teach."
Here's another way to look at it: "If I can't play in front of one (one = myself), I shouldn't try to teach many."
As music teachers, we can instruct without playing in front of anyone, if our communications skills are great. We also need to be great listeners.
We can teach by suggestion, if we truly understand the subject. That's a very difficult way of teaching, kind of like teaching on the internet (long distance). It's not the best way to teach.
One of my favorite quotes about learning, from the great Chinese teacher, Confucius:
There's people out there that would tell you I don't have the stones to play in front of anyone, and I couldn't argue with them. If I can't play in front of anyone, then I can't teach, right?
Well my five year old came up with a "great idea" all on her own and asks if I could come play for her kindergarten class (even had a "set list" in mind...) Well, my four year old asks if I can play for his class too. All in front of the school owner (and her teacher's mother), school director, and his teacher. In case the looks on my kids faces weren't enough, the adults were enthusiastically supportive...
Fortunately for me I have a pretty good handle on enough kids songs that I didn't start soiling my shorts just yet.
I figured if I'm going to do it, I'm going to try to do it right. Back some years ago, a teammate's father owned a couple of music stores, and the stores are still around. I stopped in at one nearby to see if by chance the ownership was still the same. It wasn't - his son was now running the show. Bingo - a sizable box of Hohner Blues Bands, GLHs and Pocket Pals...wicked cheap. No turning back at that point...
Well the day came, and sure enough I soiled the shorts (at least it felt like I should have). I did my thing for three classrooms (my two kids plus the one between them), one at a time, and each one easier than the previous. I played some songs solo, then played some for them to sing along, then explained some of the more simple concepts of playing. Then I passed out harps and coaxed them into really, really bad versions of "Frere Jacques" and "Mary Had a Little Lamb". I had the foresight to do this late in the day, sparing the school staff from having to listen to 63 kids randomly wailing away all day.
The result was that the school staff appreciated it, the kids in the three classrooms loved it, and my two kids felt like royalty. Parents were a little mixed (to some, it was "noisemakers" being brought home), but hey...what can you do? I've got an open invitation to do it again next year, which ought to be easier on my nerves.
All in all, very glad to have done it. And it had to be the idea of a five year old.
John Broeker may find this interesting. When I first talked to Doug (guitar player) about doing volunteer work he said he was ready to blow me off until I used a phrase that he said got his attention. When I said "forgotten people", he decided to meet with me.
Took a while but looks like its starting to come together. I went to a local senior center to talk about doing some volunteer work and see if I could find a guitar player. I was given a phone number that resulted in phone tag, put on hold, transfered to two other people. All that resulted in a meeting with a man that does volunteer work at nursing homes and teaches guitar lessons for a living. He wanted to check me out because he has recieved several request from people that ended up wanting a guitar "slave" and wasted his time. The actual director of the senior center was not all that wild about a harmonica player. Said she would stick her head in the door and check me out when Doug and I got together...then take it from there. I tried not to take that personal as she had never heard me play. I think she just was'nt wild about the harmonica. twenty minutes before the "audition" I'm setting on the tailgate of my truck with all of this rolling around in my head. Started wondering what the hell I was doing this for. Thought about what John Broeker said under the topic of "courage to perform". Played the first and second position scales a few times, up and down. Not like I'm getting paid for this or anything. Deep breathing. Started to wonder if a harp player had done that woman wrong sometime in the past. did a short rendition of catfish blues. Time to go. Doug and I made some small talk then I blurted out something like "look, I play the way I play and I have to be OK with that. If i'm not what you'r looking for then we can cut this short and not waste each of our time" I had resolved to just go back home and keep working at it, not let this get me down. I started out with Sally Garden a.k.a. the dutch bones song. Straight harp in A. I did it almost as good as Dutch. Sounded really good. Then he suggested we do a second position, What a friend we have in Jesus. I taped out the count with my right foot 1.2.3.4..... from the first note to the last it was magic. shocked us both I think. Sounded like we had played together for years. He wants to get together a few times and put enough together for 2 or 3 sets and start playing for the seniors and a tour of the nursing homes in this area. Thank you!...Thank you!, be here thru december, no two shows are the same. Michael
Leon, Thats worth more than two cents. You knuckleheads on this forum have become the ones I share my experiences with. It does help. Thanks guys. ( Kum Ba Ya, softly in the key of A, fade to white...) Harp in the key of A would put the song in the key of E, if played in second position. To play the song in A, use the D harp.
