Harmonica Education Program

	Harmonica Education Program

Harmonica Education Program

(Reprinted from The Harmonica Educator, Fall = 2004=20 issue)

Note: This article is reprinted from the book, = =93A Handbook=20 For Harmonica Clubs: For Forming and Running a Harmonica = Club=94 =A9=20 2003 Richard Martin

By Richard Martin

Note. The following information is provided with=20 suggestions for harmonica club members, on becoming a = successful=20 harmonica player.

What it takes to become a successful harmonica = player

Basic skills needed

Music reading ability. In the future, more and more = players will=20 want to participate in a harmonica ensemble. Due to the = complexity=20 of ensemble musical arrangements, players must develop their = music=20 reading skills to be able to play 2 to 5 part musical = arrangements.=20 Gone are the days, when =93by ear music in the key of C=94 = will be=20 sufficient for playing these arrangements.

Resistance to reading music in all keys

Realize that people resist change. No matter how = sincerely=20 individuals may be convinced of the necessity for reading = and=20 playing music in all keys, the natural emotional response, = to this=20 new requirement and the changes it will bring, is negative. = No=20 matter how acute the need to upgrade skills in musicianship = and=20 performance, it will take a super effort on your part to = sell it,=20 implement it and win enthusiastic cooperation to upgrade = these=20 skills.

Everyone must keep abreast of the changes in the = harmonica=20 field

Harmonica periodicals, harmonica club newsletters, and = seminars=20 are the key means for harmonica instructors, musical = directors, and=20 harmonica players to learn about and stay on top of what is=20 happening in the harmonica field.

Establishing a positive environment for the = harmonica

There may not be a consensus right now, but the writing = appears=20 to be on the wall --- to change the way the public thinks = about the=20 harmonica as not being a serious musical instrument, then = players=20 will have to change the way they are presenting the = harmonica to the=20 public.

Steps to be taken by the Harmonica Educator to upgrade = the=20 harmonica player=92s musicianship and performance skills

1. Provide opportunities for training to upgrade the = soloist and=20 ensemble player=92s musicianship and performance skill.

2. Focus on areas of harmonica instruction that will help = upgrade=20 the musicianship and performance skills of the soloist and = ensemble=20 player.

3. Target a market of players such as beginning players = and by=20 ear players, who are interested in playing as a soloist or = in a=20 harmonica ensemble.

4. Present a wide range of music to the public. One = factor that=20 will greatly influence the public=92s view of the harmonica, = as a=20 serious musical instrument, is for harmonica clubs and the = musical=20 public to hear a wide range of music from the early musical = periods=20 to the present performed by disciplined soloists and = ensemble=20 players. Make a practice of playing quality music = arrangements from=20 the musical score for solo music. Include musical = accompaniment,=20 string ensembles, vocal, recorder music for the public, and = less of=20 the practice of playing by ear arrangements of the same old = songs in=20 the keys of C or G. Target a market of the musical public to = hear=20 quality music performed by disciplined soloists and ensemble = players.

5. Work at organizing the overall field of harmonica = musical=20 education, into an efficient musical program of training, in = specialized areas of musicianship and performance for the = soloist=20 and ensemble player. Determine the specialized categories of = musical=20 training.

6. Provide a training program for the development of = harmonica=20 instructors and musical directors. Provide a week training = seminar=20 for potential instructors, to become familiar with = specialized areas=20 of harmonica musicianship and performance skills, for the = soloist=20 and ensemble player.

7. Provide workshops and seminars for ensemble players of = the=20 diatonic, chromatic, bass and chord harmonicas concentrating = on=20 understanding of technique, the elements of music, = articulation,=20 dynamics, tempo, balance, blend, intonation, phrasing, and = style.=20 Additionally, the workshops and seminars should place = emphasis on=20 all players listening to the music performed, and to fellow = ensemble=20 players. Other workshops and seminars could emphasize the = same for=20 the harmonica teacher, as well as for the artist/performer = playing=20 with musical accompaniment (see the section on harmonica = seminars,=20 later in this book). Once workshops and seminars have been=20 established, no matter how humble their beginnings, the = recognized=20 improvement in a participants=92 musicianship and = performance skills=20 is normally enough to keep the workshops and seminars going = and=20 growing.

Consider what are the important areas for study, and = what are=20 the obstacles to overcome for the beginning player

a. Being able to play a variety of music from the score = written=20 in all keys.

b. Playing music written for the soloist and ensemble = player for=20 flute, recorder, oboe, voice, and barbershop music.

Encourage harmonica club members to participate in the = upgrading=20 of musicianship and performance skills of the soloist and = ensemble=20 player

Encourage club members to select individuals, who are = interested=20 in training as harmonica instructors and musical = directors.

Analyze some reasons why many players want to play the = music,=20 by ear versus the musical score

For one thing, it is harder to play the music, from the = musical=20 score for individual musical parts. This requires a high = degree of=20 musical ability to play as a disciplined soloist or ensemble = player.=20 Much of the better musical solo and ensemble arrangements = are=20 difficult to play. It is easier for the average player to = play the=20 harmonica by convenience, rather than by the way the music = wants us=20 to play. It takes a lot motivation, effort, and practice to = be able=20 to play the better musical arrangements, for vocal, choral, = recorder=20 music, string ensembles, and solo selections with = accompaniment.=20 Because of this, the average player tends to occupy himself = or=20 herself with playing the music by ear, and in the key of C = or G. As=20 a result, these players tend to rely exclusively on their = ears to=20 learn music and get by up to a certain level, but a lack of = reading=20 skills restricts the level to which they could aspire.

Some final thoughts

Until a great majority of harmonica music is played from = the=20 musical score, the future is likely to bring a mix-and-match = assortment of by ear harmonica music presented to the = public. One=20 factor that will greatly influence the public=92s thinking, = about the=20 harmonica, is for them to hear a wide range of music from = the early=20 musical periods to the present performed by disciplined = soloists and=20 ensemble players. Do not specialize in just one type of = music to=20 play to the public. Make a practice of playing a wide range = of=20 quality music arrangements from the musical score, for solo = music=20 with accompaniment, string ensembles, vocal, recorder music = for the=20 public, and less of the practice of playing by ear = arrangements of=20 the same old songs in the key of C or G. By ear novelty = music=20 selections can be added to the repertoire. However, this is = after=20 the basic music repertoire is established. Target a market = of the=20 musical public and other harmonica clubs to hear a wide = range of=20 quality music, performed by disciplined ensemble players and = soloists.

Richard Martin

=A9 Planet Harmonica - 2004=20 =