Harmonica Dictionary

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This harmonica dictionary is designed to become the authoritative source for peer-reviewed and consensus-driven definitions for common harmonica terms. Its purpose is 1) to provide newer players with a basic orientation to harmonica terms, 2) to function as an external, authoritative and fact-based reference that can be used in online discussions. Lastly, 3) to build consensus within the harmonica community around how our terms are used. 

With a few exceptions, this dictionary excludes common music terminology (such as 4/4 time, quarter notes, etc.). The reason is that such definitions are high in number, and are available through a number of music dictionaries that are both authoritative and highly accessible. Seeking these dictionaries is advisable, particularly for definitions of scales, modes, music notation, etc. 

Special thanks to Peter Hogie for compiling the first edition of this dictionary, and to Joe Filisko for editing and augmenting it. Please leave comments below.

1-12

1st Position. Noun. aka straight harp. Playing a harmonica in its named key. E.g., playing a C harmonica while using C as the root note. Another way to understand it is that you are playing in the key of the exhaling chord.  First well-documented 1st position recording is from 1924, Stovepipe Blues by Daddy Stovepipe. 

2nd Position. Noun. aka cross harp. Playing a harmonica in the key that is a perfect fifth above its named key. E.g., playing a C harmonica while using G as the root note.  Another way to understand it is that you are playing in the key of the inhaling chord.  First known recording is from 1923, Henry Whitter’s Rain Crow Bill Blues.

3rd Position.  Noun. aka slant harp, double cross harp. Playing a harmonica in the key that is a whole-step above its named key. E.g., playing a C harmonica while using D as the root note. First known recording is from 1951, Little Walter playing on a Lonesome Day by Muddy Waters.

4th Position.  Noun. Playing a harmonica in the key that is a minor 3rd below its named key. E.g., playing a C harmonica while using A as the root note. First known recording is Breathtakin’ Blues by Rhythm Willie from 1940.

5th Position. Noun.  Playing a harmonica in the key that is a major 3rd above its named key. E.g., playing a C harmonica while using E as the root note. First known recording is from 1928, Central Tracks Blues by William McCoy.

6th Position.  Noun. Playing a harmonica in the key that is a half-step below its named key. E.g., playing a C harmonica while using B as the root note. First known recording is from 1929, by harmonicist Eddie Mapp on No, No Blues by Curley Weaver.

7th Position. Noun. aka 6th flat position. Playing a harmonica in the key that is a tritone above its named key. E.g., playing a C harmonica while using F#/Gb as the root note. (Very rarely done.)

8th Position. Noun. aka 5th flat position. Playing a harmonica in the key that is a half-step above its named key. E.g., playing a C harmonica while using C#/Db as the root note. (Very rarely done.)

9th Position. Noun. aka 4th flat position. Playing a harmonica in the key that is a minor 6th below its named key. E.g., playing a C harmonica while using G#/Ab as the root note. (Very rarely done.)

10th Position. Noun. aka 3rd flat position. Playing a harmonica in the key that is a minor 3rd above its named key. E.g., playing a C harmonica while using Eb as the root note. (Very rarely done.)

11th Position. Noun. aka 2nd flat position. Playing a harmonica in the key that is a whole-step below its named key. E.g., playing a C harmonica while using Bb as the root note. (Very rarely done.)

12th Position. Noun. aka 1st flat position. Playing a harmonica in the key that is a perfect fourth above its named key. E.g., playing a C harmonica while using F as the root note.  First known recording from 1924, Stovepipe Blues, by Daddy Stovepipe.

2 Hole Draw. Noun. A key note for blues, the 2 Hole draw is the root note for playing in second position. It is preferred over the 3 blow (which plays the same note) because it can be played more strongly and expressively. 

A

Acoustic. Adjective. To play without a microphone, or with a microphone that does not substantially alter the sound quality of the instrument. 

Accompaniment. Noun. Playing “behind” the vocals or the soloist. See hard shuffle chording, soft shuffle chording, organ sustaining and train whistle sustaining. A key skill for both modern and traditional blues harmonica. 

Active Blues Breathing. Noun. A range of breath techniques used for managing air while playing blues-style harmonica. This includes active awareness of managing your bi-directional breathing so that you can be empty of air when playing most blues styles

Ad Lib – Another term for improvisation. Usually implies spontaneous creation of melodies.

Amplified. Adjective. To play with the microphone held very close to the harmonica, typically into a guitar-style amplifier, to create an overdriven sound. 

Amplifier. Noun. aka amp. A device used to electronically increase the volume of an instrument. For harmonica, the most common arrangement is to have the harmonica play into a microphone that is connected to an amplifier. For Chicago Blues harmonica, tube amplifiers are used in conjunction with a hot microphone. Examples include Fender Bassman & Fender Champ.

Arpeggio. Noun. A sequence of notes played chord tones in ascending or descending order, and is considered a fundamental musical skill for instrumentalists. (See Practicing arpeggios for beginners.)

Articulation. Noun. aka articulate. (1) The way a note is attacked and released in relation to the notes around it. Examples include staccato, in which a note is separated from the surrounding notes; legato, in which a note is smoothly connected to the following note. (2) The technique by which the articulation is accomplished, e.g., using the tongue, throat, or air to articulate the note. 

Asphyxiation Reflex. Noun. The body’s natural feeling of panic from feeling like it’s running out of oxygen. This can occur both from running out of air and the lungs overfilling. Overfilling can be detrimental to the outcome of your music. Major obstacle when playing most blues styles as they can often be 90% or more inhaling.  Blues playing can be described as the control of the inhaling breath while singing is the control of the exhaling breath. (See Level #3 breathing here.)

B

Back Pressure Chords. Noun. aka Air Recirculation. Chords that can be played by cupping the hands very tightly–so tightly that the air escapes by blowing back through the remaining open holes of the harmonica. Typically these could be heard on the high end when you are inhaling on the low end, as Sonny Terry demonstrates in some early recordings. 

