Introduction
How’s it going everybody? This is Darrin with GuitarControl.com bringing this video Lesson. Today I want to show you how to play a couple of extended arpeggio licks sequences.
Right now Guitar Control is giving away this cool free chord chart, there’s a link down in the description where you can get yours. Every chord you could ever need all neatly compiled into one sheet. So you can print it off, you can throw a copy in your gig bag, put one where you practice. So just in any situation you can have any chord you need at a glance and it’s a free download.
So be sure to click on the link in the description for the tab so let’s get close up and take a look at these arpeggio guitar licks.
Major Arpeggio Sequence
All right so both of these arpeggio guitar licks are movable shapes somewhat, we’ll explain that in a minute. But I just chose this area because it’s kind of a neutral spot for your hand. So if this is like a new thing to you it won’t be a huge deal.
So the first arpeggio guitar licks we’re look at is the major shape. So an arpeggio is basically just the notes of a chord so the major consists of the first third and fifth note of the major scale. So if you’re playing an A major scale we started here on the fifth fret of the low E string because that’s A… So there are our notes to make A major; we need the first, third and fifth notes so when we play the shape we’re just going to go right up through the notes in the scale. So we’re actually going to start this with the open low E string because this is one just to kind of make it a little bit more interesting and a little bit more like a like a lick and little less like your just playing a scale so to say or playing an arpeggio rather. The E is in there, it’s our fifth, so we’re just starting with that so this would be like an inversion. So we’re going to start off we’re going to play the open low E string and then we’re going to do a hammer-on to the fifth fret with your first finger and then a hammer-on to the ninth fret with your third finger… Then we’re going to the seventh fret of the A string and then we’re going to also use that finger and we’re going to roll up to the seventh fret of the D string. So what we’ve got happening here is five, one, three, five, one. Now we’re going to go to three again and we’re going to do now is go to the sixth fret of the G string with your first finger… So when I’m doing this I’m doing it all as a down strokes; so down, Hammer, Hammer, down, down, down… All right, so what we’re going to do now is we’re actually going to shift up and we’re still going to be doing an A major, but we’re going to shift up into another position. So if we play this note here we want to slide to the ninth fret of on the G string… Now we’re going to be looking at our shape here and it looks like a D major chord, it’s your second inversion Triad for those of you who know that. So after we slide up to nine then we’re going to take our second finger and go to the tenth fret of the B string, first finger to the ninth fret of the high E string and then hammer-on to the 12th fret with your pinky. Now we’re going to take our picking hand and we’re going to tap the 17th fret… Now we also want to descend the whole descend thing as well. So with this first, especially if this is like completely new to you, you’re probably going to want to break this into sections. So maybe you could just go… Try to get that down and then you could… until you could… Tight now when we descend it we’re just gonna pull-off to here. So as we climb up we want to leave our trailing fingers on so that way we can just pull, pull and now it’s an upstroke starting on the B string, up, up, slide, up… and then you can pull-off to the open strings and then resolve on an A major barre chord… So that’s the major shape and now I want to show you how to play the minor shape arpeggio guitar licks as well.
Minor Arpeggio Sequence
So just like when you switch a major chord to a minor chord all you’re doing is we’re going to take the note that’s the third of this arpeggio guitar licks and we’re going to flatten it a half step. So when we did here we had a C sharp and E. So now it’s going to be A and we’re going to take the C sharp and flatten it to C. So what’s going to happen is it’s going to change which fingers we use. So now we start off open, hammer-on to five with your first finger, hammer-on to eight with your fourth finger and then we’re gonna take our third finger pick up the seventh fret of the A string and roll up to pick up the second fret of the D string. And now this note that was normally on the sixth fret will be on the fifth because it’s our third. See there? We have that minor dyad shape; minor third dyad shape. Now we’re going to slide up to the ninth fret again to the 10th fret on the B string, but now instead of being the ninth fret of the high E string it’s the eighth fret. So hammer-on to the 12th fret and 17th fret again… And then this one resolved to an A minor chord… All right, so it is a movable shape and depending upon what key you do it in is whether or not you could start with that open string, but if you didn’t start with the open string and you just went… I mean just do it like that, we don’t have the open string, so then you can move this around anywhere you want it. So this is an A, so it’s A major; so if we did it here since it’s a C it’d be a C major. So it’s just still the same shape all the way through. So one of the things you want to pay attention to is how far away the tapped note is. So it is one, two, three, four, five Frets away or two and a half steps, however you want to look at it… So you could in the keys where you can use the open string, you could still do that in there. So like if we were doing it in G; G, D. So E isn’t even part of the major Triad, but it still sounds good because it’s in that key. If we were doing the minor one though… see it still sounds good. It isn’t a clashing note, but I personally probably wouldn’t do it you know if I was playing it down there, but in here in A it sounds really good…
Conclusion
So there you have it. Two extended arpeggio licks with the major and the minor that are movable shapes that you can move to different keys. So if you like this arpeggio guitar licks lesson and you found this helpful and stuff be sure to give it a thumbs up and leave me a comment down below if you have any questions about this or other guitar related topics. If you have not already done so please subscribe to the channel and hit that notification Bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching this arpeggio guitar licks lesson and have a great day.