Michael....my two cents. You can be an excellent "teacher" in many ways. I believe your passion and conviction are proof enough of that. Just by introducing someone to the harp, and sharing with them what you know, is a great teaching experience. Think back on when you first started playing, if you would have had someone to share their experience with you, even if they were a novice, your progress and enjoyment would have increased at a much faster pace. You don't have to be technically perfect to teach, you just have to care. Playing an instrument is not everyone's bag, but give away a harp and they have a chance.
I have learned to revise how I define the term "teacher". Much like I revised the way I think of the major scale in relation to the/a blues scale.
Your suggestion sparked something that must have been there to start with. That's one of the things good teachers do. I must take full responsability for becoming passionate about the subject. I tend to do that. It's a trait I hope to express with the harmonica some day.
You said "many good harp players were not un-schooled..." and "there are many ways and many opportunities to learn." I guess this is one of them, for me. I mainly don't want pass on anything that's wrong. That has me hitting the books like never before. I'm going to transcribe the solo that DutchBones did so well on you-tube. Dutch if you'r out there, I hope you don't mind. Be kind of cool to hear that echo down the halls. My ears are more apt to train quicker, knowing they will be called into service.
Every time we pass information to another person, we are teaching. If the word "teacher" isn't what you had in mind, maybe "mentor," or "rabbi " (if you are of the Jewish faith), or "guide" will be appropriate.
Anyway, my suggestions are no more or less valid than anyone else's opinions. You are the active person in this event. While I wrote and made suggestions, you did it.
If you don't want to teach, it's OK. You've already given a donation of harmonicas, "above and beyond the call of duty". You should receive a medal for your generosity.
The harmonicas you donated will be distibuted to people who will be grateful. They are no longer forgotten. You gave them the gift of expression, the gift of music.
The tax man took my Jam Camp stash. I recon these hard times will pass. But if I wasn't lookin at more jail time (4 draw,articulate Ta,ta.ta,ta! wait for it.) Uncle Sammy could kiss my As I was saying last time. I don't fancy myself a Teacher by any means. Most of my breathing, over the last 3-4 years has been pleasently obstructed by the harmonica. I enjoy the challange it offers. Even a beginner, if he or she wants it and is willing to work at it, can lay down a straight harp tune like Dutch did (See thread under "Guitar player wanted" on this forum) http://www.youtube.com/watch?v=Ta2rpeFxrJg Pretty cool that you can carry music like that around in your right front pocket. I'm OK with thinking of it as passing on the joy the harmonica has brought to me. The term "Teacher" is a little much. For printed material, instruction and CDs, I'll point them to Jon Gindick, for one on one, on line questions I'll point them to a trouble maker I met named John Broker. If just one of them feels less like a "forgetten people", everybody wins! and I can start sleeping right! I'm gonna make it to that Jam Camp, got some money in my sock. Gotta make it up to Dallas, got some money in my sock. Then If I get back n the Jailhouse, my cell gonna damn sure rock! 6 blow, something back up on the high end. Still working on it.
John, I work a rather unusual shift. Friday, Saturday and Sunday, 12 hours each day.Then I'm off the rest of the week. Takes about an hour each way in drive time. I think of it as 3 fourteens with four days off to recharge. Anyway, I mailed those harmonicas on Thursday, got home from work on Friday (My Birthday) and signed on. Something you wrote got stuck in my head and I could'nt get rid of it. "forgotten people". Why did you have to put it like that? Argued with myself about why I couldn't do it. I got about three hours of sleep and called you everything but a musician. Would you be willing to help me with a lesson plan and a crash course on teaching? Got about a thousand more questions. Now I need some sleep.
Your observation about the formula of blues scale compared to the major scale is correct. The 3rd, 5th and 7th notes of a major scale are lowered (flatted) to form a blues scale.
Also, the 2nd note of the major scale ("re") is not normally used in a blues scale, but there are as many contradictions as there are rules in blues playing.
On a Richter system, 10-hole harmonica, to flat a note of the manufacturer's given major scale (to lower it's pitch a half step or more), we "draw bend or blow bend" the reed, depending on it's location on the harmonica. Holes 5 and 7 don't allow bending of the reed.
When bending, we are flattening the highest pitched reed in a hole.
On a Richter system, 10-hole harmonica, to sharp a note of the manufacturer's given major scale (to raise it's pitch a step and a half), we "overblow or overdraw" the reed, depending on it's location on the harmonica. If we are masters of the technique, we can overblow or overdraw (one or the other, not both ways) in every hole on the harp.