Bar. Noun. aka measure. A bar (or measure) is a block of time within the music. The length of the bar is based on the rhythmic patterns found in the music, known as meter. Sections of music are made of a number of bars (often 4, 8, 16, or 32). 

Bass Harmonica. Noun. aka Bass. (1) The lowest of the orchestral harmonicas, consisting of two large harmonicas mounted on a hinge, with double blow-only reeds, designed to play basslines. Sometimes referred to as the “double bass” harmonica. (2) “Bass Blues” harmonica, a 13-hole diatonic-style harmonica with an additional 3 holes for playing one octave below the typical range of a 10-hole diatonic. (3) A low orchestral harmonica, with single blow-only reeds, designed to play baritone lines. 

Bend. Verb. To alter the pitch of a played note by raising it or lowering it. This is done by creating and controlling resonance in the mouth. (See Bending for beginners.)

Blocking. Verb.  See tongue blocking.

Blow. Verb. On the harmonica, to play a note by exhaling. 

Blow Bends. Noun. Modifying the shape of the inside of your mouth (including throat and tongue) to bend a blow note down to a lower pitch. 

Blues Scale. Noun. A frequently used scale in blues and jazz music that consists of a minor pentatonic scale, with the addition of a “flat 5”. The scale degrees of the Blues Scale are 1, b3, 4, b5, 5, b7, 8. On the harmonica, it’s most often played as -2 -3’ 4 -4’ -4 -5 6.

Blue Notes. Noun. In Jazz and Blues, this refers to the b3, b5 and b7 of a key’s scale, and further implies that these notes are not played at standard pitch. Instead, they are played in an expressive microtonal fashion, typically off the standard pitch somewhere between a semitone and a quartertone. 

Boogie. Verb. A common type of groove in the Blues characterized by gently swung dotted 8th-16th backbeat, such as in Shakey’s Boogie. A boogie also tends to be defined by an arpeggiated riff using minimally 1, 3, 5, 6 and sometimes b7. (See Bluesy shuffle groove.)

Box Shuffle. Noun. A classic blues shuffle (dotted 8th-16th rhythm) that is characterized by the bass line playing only chord tones, typically outlining dominant 7th chords. Most often the 3rd is left out, giving an ambiguous quality to the tonality.

Boogaloo. Verb. A common type of groove used in the Blues, characterized by straight eighth-notes. With some similarities to the “Tramp” groove, a classic is the George Harmonica Smith song “Avalon Boogaloo”.

Breath Pulse. Noun. see Glottal attack. The Breath Pulse is common in OldTime and Cajun Music where a player is mimicking the backbeat groove of the accordion.

Bullet Mic. Noun. A type of microphone frequently used by blues harmonica players that uses a larger, bullet-shaped body, and is frequently outfitted with a high-impedance mic element. The large size helps players cup the microphone in order to get more bass response. The high-impedance element introduces distortion to to the audio signal, which reduces the need to overdrive an amplifier to obtain the classic overdriven chicago blues sound. 

C

Call and Response. Verb. A musical idiom in which a singer or soloist makes a musical statement and others respond. One part will play a hook or half of a phrase, and the other part will play a response or complete the phrase. This can sound like a question being asked and repeated by others, and/or a question asked and being responded to with an answer.

Cha Cha Cha. Noun. A latin flavored groove found occasionally in blues, characterized by driving riffs and straight 8th notes, such as in Slim Harpo’s “Buzzin” and Junior Wells’s “Cha Cha Cha in Blue.” 

Chamber. Noun. The area of a harmonica through which air passes in order to vibrate the reed (or reeds). 

Chicago Blues. Noun. Unique styles of blues from Chicago that were mainly released on the Chess and Vee-Jay record labels. Chicago blues was a pop music form in roughly 1952-1955.

Chirping. Verb. See growl

Choking. Verb. (1) An early term for cross-harp or 2nd position playing. Sometimes it can mean “bending” but bending almost always is incorporated into cross-harp playing. (2) To modify one’s airstream to cause a read to stop producing a tone.

Chord. Noun. (1) Playing more than one note at a time, usually referring to playing a triad (example: C, E, G). As applied to playing the blues harp, it typically means lifting the tongue and playing numerous holes on the bottom end of the harp (e.g., holes 1-4). (2) Referring to specific chords, such as “The V chord”, which is a triad built on the 5th scale degree of a key. (See Chords for beginners.)

Chord Bombs. Noun. An approach to rhythmic accompaniment shuffle chording whereas two very loud staccato chords are played on the second beat of the bar and right before the third beat. This was most often used by Big Walter Horton.

Chordal Effects (tongue shake, rapid vamp). Noun. Sound effects that involve playing of chords. This includes the Tongue Shake; Rapid Vamp, Head Shakes, pulsing air for tremolo effect, etc. 

Chord Harmonica. Noun. An orchestral harmonica consisting of two long harmonicas joined with a hinge, and designed to facilitate the playing of chord-based accompaniments. 

Chord Progression. Noun. A sequence of chords played in a specific order, and often repeated many times within one section of a song. 

Chromatic. Adjective. (1) The use of notes that fall in-between the notes of diatonic scales. (2) Notes that are played (2) Ascending or descending by semitone, especially when using notes outside of the diatonic scale. (3) Chromatic harmonica, which is designed to be able to play every semitone within its range. This enables the chromatic harmonica to play in any key without the use of special techniques.

Chromatic Scale. Noun. A scale composed of notes that are all only one semitone apart. 

Chugging. Verb. A generic term for playing chords rhythmically on the harp, especially in the first three or four holes. 

Circle of 5ths. Noun. A circular arrangement of notes resembling a clock, in which 12 notes are ordered by 5ths (meaning the interval between each note is a perfect 5th), in the following order: C, G, D, A, E, B, F#/Gb, C#/Db, G#/Ab, Eb, Bb, F. 

Clean Note. Noun. AKA Clean Single Note. A single note being played without any other note (referred to as ‘dirt’) being played at the same time. 