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Introduction
How’s it going everybody? This is Darrin with GuitarControl.com bringing this video lesson and today I want to show you two different riffs from the intro from the song Aces High by Iron Maiden. So these are pretty easy to play, they really good and they’re in a harmony. This is just to show you how you can have just a repeating sequence of notes that are just played over and over and over again, but when you hear it in context of the song it sounds like there’s more going on because of what’s happening behind the little melody line when they change chords and stuff. So be sure to click on the link in the description for the tabs and let’s get close up and take a look.
Aces High Riff – Part 1
All right so for this first part here we’re going to start off on the sixth fret of the D string and I’m using my third finger and we’re gonna go six to seven and then we’re gonna go to the G string to the fourth fret; so this is why you want to use your fingers here… So we go six seven and then four on the G string and then back to the sixth fret of the D string… back to the third fret of the G string; so I’m just going to roll my third finger up and then back to the fourth fret of the G string and that’s the riff right there… and then it just repeats… Okay so you have to make sure you include in here is this timing and this is all made up of eighth notes and this very first one is on starting on the and of four so it’s like and one and two and, and then on the downbeat of three we rest, on the and of three we go to the fourth fret here on the G string and then on the downbeat of four we rest and then on the and of four we’re back to the six again… and it just repeats like that so it just sounds like the same thing over and over and over again… which it is more or less, but like I said it’s because of what’s happening behind it, so that riff just keeps repeating like that, the riff itself is an odd grouping so since we’re starting on that and of four and the riff ends on the and of four of the second measure and then it just more or less just repeats a total of six times and then on the seventh time it has the change where it ends… So at the last time through, you know six to 4 on the G string, back to 4 on the D string, to 6, 4, 6, 7, 6, 6, 6, 4 and then to that six on the D string, six, seven, four, seven, six and then that just rings out… and then that’s where it goes into the next part.
Aces High Riff – Part 2
Alright, so for part two, and again this is all harmonized so we’re just looking at the parts that are the melody. So if you playing this by yourself this is the part you would want to play on this second part and on the first part you want to the part that I’m playing is the melody and then the second part is the harmony. So for the melody for this part we’re going to start off we’re going to be able to transition right from where we were at… so we ended on the sixth fret of the D string with our third finger; so now we’re going to move up here and our second finger is going to go to the fifth fret of the G string and then our first finger is going to go onto the fourth fret of the G string. So we start off on the downbeat of one and we have the fifth fret and it’s a dotted quarter note so it’s one, two and three, and four and. So when we go to four and then to the fifth fret we pick and pull back to the fourth fret twice… then we’re going to go to the fifth fret of the B string; so I’m just going to keep my first finger here where it is and I’m going to move my second finger up here to the fifth fret of the B string and pick that twice and then back to the fifth fret of the G string. So this is like one, two, three, four and then that would go on to the next part and that’s the first two measures. Okay so then starting on the third measure it’s kind of like the first measure so we start on the fifth fret of the G string and it’s a dotted quarter note; so it’s one, two, and then on the and of two go to the fourth fret and then on the downbeat of three back to the fifth fret and we pick and pull and then back to five again as a quarter note for beat four… then we go back to the fourth fret of the G string where our first finger already is… we hit that on the downbeat of one and then on the and of one we go to the seventh fret of the G string and I’m gonna use my fourth finger and that’s and two and, and then on the downbeat of three we go to the fifth fret of the B string with my second finger, three, and on the and of three we go back to the seventh fret of the G string down to four, the fifth fret of the G string, and the and of four is the fourth fret of the G string and then that whole thing just repeats four times and then from that point it would go into the verse of the song.