When "overblowing," (holes 1-6), or "overdrawing," (holes 7-10), we are raising the pitch of the lowest pitched reed in a hole.
Finally, to answer your question, each of a flatted 3rd, flatted 5th or flatted 7th has the same sound as a sharped 2nd, sharped 4th or sharped 6th, in order.
The effect is another spelling for the same pitch. They're called "enharmonic" pitches. Every pitch may be spelled in many different ways. Example, Bb=A#, Eb=D#, Cb=B, Fb=E, etc.
This is a lot to digest John. You got me reading parts of books I didn't want to know were there. Then you drag the Europeans into the mix. Please tell me the French are not involved. I had a tendancy to think of a scale in terms of what I know (now) as the major scale. Having equal distance in pitch increments. Like the steps on a ladder. The flatted notes are moving the steps off center slightly (the 3rd, 5th and 7th notes)one half step lower in pitch, but only on the flatted notes!...??? the C,D,F,A,C stay in their places, the alteration of the flatted notes (as compared to the Major scale) is what gives us the "blues" sound!...?? Is ANY of this right? I'll hit the books again.
I agree with Leon Stagg: Great Job, We're proud of you.
If you'd like to make your harmonica donation more valuable, go in person and distribute the harmonicas and donate an hour or so a week to teach what you know to the recipients. You can purchase inexpensive and reliable "Chicago Blues" harmonicas at www.Amazon.com for about $2.50 each, plus postage fees.
You're probably thinking, "What did I get into, here?" Don't think of it as a chore, think of it as an opportunity to teach those who normally don't get any attention from the general public, and are forgotten people.
Teaching is rewarding, not in a financial way, but in an emotional and spiritual way. You can actually change lives positively.
A scale is a set of pitches. There are many blues scales. Here's the most common description of a blues scale, compared to a major scale of the same "do."; Large letters are blow notes, small letters are draw notes.
C MAJOR SCALE, 1st Position, C harmonica holes 4-7 (Richter system 10-hole):
C d E f G a b C
C BLUES SCALE, 2nd Position, F harmonica holes 2-6 (Richter, 10-hole):
C (d) eb F gb A bb C
This is the representation of the blues scale as applied to the European system of music theory. The 2nd note of the scale (d, re) is not normally used. The blues scale is generally a 6-note scale, in the European music theory. The major scale is a 7-note scale.
Comparing the two C scales, you'll notice that the 3rd note, 5th note and 7th note of the above blues scale have been lowered (flatted) compared to the major scale.
The problem with this European system blues scale is that it's based on European concepts, and the European 12-tone equal temperament scale (on an piano keyboard, 12 notes between do and do).
In fact, there are many blues scales, some in the European system, and others not. The blues scale as we know it today is generally believed to be either American or African in origin.
Blues scales do have modified (flatted) notes compared to the European major scale, but the flatted notes would be better defined as "blue notes"; that is, notes not exactly flatted a half step, but somewhere in between the half step and the non-flatted pitch.
The blue notes are not clearly defined, because they aren't exactly on pitch, compared to the European system.
The above blues scale is a start, but you should experiment with other blues scales. And invent your own.
John, Hard to tell what quality/price harmonicas to send. If the person that gets them has no intrest in learning the little rascal, it could end up in a box or pitched into the trash. That thought kept me away from the special 20'S and the Delta Frost. (That and my funds) I decided on the Marine Band in the key of C. It's all the harp one could expect for the price and has enough instruction in the box to explane the first position scale, in C and the tab. for "When the Saints Go Marching In" First went to a music store here in town that deals mostly in vintage stringed insterments. But he does have a case on the counter with a few harps in it. No Marine Bands. The next place had them. I was able to get four. I called my Sister in Florida to let her know they were on the way and give her some background on why I was sending them. I wrote this web address on the bottom of each case, wraped them in a plane brown wrapper (inverted shopping bag) and took them to the post office. That was about an hour ago, so they are now in the hands of the U.S. Postal system. She assured me they would be in the next delivery to the V.A. hospital in central florida. She said it would be tough to find out who might be intrested in them untill she got there. I'll say a little prayer and hope they end up with the people that need them most.
I just got to thinking. That violin player I was talking about could be just making up a key. I want to get good enough to tell if he is in the ballpark, or pulling my chain. He says "That's in the key of D". I get a blank stare on my face and nod my head. Something kind of sneaky about the guy anyway.