Comb. Noun. The part of the harmonica that partitions the reed chambers in order to direct air to a pair of reeds. Typically made of wood, plastic, or metal, the comb functions as the body of the harmonica, it is located between the upper and lower reedplates. 

Compromise Tuning. Noun. A tuning temperament that is considered a compromise between equal temperament (in which all notes are an equal distance apart) and 7 limit just intonation (which prioritizes harmonious chords over in-tune melodies). Due to its ability to play both melodies and reasonably pleasant chords, compromise tuning is considered ideal post-war blues harmonica playing, which emphasizes both chords and melody. 

Corner Switch. Noun. Moving the tongue sideways, so that without moving your jaw or lips, you could play a note from the right corner of your mouth, say hole 3, to the left corner of your mouth, hole 1. 

Cough. Verb. Forcefully coughing to accent a note, get rid of excess air, or create a rhythmic effect. Also see Glottal Attack.

Country-Tuned Diatonic. Noun. A 10-hole diatonic harmonica with an alteration of the traditional Richter tuning: the note in Draw 5 is tuned a semitone higher than usual. For second-position playing, this means the player does not need to overblow to play the 7th scale degree. 

Cover plates. Noun. The “outside” part of the harmonica that protects the reeds and offers some resonance and visual appeal. Typically made of metal, the coverplate’s shape and features strongly influence the tone of the harmonica. 

Cross-harp. Noun. aka 2nd position playing. Playing a harmonica a perfect fifth above its named key. The most popular way to play blues harmonica. See 2nd position. 

Cupping. Verb. A hand technique in which the player uses their hands to build an air seal around the harmonica, either to add resonance and warmth, or to elicit more bass response while playing with a microphone. The best players are able to control resonance with the skillful use of their hands. Note: Some players may also use an actual cup or glass to create additional resonance. 

Customizing. Verb. Modifying the harmonica to improve the performance of an out of the box harmonica. Common techniques include gapping, embossing, comb and reed plate flattening (to improve airtightness). 

Cover plate. Noun. The part of the harmonica that protects the reeds from being silenced or damaged by the hands. Generally made of stamped metal (or wood), the cover plates protect the reeds on both the upper and lower reed plates, and play a significant role in shaping the tone of a harmonica. Cover plates are referred to as “open” when the side has one or more vents and “closed” when no vents are present. 

D

Delta Blues. Noun. A style of blues attributed to western Mississippi, in which slide guitar and harmonica are dominate instruments. With roots tracing back to the turn of the 20th century, it was first recorded by Freddie Spruell in 1926, and is the primary genre for famous bluesman Robert Johnson. 

Diaphragmatic Breathing. Noun. aka belly breathing, supported air. A core breathing technique characterized by upright posture, moving the belly outward as air is inhaled, pulling air down to the bottom of the lungs and filling upwards as needed. For exhaling, air is actively supported with the muscles that surround the lower torso.

Diatonic. Adjective. (1) Music that has a “home note” or root and uses melody or harmony that is primarily based on the 7-note major or minor scales. (2) Diatonic instruments, like the harmonica, built to focus on the 7 notes of the major or minor scale. (3) Diatonic harmonica, which is a harmonica that is designed to play in a specific key, and would typically require special techniques to play in multiple keys. 

Difference Tone. Noun. A subharmonic note that can be generated when playing dirty. 

Dirt. Noun. Additional notes that are played by allowing a small amount of air to escape into a hole that is adjacent to the one being played; resulting in a bigger sound that is strongly associated with the blues.  Most typically the added dirt is that of the higher note on the right, to fatten the tone with harmony.  Dirt can also be added through the hole on the left, to add bass. 

Dissonance. Noun. Musical tension that is created by playing notes that ‘clash’ against each other when played together or in a sequence, and plays a large role in making melodies and harmonies interesting to listen to. Intentional and careful use of dissonance good bluesy dissonance or a bad out-of-tune dissonance.

Double Stop. Noun. Two notes played at the same time, with similar volume.  This is also a common way to generalize playing with dirt.

Downbeat. Noun. The first and third beat of the bar or measure. In some genres, this is referred to as “strong beats,” which are considered opposite to the “weak beat” on beats two and four. 

Draw. Verb. On the harmonica, to play a note by inhaling. 

Draw Bends. Noun. Modifying the shape of the inside of your mouth (including throat and tongue) to bend a draw note down to a lower pitch.

Dynamics. Adjective. Refers to musical changes in volume 

Dynamic Microphone. Noun. A type of microphone strongly associated with vocal microphones, these durable microphones typically have an element with a thin rubber, and are frequently referred to as a “stick” mic. Examples include the Sure SM57, SM58, and The Paul Butterfield microphone (Sure 525SD). 

Diaphragmatic Breathing. Noun. aka deep breathing, belly breathing. A method of breathing in which movement from the abdomen drives the movement of air, often called “breathing from your diaphragm”. 

Diaphragm Vibrato. Noun. Creating pulse vibrato by gently pulsing air from the bottom of the lungs (e.g. “using the diaphragm”). 

Dissonant. Adjective. One of more notes that clash with the music around it, which creates tension, energy, and a need for motion or change.  

Double Stop. Noun. Playing through two holes at the same time. Generally this refers to two adjacent holes, but can also refer to split intervals. 

Dropoff. Verb. To finish a note by playing a glissando that trails off, to no determinate end. 

E

Effects Pedals. Noun. aka stompbox. A device that modifies the audio signal of an amplified instrument. For harmonica, the most common effects pedals are Reverb, Echo, Distortion, Compression, and Feedback Suppression. Less common pedals include Amp models and harmonizers (such as octave pedals). Effects pedals can be used to modify the sound before it is used with an traditional amplifier, or as a replacement for the amplifier (in which case the signal is passed on to a PA system).

Eighth Note. Noun. Notes that are half the length of a quarter note.  Eighth notes can be played “straight”, which means the pairs of eighth notes are played evenly. Alternatively, they can be played as a shuffle or swing, in which the quarter note is divided into three parts.