Conclusion
Alright so there you have it. Two different riffs for the intro of Aces High by Iron Maiden and I said these aren’t very difficult to play and they’re fun to play and they sound really good, especially in context, if you’re just playing it by yourself it doesn’t really sound as cool as it does when you have it in the context of the song; so this is a good one to pull up the original song and play along with it because the tempo isn’t very fast on the intro part and when it goes to part two the tempo speeds up, but it’s still not too terribly tough. If you’re having some trouble just do it on YouTube and you can slow the speed down, you know, like three quarter or half speed or whatever you need to do to make it work. All right so if you like this lesson be sure to give me a thumbs up and leave a comment down below if you have any questions about this or other guitar related topics. If you’ve not already done so please subscribe to the channel and hit that notification bell so you don’t miss any of the content that we upload throughout the week. Well that is all I have for you today. Thanks for watching two easy melody line riffs from Aces High and have a great day.
]]>Check out this Easy High Melody Dyad Riff With Moving Bass lesson from Guitar Control instructor Darrin Goodman. Be sure to click the link for the free tabs to go along with this lesson.
Introduction
Hey everybody how’s it going? This is Darrin from GuitarControl.com bringing you this video lesson. Today I want to show you an Easy High Melody Dyad Riff With Moving Bass that I made up. It has a moving high melody with a moving bass line. Most of it is fairly easy, but there is one part that is a little challenging, but we’ll handle that when we get there. So be sure to click on the link for the tabs and lets get close up and take a look at this.
High Melody Dyad Riff
First thing is we’re gonna put our second finger onto the 8th fret of the G string, third finger onto the 9th fret of the D string, 4th finger onto the 11th fret of the G string and our first finger onto the 7th fret of the A string. So this shape excluding what I’m doing with my first finger is a shape that is going to be repeated throughout. So we start out by just playing the E bass note on the 7th fret of the A string twice with palm muting and then strum the dyad chord. Even though our second finger is back here on the 8th fret of the G string we’re not playing that note yet… So we have the bass note twice palm muted and then the dyad chord once and then two more muted bass notes and then we move our fourth finger down to the 9th fret on the G string and strum the dyad again. Now we hit the bass note twice again and then remove our fourth finger and strum the dyad again. Now two more bass notes and put your fourth finger back down on the 9th fret of the G string and strum the dyad three times… that’s the first part of the riff. So moving on the high melody dyad part stays the same but the bass note will move from the 7th fret of the A string to the 9th fret of the low E and we just play the same sequence with the different bass note. Then the bass note changes to the open A string and the high melody repeats again. And finally the bass note moves to the 7th fret of the low E string and remove your fourth finger from the G string and strum the bass note twice and the dyad once and play that sequence twice followed by two bass notes. Then put your fourth finger back on the 11th fret of the G string and strum once and then slide your pinky down to the 9th fret and hit the bass note and then strum the dyad and pull-off your pinky to the 8th fret on the G string and hit the bass note again and then strum the dyad once and do a hammer-on with your 4th finger back to the 9th fret of the G string. So the whole thing slowly…
Conclusion
Alright, so I hope you enjoyed that and got something out of it. If you like this video give me a thumbs up and leave a comment if you have any questions or if there is something you would like to see covered in a future lesson. If you have not already done so please subscribe to the channel and hit the notification bell so you don’t miss any of the content that we upload throughout the week. That is all I have for you today. Thanks for watching and have a great day.
Introduction – Harmonize Your Own Riffs W/ Dyads
Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this Learn How To Harmonize Your Own Riffs with dyads video lesson. Today I’m actually going to be teaching you one of my own riffs from a song I wrote. What I want to show you with this is a way that you can harmonize your own riff. This riff originally was played on two guitars and honestly I prefer the way that sounds, but we ended up being down a guitar player and had to play live and had to play this song and without the harmony it just doesn’t quite sound right; so I figured out a way to do both parts at the same time. I thought that would be a good lesson for you guys to show you how by using dyads and double stops how you can create your own little harmony. So be sure to click on the link in the description for the tabs and let’s get close up and take a look at Learn How To Harmonize Your Own Riffs with dyads.