John, My Sister is the President of the womans auxiliary of an American Legion post in Florida. I'll work on sending her some harps. They take donated items to a local V.A. Hospital each month. It's shampoo and after shave, things like that. I'm sure she could slip in a few harmonicas. Even if I were on drugs, I would have never thought of myself as a "teacher" of the harmonica. But I guess I could share what I do understand to anyone that showed an intrest, after that it's up to them. Too much music, is NOT on the list of "world problems" Switching gears slightly, in my new found intrest of second position scales. I am learning that the term is used rather loosely. I tend to think of a scale as having all of the notes from do to do. There are however scales that require bending and some that don't. I guess the problem lies in how I tend to think of or define a scale. As I continue this research on my end, what is a scale? and what is a scale or THE scale as it relates to blues harp, and what is the differance between the 2nd pisition scale and the blues scale, if any?
Thanks for the offer to send harmonicas, but please, don't. I have more harmonicas than I will ever need.
Instead, send those harmonicas to your local Boys' and Girls' Club, or local school or church, or Veterans' Hospital, and offer to teach harmonica lessons at the location. Or, teach one other person, young, middle aged or old. Or, send the harmonicas to the Soldiers in Iraq and Afghanistan. They'd treasure your offer, and I'd be very happy.
Most of the harmonica superstars were not un-schooled. Many learned from their harmonica heroes. Not necessarily in formal "lessons," but by watching, listening, copying, and in a few cases, living with their heroes.
I studied the chord harp with a great chord harp player, on Sundays, for five hours a Sunday, until he moved out of the area. When we were done practicing, his wife would serve a great meal. I couldn't afford his lessons, or the meal, so, in gratitude, I offered to pay with harmonicas. He accepted that, but never asked for a penny or a harmonica. I felt that his time was too valuable for me to accept free lessons.
There are many ways to learn, and many opportunities to learn.
Your description of the process of chord building is correct. When we can, we try to play the chord notes together, but when that isn't possible, we can play all of the arpeggios of a diatonic scale, starting on each note of the scale, without bending or overblowing.
We can also play many additional arpeggios by adding the bending and overblowing techniques.
John, This reads like the introduction to a book I wish I had. We are fortunate to have the "auther" as a member of this forum. Your last post ties together, for me at least, how the un-schooled masters were able to pull off what they did.
"The richter system 10-hole diatonic harmonica can play chords on do, re, so and ti of the major scale. On a C harp, the chords are C (starting on do: do, mi, so); D minor (starting on re: re fa la); G or G dominant 7th (starting on so: so ti re for the G chord, and so ti re and flatted fa for the dominant 7th chord.)"
The chords are the first, third and fifth notes. There are some chords that have all the notes present, but would require a blow and draw at the exact same time. These chords can be played but it must be done one note at a time . They are no longer called chords but "Arpeggios"? Do I have any of this right? If I played arpeggios for the blues scale up, from 2 draw, I would hit the first, third and fifth notes of each note of the scale and would or may require bends and or overblows. But all of the notes are there? Yes? No? Work with me John, work with me. Michael
Music is an auditory art. The notes on the page are only a recipe or road map. As musicians we learn mostly by practicing, and what we practice isn't as important as how often we practice.
Many of the harmonica masters of any style or harmonica type have little or no formal training, but a lifetime of practical training. The first language we learn is the spoken language. We learn the written language later.
Many are self-taught, but that doesn't get in their way. They have a desire to become great performers, and practice many hours a day. They listen to other harmonica players whenever possible live, and also on recordings. They perform as often as possible, with as many groups as possible.
Practice never becomes boring or tedious if we enjoy it every time we put the harp to our mouth. If we practice, good things will result. The more we practice, the more fun it is, and the more musical rewards we achieve.
We have all heard the stories of musicians who started playing at an early age. I think of some of the old blues "masters" that had little or no formal music training. I picture them walking some old dirt road, blowing and drawing on differant notes. Picking out patterns and deciding what sounded right to them and what did not. Their knowledge of music (if they could play well) would mesh with formal instruction and the scales that you listed. Right? I don't believe we are all created equal when it comes to our understanding of music. I try not to let that get me down. I have the capacity to learn what you have posted here. I'll just have to work on longer than Charley Patton or Robert Johnson. Michael
To resume the discussion about chords and chord progressions:
A chord is 3 or more notes played at the same time. A chord progression is a formula for chord movement. It's a collection of chords , played in a pre-determined order.