Enharmonic Spelling. Adjective. Using another name for a given note. For example, the black key between C and D can be called either C# or Db. Similarly, F can also be called E#, and E can be called Fb. 

Embouchure. Noun. The way in which the mouth is shaped when playing a wind-blown instrument. For harmonica, it also refers to the way in which the player isolates notes, which includes: tongue blocking, lip blocking, lip pursing, and u-blocking. 

Equal Temperament. Adjective. A way to describe the fine-tuning of a harmonica such that all semitones are separated by the same number of Hertz. Equal Temperament harmonicas are best suited for playing melodies. 

Exhale Chord. Noun. Playing multiple notes at a time while exhaling. For traditional blues playing, this would commonly be played in multiple adjacent holes at the lower end of the harmonica. 

Exhale Push. Verb. To quickly expel excess air either above or below the harmonica, without sounding a note, in order to quickly empty the lungs, enabling the player to resume inhaling. Related terms: out-gassing, nose push. 

F

Flat. Adjective. (1) To play a note below its “proper” pitch and/or to describe a reed’s note as below the proper pitch.  (2) To play the note a half-step below a specific scale degree, e.g., to play a “flat 5”. (3) Used in reference to a key signature (e.g., “first flat” to refers to the key of F, which contains one flat, and could be played in 12th position on a C harp). 

Flutter Tongue. Verb. aka Rapid Vamping. To rapidly move the tongue on and off the harp while playing a chord or a split. This can be done by blocking all holes being played, or a selection of them. *note: this term has also been used to describe articulating a note with a rolling Spanish “R”. Other uses of the term may also occur. 

Form. Noun. The structure of a song. This is determined by larger patterns in the music, and can include elements like verse, chorus or bridge. In blues music, this is typically twelve bar, eight bar, sixteen bar, or just one chord.

Fox Chase. Noun. An idiom of chordal groove, in traditional harmonica playing. It is characterized by continuous rhythmic tongue lifts on upbeats, and melody notes played using holes adjacent to the holes used for chords. The player may also create a number of barking sounds designed to imitate the different signals hunting hounds would make to alert the hunters (Seth Shumate’s playing is an example). Most commonly 3 blow is played on the downbeat as a single note, and the inhale chord is played and accented on the backbeat. Example: Old Time Fox Chase by Henry Whitter. 

Full Bend. Verb. Bending a note down as far as possible. For all holes, full bends will have a lower pitch than the nearest in-tune note. 

Full Block. Verb. The embouchure of blocking out all the holes inside of one’s lips.  This allows for the soft shuffle/ghost chording used by Rice Miller aka Sonny Boy Williamson 2. 

G

Gag Reflex. Noun. A physical reflex used to avoid inhaling debris by raising the tongue to partially obstruct the windpipe. This reduces the resonance in beginners making the head tone thinner.

Gap. Noun. The distance between the tip of a reed and the top of its reed slot. Gap size determines factors of playability such as ease of bending and overblowing, and also influences the tone of the harmonica. 

Gapping. Verb. To adjust the size of the reed gap by gently pushing the reed up or down (often done with a toothpick or similar), and then plinking to settle the reed into its new gap. 

Gasp. Verb. The act of very quickly bringing back air into the lungs after an exhale push or nose push. This occurs due to the asphyxiation reflex. For blues playing (which focuses on draw notes), this is something to avoid, because it will reduce the amount of time you can inhale. 

Ghost Chording. Verb. To play the quietest, briefest chord possible in the following fashion: with the throat closed, place the tongue on the harp covering 3 holes, and to silently say “tuh” while pulling the tongue off the harmonica. The throat remains closed. The sound is generated from a full tongue block and has a “spitty” sounding quality to it. Also called the “soft shuffle”.

Glottal Attack. Verb. 1) Starting a note by impeeding off the airstream in the back of the throat (as one does when lightly clearing the throat), then releasing. When done without the harmonica in the mouth, it produces whispered “uh” sound that releases air into the harmonica. 

Glissando. Noun. aka gliss Sliding the harp across the mouth while blowing or drawing, for two or more holes without articulating. Similar to running one’s finger across multiple piano keys. A glissando can be used on its own, as an approach to a target note, or as a way of connecting two notes. 

Groove. Noun. (1) The rhythmic flavor of a song, such as shuffle, swing, rumba, hambone, tramp, boogaloo, cha cha cha and rock.  (2) The magic when rhythm is accurate and accents and dynamics appropriately utilized within.  

Growl. Noun. An effect  made by allowing the soft palette to relax, and allowing it to vibrate with a snoring effect. The combination of the note and the snoring sound, when played through a hit mic, result in the sound known as “the Growl.” 

H

Haidaer Tuning. Noun. See Richter tuning.

Hambone. Noun. aka the Bo Diddley, the clave. An afro-cuban, clave rhythm-based blues groove associated with Bo Diddley and early Rock & Roll. Examples include the song “Bo Diddley” and “Willie and The Hand Jive.” (See #4 here.)

Hand Pop. Verb. A technique most commonly associated with Sonny Terry, in which one rapidly brings the hand into and instantly out of a tight cup. Timed with an ornamental bend the result is a “popping” sound.

Hand Technique. Noun. Using the hands to alter the sound of the harmonica. Common hand techniques include cupping, wah-wah, and vibrato.

Half-Valve. Adjective. Pioneered by PT Gazelle, a harmonica that has valves on half of its reeds, allowing for both valved bends and traditional diatonic bends. In combination, this allows a diatonic harmonica to play a full chromatic scale without requiring overblows. 

Hard Shuffle Groove. Verb. An extremely common groove used in Chicago Blues, characterized by continuously hard-swung dotted 8th and 16th rhythms (This is generated with a staccato articulation “tuk cut”). Junior Parker’s “Sweet Home Chicago” is an example. 

Harp Tone. See Tone.

Head. Noun. The main melody or theme played in blues and jazz songs. Usually heard at the beginning and end of the song.

Head shake. Verb. Alternating between two notes by vigorously shaking the head while keeping the harmonica stationary. 