Riff Melody
All right so this riff is entirely just on the D string and it’s got this sixteenth note kind of a thing going here. So you’ve got four sixteenth notes and then we’re going to go to the 15th fret. So in between there’s four 16th notes of the open D string in between all of these notes except in a couple of places and I’ll explain when we get there. So we’ve got frets 15 14 17 15… so we go 15 14 17 15 and then 14 15 again, so between the 14 and 15 there’s only two in between… so that’s the first part. Now we’re going to come down to the 12th fret… 14 10 12 and then two… Then we’re going to come down to 10 to 9; so that’s like half of the riff right there. So the second time through it’s got a couple of differences so we start off again with frets; 15 and 14 17 15 19 17 20 19 17 15 14 and then 15 so it’s the same, but here we have two sixteenth notes… all right so that was guitar one of Learn How To Harmonize Your Own Riffs with dyads.
Temple Of The Sun
So the song is called Temple Of The Sun by the way, so if you want to hear the original song it’s on YouTube and Spotify, it’s called temple of the sun and the band is called Sonic Prophecy.
Riff Harmony
So anyhow the song starts out with just the one guitar and then the whole thing just starts over again, but a second guitar comes in doing a harmony… So it’s just harmonized in thirds and so one problem with that was the one of the notes is actually on the 24th fret so you don’t have 24 frets it’s hard to play and you can’t play both of those parts at the same time. So what we’re going to do is the harmony line that’s up here… we’re going to do it all on the G string. So our first one we’re gonna do the same and add that harmony. So we’ve got a major third there, so if you remember from the dyads video that I did before that you know you have all these two note chords, like power chords… but there’s a whole bunch of other ones; so if you haven’t seen that video I’ll leave a link for it here so you can check that out. So we’ve got this shape is a major third, so here’s our root and our melody line and then it’s just one fret down on the on the G string, that’s a major and then to make it minor there’s a fret in between. So we’ve got; major, minor, minor, major, minor, major, major, minor, minor, major, minor, minor, major, and minor again. So here I’m on frets; 15 and 14 and then 14 and 12 and then 17 and 15 and back to 15 and 14… then 20 and 17 and 15 and 20 and 19 and 17…
That’s it… now you know How To Harmonize Your Own Riffs with dyads.
Conclusion
All right so I hope you enjoyed Learn How To Harmonize Your Own Riffs with dyads and you got something out of it. If you liked the video be sure to give it a thumbs up and leave me a comment down below and let me know if there’s something you’d like to see covered in a future lesson or if you just have a question about Learn How To Harmonize Your Own Riffs. I try to check all that stuff out and answer as many of them as I can. If you have not already done so please subscribe to the channel and hit that notification bell so that you don’t miss out any of the content that we upload throughout the week. Well that is all I’ve got for you today. Thanks for watching Learn How To Harmonize Your Own Riffs with dyads and have a great day.
]]>Guitar Control presents instructor Darrin Goodman with an Epic Sweeping Arpeggios With Tapping Lesson. Be sure to get the tabs so you can easily follow along with this killer free Epic Sweeping Arpeggios With Tapping guitar lesson.
Introduction
Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to show you some Epic Sweeping Arpeggios With Tapping that just uses an arpeggio and then one note that we’re going to tap. So I’m going to show you how to do it as a major shape and I’m going to show you how to do it as a minor shape and this is a movable shape. So we’re going to be doing it with the D major and we’ll do the shape with D minor, but it’s a movable shape so you can just move it around wherever you want. This is just a nice neutral place where the frets are a little closer together to make it easier when you’re first starting it, but not so close together that everything’s cramped. So be sure to click on the link so you can get the tab so you can follow along with this Epic Sweeping Arpeggios With Tapping lesson. Let’s get close up and take a look at what we’ve got going on in this Epic Sweeping Arpeggios With Tapping.
The Arpeggios
All right so the first thing we’re going to go over for this Epic Sweeping Arpeggios With Tapping is just the arpeggio shapes themselves. So these are arpeggios that are based just off of the first five strings so we will not be using the low E in these shapes, we’ll just start on the A string and ascend up to the high E and then descend back down to the A string.