The richter system 10-hole diatonic harmonica can play chords on do, re, so and ti of the major scale. On a C harp, the chords are C (starting on do: do, mi, so); D minor (starting on re: re fa la); G or G dominant 7th (starting on so: so ti re for the G chord, and so ti re and flatted fa for the dominant 7th chord.)
The Richter system harp has no chord starting on mi, fa or la. That's because we can't play a blow note and two draw notes, or two blow notes and a draw note at the same time.
The chord starting on E in the C scale would be E minor (E G B), but E and G are blow notes and B is a draw note. The chord starting on F in the C scale would be F major, or F A C). We can play the F and A (draw notes, but not with the C note, a blow note). The chord starting on la (A minor, A C E) has one draw note (A)and two blow notes, (C and E).
However, we can play arpeggios (chords played melodically, one note at a time), starting on all scale notes.
For practicing scale drills on a richter diatonic, any book of scales and arpeggios written for any melodic instrument would work, up to a point. If you play past 4th position, A on a C harp, you'll need more and more altered nortes (bends or overblows). The keys that are easiest on a diatonic harmonica in C are (Large letters blow notes, small letters are draw notes):
C: "straight harp," also called 1st position: C d E f G a b C, holes 4-7 (C major).
G: "cross harp," also called 2nd position: G a b C d E f G, holes 6-9 (G mixolydian-major).
D: "mountain minor", also called 3rd position: d E f G a b C d, holes 4-8 (D dorian-minor).
A: "natural minor," also called 4th position: a b C d E f G a, holes 6-10 (A aeolian-minor).
The above listed "modes" are available on your C harp, with no bending or overblowing. There are 3 more modes available:
E "spanish minor," also called 5th position: E f G a b C d e, holes 5-8 (E phyrgian-minor).
B "locrian," also called 6th position: b C d E f G a b, holes 3-7 (B locrian-diminished).
and F "lydian," also called 12th position: f G a b C d E f, holes 5-9 (F lydian-major).
Practice these un-altered modes (no bending or overblowing needed). You will notice that you will start on a note, and end on the same note spelling an octave above the starting note: C-C, d-d, E-E, etc.
The other scales not included here will need bending or overblowing or both bending and overblowing techniques.
If you can bend notes, you can play more scales than non-benders, on one harmonica. If you can overblow, and bend, you can play al of the notes on a 10-hole Richter system harp that a 12-hole solo system slide chromatic has available.
The slide chromatic is easier to play for single note melodies, but it has fewer chords available. The slide chromatic is usually in tune, but the diatonic, using bends and overblow notes, is often out of tune on the altered notes.
I know that isn't your picture. In getting to know you in this forum and from your Biography, I perceive you to be a person that knows a lot about music. And at the same time, not one to run off at the mouth. It seems you respond best to direct questions. As a student of the harp and a member of the forum. I am aware that you are under no obligation to pass along what you have learned. I find your input usefull and feel compelled to draw any information I can from you on a given topic. Please continue. Michael
The picture you see above the Jam Camp Forum contents list isn't me. I don't know who that is.
When I was writing about chord progressions, I didn't mean the chord that is built on every note of a scale.
If we are discussing chords available on a 10-hole diatonic richter system, C harp, such as the Marine Band #1896, there are only 8 chords available:
C and its inversions. The C chord is C E G, blow holes 1 2 3, or 4 5 6, or 7 8 9 . The C chord is also located in inversions.
Inversions are chords that have the lowest note starting on a note other than the name of the chord. Example: the C chord is spelled, C E G. It's first inversion is E G C. We can find the 1st inversion of the C chord at holes 2 3 4 , 5 6 7 , and 8 9 10. They are blow chords.
The second inversion of the C chord (G C E) is located at holes 3 4 5 and 6 7 8, both are blow chords.
The rest of the chords available are draw chords.
The G chords are located only in holes 1 2 3 , (D G B-an inversion of the G chord), and holes 2 3 4 (G B D, the G major chord).
The G dominant 7th chord has 4 notes, the first, third, fifth and flatted seventh degrees of the G major scale (G, B, D, F, holes 2 3 4 5). This is often called the blues chord.
The D minor and D minor 6th (inversion, often called the B diminished chord) are also available. D minor is spelled D, F, A. It's in holes 4 5 6 and 8 9 10. Both are draw chords.
The B diminished chord is located in holes 3 4 5 and 7 8 9 , draw.. The D minor 6th chord has 4 notes, D, F, A, and B. It's in holes 4 5 6 7, draw.