Hoochie Coochie Man/I’m a Man. Noun. A classic one-chord blues groove, characterized by a slow tempo, power chord accompaniment played in a hard shuffle, and a classic hook (Mannish Boy: 1 – 4 – 1 – b3 – 1. I’m a Man: 1 – 4 – b3 – 1).

Hook. Noun. A short musical idea, riff, or phrases that is used to “hook” the listener’s ear, and is typically repeated many time. 

Hot Mic. Noun. A microphone with a high-impedance element in it, enabling a distorted overdriven sound strongly associated with Chicago Blues Harmonica. 

I

Impedance. Noun. The measure of resistance in a microphone. Low impedance minimizes signal loss over long cables, and allows more overhead in the signal. High impedance is used to maximize the signal strength, and is often used to create an overdriven sound for the harmonica. 

Improvisation. Verb. To compose music while performing it. A key element of Jazz and Blues culture, a capable player is expected to be able to do this while playing to a familiar song or chord progression.  

Inhale. Verb. AKA draw or suck. Playing the harp while pulling air into the lungs.

Inhale Chord. Noun. A chord played while drawing, most typically on holes 1-4. 

Interval. Noun. The distance between two notes, measured in semitones.

Intonation. Adjective. (1) How close a pitch is to its ideal (2) how well a pitch matches other instruments playing.

J

Just Intonation. Noun. A way to tune individual notes on the harp so that chords or parts of chords are perfectly in tune at the expense of some notes being flat (in comparison to equal temperament). Diatonic harps were all tuned this way before the mid 1960s.

K

Key. Noun. A collection of notes that are heard in relationship to a tonal center, typically named for the note that is that tonal center, aka root. For example, the key of A centers around the A, and uses notes from the A major scale. In contrast, the key of A minor centers around the A, but uses notes from the A minor scale. 

L

Lick. Noun. A segment of a melody, often played on its own, that has a sense of completeness. Considered a foundational aspect of playing Jazz and Blues, specific licks help players learn the vocabulary of both these genres. 

Lip Block.Verb. A harmonica embouchure in which the lower lip and jaw are slightly protruded forward, and the lower lip takes on a slight “U” shape that allows for clean single notes. The muscles are all completely relaxed, and the tongue is free to aid in clean note attacks & releases, and advanced techniques such as overblowing. This is the primary embouchure used by Howard Levy. (See Single notes for beginners.)

Lip Purse. Verb. A harmonica embouchure in which clean single notes are played by pulling in the sides of the mouth, similar to a clarinet embouchure but with the lips protruding outward. This is the exact same technique as Lip Block, but is an inferior term as it conjures up incorrect images of tense lips for beginners.

Lost John. Noun. A common 2nd position harmonica instrumental defined by the FoxChase OldTime chordal groove, though typically a Lost John does not contain vocalizations.

M

Mannish Boy. Noun. A classic single-chord Chicago blues song in which the band repetitively plays the 1, 4, 1, b3, 1. 

Measure. See Bar. 

Metronome. Noun. A device that produces an audible beat, click or other sound at precise regular intervals that the user can be set in beats per minute.  This helps one learn to listen with precision while playing.

Microphone. Noun. aka mic. A device that transforms an acoustic sound into an electrical audio signal. For live performances, mics deliver the audio signal to an amplifier or Public Address (PA system), which makes the sound louder. For recording, microphones are used to deliver the audio signal to a recording device. Harmonica players generally use either 1) bullet mics, which have a high-impedance element, larger diameter and often use crystal elements, or 2) stick mics, which have low-impedance elements, are shaped like a vocal microphone and typically use dynamic elements.

Middle Bends. Noun. In the 2, 3, or 10 hole, a note that is neither unbent nor bent all the way down. For example, on hole 3 the middle bends are the half step bend and the whole step bend.  On hole 2 the middle bend is the half-step bend. On hole 10, the middle bend is the half-step bend.

Major. Adjective. Music that is built on harmony in which the root chord contains the Major 3rd. 

Minor. Adjective. Music that is built on harmony in which the root chord contains the Minor 3rd.

Music Theory. Noun. Ideas about music, particularly ideas that describe what is happening in the music and/or why it is effective at producing a particular effect. Music theories can be about (1) mechanics needed for basic playing, such as note names, keys, chord and song structures. (2) Detailed accounts of how to capture key elements of a genre, and (3) guidelines for writing and/or composing music. (4) Aesthetics, which provide basic guidelines to follow to make music sound a particular way. (5) To pontificate on what makes music “good.” 

N

Note Types (Blues). Noun. A blues music theory concept pioneered by Dennis Gruenling, in which there are four types of notes: Chord notes, passing notes, blues notes and danger notes

Nose Push. Verb. Exhaling through the nose while playing a blow note, split or blow chord, specifically as an air-management tactic. A skillful way to disguise the necessary releasing of air.

O

Octave Splits. Noun. Two similar notes that are twelve half steps apart. Obtained by playing splits on the harmonica, specifically 14, -14, 25, 36, -37, 47,-48, 58, -59, 69, -610, 710

Oldtime Music. Noun. Musical styles preceding country music and first recorded in the early 1920’s.  It is still being played today.

Overbend. Another term for overblow/overdraw.

Overblow. Verb. A technique used to play a note that is higher than a reed’s tuned pitch. This can be done while blowing (overblow) or drawing (overdraw), however the term overblows is often used to refer to both. For traditional diatonic harmonica, overblows increase its ability to play chromatically, and allow a single diatonic harmonica to play in 12 keys. Additionally, overblows can be bent upwards, and can be played with vibrato. Most often on holes 6,5,4, and 1.

Overdraw. Verb. A type of overblowing, this is a technique used to play a draw note that is higher than a reed’s tuned pitch. See Overblow for more information. Most often -7, -9, and -10.

Organ Sustaining. Verb. AKA organ padding. The player subtly uses chords on the low end of the harp in an accordion/organ like manner to match the chords being played in the rhythm section. Often multiple harps will be required.