Major Arpeggio
So let’s first let’s look at the major shape for Epic Sweeping Arpeggios With Tapping, these arpeggios are in the root position meaning that the lowest note is going to be the root note, so in this case it’ll be a D and then the next note will be the third and the next note will be the fifth. So for those of you that don’t understand what I’m referring to is when you play a major chord or a minor chord it is what is called a triad, so it has three notes, so it’s the for the major it’s the first, third and fifth notes of the major scale and then for the minor we just take the third and flatten it a half step. So in root position they are in that order the lowest note is the root, the middle note is the third and the highest note is the fifth. So you have also what are called inversions where you mix that up, but we’re not going to get into that today, we’re just going to look at these root position. So we’re going to start off here on the 17th fret of the A string, which is D, and then 16 on the D string with your third finger. So I’m using my fourth finger for the A string and then my third finger for the D string and then my first finger is going to go to the G string on the 14th fret, so that’s D, and then we have our third which is f sharp and then our fifth which is A. Now moving on to the B string, now we’re back we’re up to the 15th fret, I’m gonna use my second finger. So we’re back to one again here we’re on D again, so we went one, three, five, one and now to the high E, we’re at the 14th fret, first finger and that’s our third to the 17th fret with our fourth finger, that’s our fifth, so one, three, five, one, three, five. So the first thing you’re going to want to do is just memorize that sequence.
Now like I said it’s a movable shape, so the reason that this is D major is because we’re starting here on D, so if we moved it down to the 12th fret, that’s an A and we did this same shape, now we’re playing in A major. Okay so that’s for our major shape for Epic Sweeping Arpeggios With Tapping.
Minor Arpeggio
Now let’s look at our minor shape for this Epic Sweeping Arpeggios With Tapping. Now like I said the only difference between the major and the minor is that the third is flattened a half step. So here we’re going to start off the same place on the 17th fret of the A string fourth finger and now when we move to the D string. Instead of going to the 16th fret, because that’s our major third, we’re going to go to the 15th fret, that’s our minor third. So now we’re going to use our second finger, so the A string 17th fret, fourth finger, to the 15th fret of the D string with my second finger, to the 14th fret of the G string with my first finger and then back to the 15th fret of the B string with my second finger and now that’s our one again. So our third before was on the 14th fret, but now it’s minor, so we’re flattening it a half step, so 13th fret of the high E with your first finger, 17th fret of the high E with your fourth finger. So the first thing you’re going to want to do is just memorize those two shapes and get them to where you’re not having to think about it so that just like you have a good muscle memory of what the shape is for Epic Sweeping Arpeggios With Tapping.
Sweep Picking
Now what we want to do is we want to take a look at what we’re doing with our picking hand is doing in Epic Sweeping Arpeggios With Tapping. So for this we’re doing the sweep picking technique. So what that means is that we’re starting on the A string and we’re doing a down stroke from there and then we go to the D string it’ll be another down stroke. So what you really want to do is you want to is when I hit the A string with the down stroke I let the pick come to a rest on the D string and then when I play the D string I let it come to rest on the G and so on and so forth. So it’s you don’t want like several down strokes like that. You want one long continuous down stroke. Now since there’s two notes on the high E, if you wanted to pick all of it you’d be down, down, down, down, down and then an upstroke when you go to there, but what I generally do is I just do a hammer-on, so I’m down, down, down, down, down, hammer, pull and then when we go back the other way, it’s up, do the same concept, so we’re going to pick and let the pick come to a rest on the G string and then when we pick it let it come to a rest on the D string and then let it come to rest on the a string. Okay so getting the sweeping technique down is probably the most challenging part of this, so if you already know how to do this, then you know this will be pretty simple, but if this is a new thing for you I really recommend that you put in some time, really focus on that go nice and slow so everything is that one motion.
When I first tried to do this I just didn’t think it would be something I’d ever be able to do, but just like all things in life, anything that’s worthwhile you have to work for it, just like this Epic Sweeping Arpeggios With Tapping lesson.
