PLAY IRISH MUSIC ON THE BLUES HARP

Topics covered

• Basic Playing Advice for Beginners
• The Main Types of Tunes, with Examples
• How to play Irish Ornaments and Decorations on Diatonic Harp
• Modes and Pentatonic scales in Irish Music
• Playing Tunes in Different Keys and Positions
• Explanation of Paddy Richter Tuning
• Playing Fluently in the Top Octave
• Playing Continuously Without Stopping
• Playing Tunes in a Set

Exercises and tunes are played slow and fast, and written out with music notation and Harmonica Tablature. No need to read music - just follow the Tab.

SAMPLE TEXT & MUSIC FROM THE IRISH HARP BOOK

(Below is a sample of what can be found in the book, as well as three accompanying tracks ...)

Since the release of my album New Irish Harmonica in 1994, I had numerous requests for an instructional package that would explain the techniques and tunings that I used on the album. Many also asked for help in learning the tunes recorded on it, as they wanted to be able to play along. This book/CD is the answer to those requests; it uses several of the tunes from New Irish Harmonica as a basis for learning.

WHY THE BLUES HARP FOR IRISH MUSIC?

Traditional Irish music can be played on all three types of solo harmonica: chromatic, double-reed diatonic, and single-reed diatonic. I play the chromatic and the common 10 hole diatonic harmonica, also known as the short harp or blues harp ('harp' is a term harmonica players use to refer to any kind of harmonica - don't ask why...)

To make things simple I decided to aim this instructional package at just the blues harp. I've now also completed an instructional method for my approach to playing Irish music on the Chromatic Harmonica.

The little ten hole diatonic is the biggest selling instrument in the world by units (about 20 million sold annually). It has become known as the blues harp because its earthy, wailing sound has become inextricably linked to blues from the earliest beginnings of the music, from the acoustic country blues of Sonny Terry to the amplified Chicago sound of giants like Little Walter.

It was the innate soulfulness of the diatonic harp that attracted the blues players to the instrument - but it's less well known that the so-called blues harp is also wonderfully suited to playing Irish and other Celtic music. The emotive, fiery nature of the traditional dance tunes and slow airs suits such an expressive instrument, and the unique tuning and close hole spacing of the blues harp makes it a bit easier to play the fast runs and tricky interval leaps involved than on other types of harmonica. However, the diatonic harmonica is very much a new kid on the block in a style dominated by the fiddle, flute, whistle and pipes, and playing techniques are still in an interesting state of discovery and evolution. There are various approaches adopted by the small but growing band of players who are experimenting with the blues harp in Irish and other Celtic music, including different embouchures used (eg. tongue blocking vs. puckering), various tunings, and different kinds of decorations.

Some of the diatonic maestros I've learned from are: the inspirational Pip and John Murphy from Wexford, real rootsy players and great stylists; Rick Epping, who often plays diatonic harp in a rack accompanied by his evocative concertina playing; and Mark Graham, whose very dexterous work can be heard to good effect with fiddler Kevin Burke. You can also learn a lot about how to use the instrument from diatonic harmonica players in other related styles of music, like Breton, Scottish, French Canadian, Nothumbrian, Appalachian etc.

From these and other influences I've developed my own approach over the years, and the book concentrates on explaining and demonstrating it. It's really an instruction method for how I play Irish music on the blues harp, and not how toplay it - as there is always more than one way to skin a cat. If you love the instrument and the music, you should use every opportunity to listen to the playing of others in the same field, and try developing your own unique style from all the ideas you pick up. And don't restrict yourself to harmonica players - listen to pipes, fiddle, box, whistle etc.

THE KEYS YOU NEED

As far as Irish music goes, the way the blues harp tuning is set up makes it easiest to play in the key of the harmonica for major scale tunes. This is what harp players refer to as 'straight harp', but in general musical terms is better referred to as the Ionian mode.

Minor tunes are almost invariably in either the Dorian mode (so called 3^rd position), or the Aeolian mode (4^th position). There is the odd tune in the Mixolydian mode (cross harp, or 2^nd position), and some tunes are in pentatonic scales (scales that use just 5 of the 7 scale notes, and can sound either major or minor). You'll hear how these modes sound later on.

The two main harps you'll need for traditional Irish music are in the keys of D and G. This is because most traditional Irish tunes have been composed and played on fiddle, and those are the easiest and most comfortable major keys for that instrument.

On just these two harps you'll be able to play easily in the home key and several related keys or modes, without bends or overblows.

D Harp

Common Modes: D (Ionian), Em (Dorian), Bm (Aeolian)
Less Common: A (Mixolydian), G (Lydian pentatonic), F#m (Phrygian pentatonic)

G Harp

Common Modes: G (Ionian), Am(Dorian), Em (Aeolian)
Less Common: D (Mixolydian), C (Lydian pentatonic), Bm (Phrygian pentatonic)

TABLATURE AND MUSICAL NOTATION

There are different ways of writing harmonica tab, but the system I've adopted in the book uses numbers to denote the air channel on the harmonica (1-10), and simple plus or minus symbols above the number to indicate breath. A plus sign means blow the hole indicated, and a minus sign means draw the hole indicated. Here's how they look:

+	-	-	+	+
7	7	6	6	5

That means: blow hole 7, draw hole 7, draw 6, blow 6, blow 5. It's very simple really, and you'll soon get pretty quick at reading the tablature. Tab doesn't show note duration or other inflections; you can get that information from listening to the CD and reading the standard musical dots. Like all forms of music notation it's not an end in itself, just a guide to help find the notes on the harp so you can throw it aside and really play.

THREE SAMPLE TUNES FROM THE BOOK

Obviously in the book there is a lot of in-depth info about how to get a clean note and good tone on the harmonica, with simple exercises to help get you started. Once you have mastered the basics, here are an exercise and two of the tunes that are explored in detail in the book.

SLIDE FILL TRIPLETS (G harp)

This is from the extensive section on how to ornament the tunes, demonstrating a common triplet figure. In the audio clip from the tracks, the figure is played slowly at first and then faster, to make it easier to learn.

THE MAIDS OF MITCHELSTOWN (G Harp)

I was taught this reel by Dublin harmonica player Mick Kinsella, and it's become one of my favourite Irish tunes; I could play it for ages without getting bored. Note that smooth fill triplet being used again, and the variation of jaw flick ornamentation with tongue triplets etc. Keep varying your decoration to keep it interesting for you and the listener.

To me The Maids sounds sweetest at an easy tempo, as it allows one to get extra soul out of the notes - especially that 6 draw note in the A part. However, you'll often hear it played at breakneck speed in sessions.

There are no hard and fast rules on the tempos of the tunes. Obviously if you're in a pub session and someone strikes up a set of reels you know, it's important to have the chops to keep up if you want to join in the craic. But if you're playing on your own or in your own performance, just play them as they feel and sound best to you.

SWEENY'S POLKA (G Harp)

Polkas often seem childish in the simplicity of their melodies, but don't overlook them because of that. As the tune is so basic, you can really concentrate on the groove, and they can become almost hypnotic in their drive and intensity.