Ornament. Noun. A decoration for a note. Created by briefly playing nearby notes and then focusing on the target note. Includes: grace notes, trills, mordents, etc.

Ornamental Bending. Verb. Increasing the “bluesy” aspect of a note by bending: (1) bending up into a note, (2) bending down into a note, or (3) bending up into and down out of a note.

Out of Tune. Adjective. AKA Pitchy, off-pitch. (1) The unpleasant dissonance heard when a player uses poor intonation. (2) The sound of a failing or broken reed, which will typically be flatter than it should be. Not to be confused with microtonality. 

P

Paddy Richter. Noun. A tuning for the 10-hole diatonic, identical to Richter except the 2 blow is tuned up a whole step. For second-position playing, this enables a stable note on the second scale degree (rather than needing to bend the 3-draw a whole step, as is required to obtain the same note in Richter tuning. 

Parallel Major. Adjective. Keeping the same root note but changing to a major scale or key.

Parallel Minor. Adjective. Keeping the same root note but changing to minor scale or key.

Pentatonic. Adjective. A five note scale of any configuration. Most common pentatonic scales include the major pentatonic (which uses scale degrees 1, 2, 3, 5 and 6) and minor pentatonic (which uses the 1, b3, 4, 5, and b7). 

Phrase. Noun: Similar to a language, music has grammar. In grammar, a clause is the building block of a sentence. In music, a phrase is a “sentence” built from one or more “clauses.”

Percussive. Adjective. Elements of playing that leverage slapping, vamping, dirty notes, etc to imitate percussion instruments and/or create an additional layer of sound. 

Piedmont Blues. Noun. A pre-war style of blues associated with guitar finger-picking, with roots in ragtime and “parlor” styles of playing guitar. Strongly associated with Robert Johnson and revived by Brownie McGee and Sonny Terry. 

Position. Noun. A method of categorizing root notes of keys in relationship to the named key of a harmonica. On a C harmonica, playing with a root of C is considered playing in 1st position. 2nd position is playing with a root note of G. 3rd position is playing with a root note of D. The position numbers are given based on how far around the circle of 5ths one needs to go before reaching the root note. For traditional diatonic harmonicas, playing in major or minor keys, positions 1, 2, and 3 are the most commonly used, followed in popularity by 4 and 5, and then 11, and 12. Positions 6-10 are almost never used.

Postwar Blues. Noun. A dominant style of harmonica-heavy blues that became popular after World War II, in which amplification (including amplified, overdriven harmonica) was commonplace. 

Prewar Blues. Noun. A style of blues popular before World War II (great depression era), in which electrified amplification was not common. Fox Chase and Lost John are common styles of this era.

Pucker. Adjective. aka lip pucker, lip block, lip purse. An embouchure where the harmonica is placed on the mouth, and the lips are puckered outward over the top and bottom of the harmonica, with the harmonica tilted upward. When a single note is desired, the corners of the mouth are pulled. When a chord is desired, the corners are relaxed to allow air to flow through additional holes. 

Q

Quick Four. Noun. A variation of the standard 12 bar blues chord progression, in which a four (IV) chord is added to the second bar of the twelve bar form.

R

R’S (SPANISH R’S). Verb. A special effect achieved by rolling the R’s (as is done in the Spanish Language).  Used by DeFord Bailey, Sonny Boy Williamson and Big Walter Horton.

Rack. Noun. A device, typically worn on the neck, that allows one to play without using hands. Most commonly used by guitar players to enable playing two instruments at once, it can be used in combination with any other instrument that is played with the hands, such as keyboards or percussion instruments.  

Rapid Vamping. Verb. Rapidly taking the tongue on and off the holes of the harp, usually underneath a sustained melody note or in between a split.  One of many chordal effects.  George Smith and Junior Parker were known to use this technique.

Recessed harp. Noun. A harmonica constructed with a comb that covers the edges of the reedplates, so that the players lips do not contact the player’s lips. Most famously, the Lee Oscar and Hohner Special 20 are constructed in this style. 

Reed. Noun. The flat elongated “spring” typically made of brass, stainless steel or bronze, which is secured at one end on a reed plate over a slot that serves as an airway.  When the free end is made to vibrate by the player’s breath, it alternately blocks and unblocks the airway to produce a sound.

Reed Plate. Noun. Plates on which the reeds are precisely mounted on and above a slot only a few thousands of an inch larger than the outside dimensions of each reed.  On a harmonica there are two reed plates: one for the exhaling breath and one for the inhaling breath.

Relative Minor. Adjective. A minor scale built on the same notes as a major scale (only root note is different).

Repertoire. Noun. The songs that you are able to play. These are usually categorized as active or inactive.

Resolve. Verb. When a dissonant melody or chord moves to notes that do not clash.

Response. Noun. Describes how a reed vibrates in relation to the amount of air placed upon it.

Riffs. Noun. A short repeated phrase, typically used as an introduction or as a refrain. 

Richter Tuning. Noun. The most common tuning for 10-hole diatonic harmonicas, in which the blow plate reeds will play scale degrees 1, 3, 5, 1, 3, 5, 1, 3, 5, 1; the draw plate plays scale degrees 2, 5, 7, 2, 4, 6, 7, 2, 4, 6. On a C harmonica, the blow plate would play C, E, G, C, E, G, C, E, G, C. The draw plate would play D, G, B, D, F, A, B, D, F, A. In this tuning, other notes can be played by bending, overblowing or overdrawing. For more detail, see: “The Case of the Missing Notes” on https://www.harmonica.com/exploring-the-3-types-of-harmonica/.

Rhumba or Rumba. Verb. A straight eighth note groove based on a traditional Cuban dance style, both relaxed and playful. Its calling card is a rest on beat 2, as can be heard in the B.B. Kings classic example “Woke Up This Morning.”  (See #2 here.)       

S

Sandwich-Style. Noun. A harmonica constructed with exposed reedplates between the coverplates and comb that contact the player’s lips. Most famously, the Hohner Marine Band is constructed in this fashion. 