If you want a 10-hole diatonic harmonica that has chords on all scale degrees of it's scale, try a Seydel Blues Session, in circular note placement system. All chords from major to 13th chords are available on all notes of the major scale.
John, Good stuff! You have a lot of information that I enjoy and learn from every time you respond to a topic. Hate to sound like I'm sucking up... (love that shirt, by the way)... Could you break that down for those of us that are not as musically developed, but want to learn? When you talk about chord progressions, I assume you mean the chord that accompaines each individual note in a given scale? Are there any scale drills you would reccomend? Any other thoughts on the subject of ear training would be helpful... Have you been working out?... Michael
Please add this to Joe's post. Chord progressions are also a valuable study.
When we know chord progressions, either by reading or ear training, we'll be able to improvise successfully, in any music style, any tempo, with any type of harmonica or other melodic or chordal musical instrument.
Written study (reading from books or sheet music) is another form of ear training. When we play a page of music, we are using our eyes and ears.
Memorization is another ear training study. After we learn through imitation (live or recorded performances), or written study, we should memorize what we've learned.
Memorization should also be applied to the studies of chord progressions, scales, arpeggios and sheet music reading.
In my opinion the best ear training you can do is play your scales and get to know what each note sounds like in each octave, especially the tonic notes
Shanekemp07 asked if anyone knew what key a song was in. That got me to thinking about how I "find my keys". I'm kind of like you Dutch. What I'm learning about the harp is the extent of my musical education. A year or two ago, I would have a differant key harp between each finger, then start blowing and drawing untill I got the right one. Now I can get it with fewer harps. So I must be getting better at it. But I started thinking that there may be a better method. John says he "believes it can be taught" and Dutch says "the more you do it, the better you get" Thats enough to keep me working at it. Thanks guys. Michael
Looks like John said it all...In my case, I don't have any musical background and the things I know now, I've picked up while learning how to play the harp, so my approach or explanation is quiet simple... At first (3-4 years ago) I didn't even know what a key was (except for the one I always have in my pocket) But after 3-4 years grabbing harmonicas at random from my bag, to try to play along with songs, I've "developed" some sense of what key a song is in. What I do is: I grab a harp and play only the 2 draw (the root note). If it kind of matches, I'll play a riff and see/listen if it fits. If it doesn't, I grab a higher or a lower key harp (depending on how the previous harp sounded) I continue with checking the 2 draw and some basic riffs until I find the right harp. The main thing is, if you only check one song a month like this, it ain't gonna help you much, but if you grab 1 or 2 cd's every now and then, and go through all the songs just checking the keys (like it's a game) you'll be surprised how much easier it becomes to pick out a key (or a key very close) As a bonus, you know now what keys your favourite songs are in... Try it...you'll be surprised how fast you'll improve....
The ability to name a pitch without a prior reference pitch is called "perfect pitch." I've read somewhere that it can be taught, and I believe that. Many musicians have developed that technique, and some of them had a teacher to train them in this technique.
It's a talent very useful to the musicians who play unfretted string instruments, slide trombones, timpani, slide whistles, and other non-marked musical instruments. Most melodic instruments have "fingerings," tone holes, valves, pistons that all help in finding a pitch. Perfect pitch is also a valuable technique for composers and music arrangers, and especially transcribers.
Most musicians have a talent known as "relative pitch." The musician can name the requested pitch, if given a reference pitch first. That's a simple process of memorizing a single pitch, and using it as a reference. You must, of course memorize note intervals, also, with this system or with perfect pitch.
You can find the key of a song by using perfect pitch, relative pitch, or a third way.
In the third way, listen to the final melodic note of a piece of music, then repeat the same pitch on your harmonica. Then name the pitch.
If your harmonica doesn't have that pitch, try another key harmonica, until you find the exact pitch that will match the last melodic note of the tune. Or use another instrument to match the pitch, such as a piano or guitar.
In most cases, the last melodic note of a song will tell the spelling of the key of that song.
For example, if the last melodic note of the song is F, the song is in F. But, which F? It could be either F major or F minor. For this you'll need the ability to hear and name the difference of a major scale or chord from a minor scale or chord.
In some cases, the song may have more than one key. Then the other sections of the song would be analyzed in the same way. The ending melodic note may be the key of that section, or it may be a lead-in note to the next section.
Is there such a thing as ear training exercises? Something that would help identify what key a song is in? I know a violin player that can name the key of just about any song he hears. Is this something your born with, or can it be systematically developed? Michael
