By Ken Arnold
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Additional info for Amazing Grace and other Gospel Sounds for Harmonica
2. 3. ... 29 . i . i 30 } 6. When you scan ahead, also pay attention to whether upcoming groups of notes are scalic (scale-based) or intervalic (jumps). 31 Rere we introduce some different time signatures. The first is 3/4 time, in which the music follows a three-beat pulse. In this time signature, as before, the quarter note gets one beat, but now there are three beats per measure instead of four. Play: COUNT: 2 - 3 2 - 3 l - l - and- 2 2 3 2 - and- 3 3 ETC. Etudes: l. 32 ETC. 2. 3. 33 Notice that the next piece begins with a "pickup" note.
62 l 3. A A 4. >. > 63 ADVANCED READING STUDIES The folIowing studies are scaIed-downbass parts, the Iikes ofwhich advanced amateur and professional musicians can expect to encounter in reaI-life pIaying situations. Try, whenever possibIe,to sight-read each piece, even ifyou have to pIay it at a sIower tempo than marked. you' re pIaying it at the indicated speed. Tape-record yourself pIaying these (and other) pieces with and without metronome accompaniment. On pIayback, you' Il hear quite clearIy where your strengths and weaknesses Iie.
The "gIiss" should take pIace just before the new note occurs rhythmically. It is indicated with a jagged line between the two notes: These two notes must be played on the same string whenever possible. A short, jagged line indicates that a note is to be "sUd" into from a short distance beIow (how far is your decision). This is technically called a "sfide", and it shouId occur right on the beat of the new note. 58 ,,;;; MORE TIME SIGNATURES Here's a look at 6/8, 5/4, and cut time. These are fairly common time signatures that you are likely to encounter in professional situations.