Scale. Noun.  A series of notes ordered by pitch. Each scale is defined by a specific pattern of intervals that create a unique sound or character. The most common scales are major, minor, major pentatonic, minor pentatonic, blues, and modal scales. (See Scales for beginners.)

Scale Degree. Noun. The relationship between a scale note and its root. These are named with numbers, in relationship to the major scale. For example: In a C major scale, built from the white keys on the piano with a C root, C is scale degree 1. D is 2, and so on. Notes outside the C major scale are given an “accidental”. So, in the key of C, the note Db would be called b2 (pronounced “flat-two”). (See Scales for beginners.)

Scooping. Verb. Starting a note slightly bent and then quickly & smoothly releasing the bend. 

Semitone/Half-step. Noun. The distance (e.g., interval) between two adjacent notes in the chromatic scale. (From any key on a piano to its adjacent key.) The smallest interval in Western music.

Single Notes. Noun. Playing only one note at a time (e.g., blocking other holes either with your lip or with your tongue. See Lip Blocking and Tongue Blocking. (See Single notes for beginners.)

Shake. Verb. aka warble, or trill. A chordal effect that can be played by (1) shaking the head back and forth, or shaking the harmonica back and forth, to rapidly alternate between two notes, or (2) by sliding the tongue back and forth (tongue shimmer). This can be done between adjacent holes, or between non-adjacent holes (see: “split shake.”)

Sharp. Adjective. (1) To play a note above its “proper” pitch and/or to describe a reed’s note as above the proper pitch.  (2) To play the note a half-step above a specific scale degree, e.g., to play a “sharp 4”. 

Shimmer. Noun. aka split shake, or dirty split shake. A chordal effect accomplished by moving the tongue side to side across the comb of the harmonica.

Signal. Verb. To communicate (usually non-verbally) to give directions to the other members of the band. Mostly performed by the frontman, but can be done by other players as well.

Shuffle. Noun. A groove heavily associated with the blues, especially Chicago Blues. In a shuffle, a pair of 8th notes are swung, and with accents on both the first and second 8th note of each pair. 

Slapping (vamping). Verb. aka vamping. Attacking a note or split by breathing before placing the tongue on the harmonica, and making the initial chord as short as possible. This creates an audible “slap” sound, which is even more pronounced when played through an amplifier. This attack is similar to a snare drum hit.  It can be very aggressive, moderate, or gentle.

Slide. Verb. To begin (or end) a note above or below its intended pitch, and bending into the intended pitch. 

Slur. Verb. To connect two notes with no break in-between. 

Speed. Verb. aka playing fast. As an imprecise definition, this refers to continuously playing 8th notes, quarter-note triplets, or 16th notes (or faster) at a tempo that is faster than 120 beats per minute. On the harmonica, playing at speed is handled with care, particularly for some genres such as Chicago blues. 

Split Intervals. Noun. aka split, splits, or split-chord block. A method of playing chords in which the player blows or draws two or more notes simultaneously by covering one or more holes with the tongue, and playing through the holes on both sides of the tongue. Splits are also often numbered depending on how many holes the tongue is blocking between the non-adjacent holes being played:

• Split-3 (mouth covers 3 holes; tongue blocks 1 holes)
• Split-4 (mouth covers 4 holes; tongue blocks 2 holes)
• Split-5 (mouth covers 5 holes; tongue blocks 3 holes)
• Split -6 (mouth covers 6 holes; tongue blocks 4 holes)

The maximum split is dictated by the width of the player’s mouth. Split-4’s are the most commonly used. As an advanced technique, one of the notes of a split may be bent.

Split Shake. Noun. aka shimmer, or tongue trill. A chordal effect using the tongue to  rapidly alternate between 2 non-adjacent holes on the harmonica. These are called “clean” when the tongue is firmly anchored to the blocked notes and only the 2 non-adjacent notes are heard, or “dirty” when the tongue is not firmly anchored, and the notes that are blocked on the split can be heard to some extent. This latter technique is typically what is referred to as a “shimmer.”

Staccato. Adjective. A way of playing a note, split or chord for a very short duration. 

Sustain. Verb. Can refer to (1) organ Sustaining, e.g., playing a long note or chords without any articulation or rhythm interrupting, (2) On an effect pedal, the ability to boost the signal of a note when it decays (generally not applicable for harmonica).

Straight harp. Noun. aka 1st position playing. Playing a harmonica in its named key. 

Swing. Verb. To play 8th notes with a subdivision, as in the shuffle, where the upbeats are delayed from halfway between each downbeats, to 2/3rds between each downbeat.

Syncopation. Noun. A strong accent on a weak beat. Playing notes, splits or chords that are not on the downbeat.

T

Tab. Noun. A system of music notation that primarily relies on the harmonica’s hole numbers and blow direction to communicate the notes to be played. 

Tempo. Noun. The speed of the music.

Throat Vibrato. Noun. Creating pulse vibrato by partially stopping the flow of air using the inside of your throat (e.g., silently saying “uh uh uh uh uh” as you play a blow or draw note) in order to create a consistent fluctuation in pitch. James Cotton frequently used this technique on draw notes in the first 4 holes. 

Tone. Noun. aka Timbre. The basic sound qualities of a played instrument. For harmonica, there are words associated with the throat restricted & tongue high/forward in the mouth: thin, bright; Words associated with a very open throat include: thick, deep, warm, round. Additionally,
Joe Filisko has defined five categories of tone:  

• Head Tone: The resonance created in your head and neck (mouth cavity and vocal tract). 
• Hand Tone: The resonance created by skillful use of hands when are they are cupped or fanned across the back side of the harmonica. 
• Harp Tone: The sound quality of the harmonica itself
• Equipment Tone: The sound qualities introduced by equipment such as PA’s, amplifiers, and effect pedal (or other devices)
• Technique Tone: Skillfully using the 5 types of SOUND the harmonica is capable of, Chords, Splits, Clean Single Notes, Dirty Notes and Splits and the Vamping/Slapping.