Tapping
Okay so now for the Epic Sweeping Arpeggios With Tapping what we’re going to do now is we’re going to add in one more note on the high E. So we’ll start off here with our major shape. I do that hammer-on and now I come up and I tap the 20th fret with my middle finger on my picking hand so that way I can still hold the guitar pick. So ascend, tap, pull, pull, and descend. Now as you can see when I come over here I do the tap and then I come back to pick. So sometimes you see people are doing it up here, you know they’re picking up higher so that way they don’t have to move their hand back and forth. While there are some things that I think that could be really good and beneficial for, as a general rule I think it’s a bad idea because you really want to be able to get back into the correct place. So we’re tapping that 20th fret which is D, so we are we’re just starting the process over again, if you had more frets you could like slide up to the third or whatever. So if you play this in a lower place on the neck you could actually do that. Now when we go up here the last note in the arpeggio is on the 17th fret and then we’re tapping the 20th, so that’s one, two, three, four, five frets away. Now you’re going to want to remember that so that way you can play this in a different key. So if I try it here, in A, starting on the 12th fret; one, two, three, four, five, seventeenth fret and it’ll always be that same space. So if you wanted to do that other thing I was talking about you tap 17 then you’d slide up to the third, which is two whole steps away, so the 21st fret, then back down and pull-off. So I would really recommend working on it the way the tab shows just to get that down and then you can spice it up and add some other stuff in there. Okay so now let’s look at the minor shape. So for the minor shape it’s the same idea, starting here on 17 again and again I’m tapping the 22nd fret because that is our tonic, that’s our root note, and from there one, two, three, four, five frets away just like with the major, so it’s really the same thing. Now I know that sounds a little bit strange to play a major and a minor back and forth rooted from the same place, but this is a really good way to practice this and get it down for this Epic Sweeping Arpeggios With Tapping lesson.
Conclusion
So I hope you enjoyed Epic Sweeping Arpeggios With Tapping and you got something out of it. If you like this video be sure to give me a thumbs up leave a comment down below if you like the video and if there’s something that you’d like to see covered in a future lesson. Be sure to subscribe to the channel and hit that notification bell so that way you won’t miss out on any of the content that we put up weekly.
All right and that is all I have got for you today. Thanks for watching Epic Sweeping Arpeggios With Tapping and have a great day.
More Lessons on Symphony X Guitar Tapping
More Lessons on Scale and Arpeggios
Hope you like it!!!
Basically what we’re looking at is we’re looking at the chords A minor 7, D9 to G major 7, very common chord progression in jazz. But we’re going to start up here on an A minor 11, which is going to be 7, 9, 8, 10 and then we have this little melody. So that 10 becomes an 8 and I barre here on this. It’s like an A minor 7 shape. And then I come down to A minor 9.
And then we do what’s called a tri-tone substitute, and that’s where you play an E flat — basically the concept would be this sort of A minor 7, A flat 7, G major 7. But we’re going to do a whole 2-5 E flat minor, A flat and out just like this. B flat 13 is what I’m playing here, 4th fret, 4th fret, 5th fret, 6th fret and that resolves to the 4th fret and then finally home to this G chord, which is 3rd fret, 2nd fret, 2nd fret, 2nd fret, 3rd fret, 2nd fret. Great chord.
Anyway, one more time from the top, slowly. And then… A real nice move you can do over a 2-5. So be sure to subscribe on our You Tube Channel and we’ll see you in our next video lessons, thanks for watching.
]]>Step 1: Learn to get a Great Tone on just one note (using the pro’s sound secrets)
The biggest problem for beginning harmonica players is just getting a smooth, clear, and beautiful tone.
Getting a great tone is the foundation to being a great harmonica player! Unfortunately, many new players have no clue how to properly play even a single note with clarity and power.
Let me guide you step-by-step to mastering this with some very simple techniques that work like gangbusters.
With these easy tips, you will be playing beautiful, sustained notes that will give any audience goosebumps.
So many teachers fail to make this easy, but it doesn’t have to be this way.
Step 2: Put the Notes into Musical Phrases
Once you can play notes, you need to string them together into interesting musical phrases.
I’ll take you step-by-step through this learning process: from learning to switch to new notes easily, to playing in time, to knowing which notes sound good together, to playing rockin’ harmonica rhythms.
Believe it or not, almost all of the top hit songs of all time are using the exact same harmonica phrasings.
I’m going to demystify what SEEMS HARD…
When you learn a few simple tricks, you’ll be able to play any hit song in record time. You’ll be able to translate these pro harmonica secrets into all of your playing into the future.
Step 3: Learn to Play Complete Song Styles.
Once you can play musical phrases, you are an inch away from playing complete songs. I’ll show you how it’s done step-by-step.
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