Ken Arnold's Amazing Grace and other Gospel Sounds for Harmonica PDF

By Ken Arnold

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Extra info for Amazing Grace and other Gospel Sounds for Harmonica

Example text

Each of these studies uses shapes you know, just in a different order from what you’ve seen so far. The rhythms in each study are kept plain to get you started with these progressions. Once you can play the studies as written, run them through the rhythms from the start of this book. As a reminder, here are the rhythms that you can use with any or all of these chord studies. Quarter Notes Charleston Variations & of 1 and 3 & of 2 and 4 Baião (3+3+2) If you feel ready, break up the chords rather than plucking or strumming each shape.

Remember to work these shapes on your own, with a metronome, and with different rhythms to maximize your practice time. Taking Major ii V I Chords Further To take these shapes to the next level, raise the root notes up an octave for each chord shape. Here’s how that looks with the first position major ii V I chords. After you can play these shapes in C, take them to other keys and use different rhythms to jam these chords. If you feel ready for a further challenge, remove the root from each shape as you practice rootless ii V I chords in this position.

Doing so gives you the 6 keys you missed in the first exercise, combining to cover all 12 keys between the two progressions. Remember to work these shapes on your own, with a metronome, and with different rhythms to maximize your practice time. Taking Major ii V I Chords Further To take these shapes to the next level, raise the root notes up an octave for each chord shape. Here’s how that looks with the first position major ii V I chords. After you can play these shapes in C, take them to other keys and use different rhythms to jam these chords.

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Amazing Grace and other Gospel Sounds for Harmonica by Ken Arnold


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