Tone Pulse. Noun. A subtle way to create a rhythm by changing the vowel shape rhythmically in one’s mouth while playing a note, split or chord.  Sonny Terry was the master of this.

Tongue Block. Verb. The primary harmonica embouchure used for traditional and Chicago Blues playing. Named for the role of the tongue when it is placed directly on the harp. For single notes, the mouth typically covers 3 holes while the tongue blocks air to two of the holes. For splits (such as octaves), the tongue blocks holes in the middle of two that are not. Most techniques strongly associated with the blues (tongue slap, tongue switch, etc.) require the use of tongue blocking. 

Tongue Lift Chord. Noun. A chord that is played in the following circumstance: The tongue is covering one or more holes, but other notes are NOT being played. When the tongue is lifted off the holes, a chord is heard – a tongue lift chord.  

Tongue Slap. Verb. To play a chord and then forcefully block several (but not all) of the holes being used to play that chord. This punctuates the notes being played in the remaining open holes, and provides a sharp percussive effect. 

Tongue Switch. Verb. aka corner switch. While playing through some holes and tongue blocking others, shifting the tongue to block the holes and shift playing to the opposite side of the tongue. This can be done to play legato between two distant notes (corner switch), or done rapidly to create a tremolo effect (called shimmer or tongue shake). 

Tonguing (tongue-ing). Verb.A term often associated with horn players to use the tongue to create articulated eighth notes or eighth note triplets.  This is most typically associated with Lip Purse, Lip Block, and playing trains. 

Tongue Roll. Verb. To roll the tongue while playing, much like pronouncing a Spanish style rolled “R.” This can be done with the tip of the tongue (which produces a purring sound), or the back of the throat (which produces a growl sound). 

Tongue Shake. Verb. Moving the tongue laterally (sideways) inside the lips over two or more holes.  Often used by Gwen Foster, Little Walter and Sonny Terry.

Train. Noun. aka train chugging, train rhythms, play a train. Using the harmonica to imitate the sounds of a train, particularly the rhythm of a steam powered train. Can be accomplished through a variety of techniques, including using breath pulses, glottal attacks, and tongued articulations. The tuning scheme of the harmonica on holes 1-5 happens to be perfect for capturing the rhythm and the whistle of the train. (See Practice this daily.)

Train Whistle. Noun. The sound made when drawing holes 3, 4 and 5 with no bending. Alternatively, this can be played in holes 3 and 4, bending both notes down slightly. Other methods of playing train whistles are also possible. 

Tramp. Verb. A straight 8th note groove, named for the song “Tramp” popularized by Otis Redding & Carla Thomas.

Tremolo. Noun. (1) Playing in such a way that there are pulses in volume for expressive effect. Throat tremolo is a highly desired skill for playing blues.  Walter Horton and George Harmonica Smith were two that used it often with tremendous skill and taste. Other methods include “cowboy harp” playing wherein the player rapidly opens and closes their hands to create a tremolo/vibrato effect; using tremolo effect pedals, or pulsing the sound with your breath. (2) Tremolo Harmonicas, which use a pair of slightly detuned reeds for each note. The beating of the two notes create a tremolo effect, one frequently associated with french accordion music.  

Turnaround. Noun. This refers to going to The Five (V) chord in the last measure of the blues form. Note, in Jazz, this typically will involve a series of chords that culminate in a V chord. 

U

U-Block. Verb. An embouchure in which the tongue is curled and then placed on the harp, so that a clean single note can be played “inside the U” while the tongue blocks holes on both sides. Famously used by Norton Buffalo. 

V

Valve. Noun. aka windsaver. A thin rectangular piece of material that lays over the reed slot on the side opposite of the reed. Traditional valves are made of a plastic-like material and have an additional piece of material on top of it called a spring, which pushes the valve onto the slot when the reed is not being played. Once made of leather (similar to accordion valves), valves can also be made from ultrasuede for half-valving diatonic harmonicas. 

Valved Bends. Noun. A bend that uses only one reed rather than a pair of reeds. Valved bends have a different timbre, and require different techniques. Requires a harp with valves. 

Vamp. Verb. 1) To repetitively play a short, simple passage. 2) To play chords rhythmically, typically while tongue blocking. 3) The crunching attack on a clean single note or split, also called Slapping. 

Vents. Noun. Openings in the ends of the cover plates. The harmonica will have a raspier tone with big vents and a mellower tone with closed vents.

Vertical Tongue Flutter. Verb. Puckering technique used by Sonny Terry to give a fast and intense tremolo effect caused by beating the tongue on and off the hard palate just behind the front teeth.

Vibrato. Noun. A fluctuating of the pitch or intensity of a note to enhance its musical expression. On harmonica, this can be accomplished in many ways: (1) Throat vibrato, where a subtle glottal interruption is used to inflect the note either in pitch or to pulse the note. (2) Diaphragm vibrato, where the airstream is pulsed from the diaphragm. (3) “bend” vibrato, where traditional bending techniques are used to alter the pitch. (4) Jaw and/or Tongue vibrato, where movement of the jaw or tongue are used to alter the pitch, to an effect that is similar to vibrato on a violin. In general, throat vibrato is used for lower notes and Jaw/Tongue vibrato is used for higher notes. 

Voice Leading. Noun. The art of choosing which notes to write/play based on what is happening in the music from a melody, and rhythm perspective. Generally considered one of the genre-defining elements of music, and very useful to understand for both improvising and writing. For example, in Jazz (and other genres), special attention is given to how the melody interacts with the 3rd and 7th chord tones of an underlying chord. 

W

Wilde Tuning. Noun. A tuning for a 10-hole diatonic harmonica specifically designed for playing Rock music by enabling more “guitar-like” playing of minor pentatonic scales in the upper octave of the harp. 

Whole-step. Noun. An interval that is two half-steps combined (which creates a whole-step interval).

Whoop. Verb. To momentarily stop playing and holler with the falsetto voice, with words like “Whoop” and “Whee”. This is an Americanized version of a very sophisticated African tradition of playing a quill, which is a type of pan flute consisting of one or more tubes.