Reddit mentions: The best books about woodwind instruments

We found 424 Reddit comments discussing the best books about woodwind instruments. We ran sentiment analysis on each of these comments to determine how redditors feel about different products. We found 124 products and ranked them based on the amount of positive reactions they received. Here are the top 20.

2. Comprehensive Technique for Jazz Musicians: For All Instruments

Comprehensive Technique for Jazz Musicians: For All Instruments
Specs:
Height12 Inches
Length9 Inches
Number of items1
Release dateJanuary 1999
Weight2.35 Pounds
Width0.75 Inches
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3. Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression

    Features:
  • Bluetooth - Play and control music through your smartphone or MP3 player as well as apps like Spotify / Pandora, wirelessly. The built-in microphone picks up your voice and your car speakers let you hear the person on the other side
  • Weatherproof - The Receiver & speakers have been outfitted with the latest weatherproofing techniques to protect against splashing water
  • Push To Talk – You can connect with your Smartphone’s assistant with a push of a button. Linked via Bluetooth to your phone. This unit Lets you access information, accept commands, and keep driving
  • Illuminated Controls - Let there be night! Navigate through the system with ease after the sun goes down with the backlit panel
  • Inputs - The USB port gives you the option to have a vast library of audio files at your fingertips. The auxiliary input is compatible with audio output from smartphones and MP3 players
  • Outputs - Use the front & rear pre-amp outputs to hook up your speakers (front left / front right and rear left / rear right)
  • Auxiliary Input - Compatible with the audio output from smartphones as well as MP3 players. Just plug in and start playing
  • Equalizer - Customize how you want to hear your music with the balance / fader / bass and treble and control it all with the wireless remote control from either inside or outside of your vehicle
  • Warranty - BOSS Audio Systems provides a powerful 3-year Platinum Online Dealer Warranty so long as the purchase is made through Amazon.com. We strongly encourage professional installation of this product to ensure proper and safe functionality
Harmonic Experience: Tonal Harmony from Its Natural Origins to Its Modern Expression
Specs:
Height11 Inches
Length8.5 Inches
Number of items1
Release dateAugust 1997
Weight3.8691126981 Pounds
Width1.4 Inches
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7. Saxophone High Tones

Saxophone High Tones
Specs:
Height12 Inches
Length9 Inches
Number of items1
Release dateOctober 2002
Weight0.65 pounds
Width0.259 Inches
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8. Harmonica For Dummies (For Dummies Series)

    Features:
  • For Dummies
Harmonica For Dummies (For Dummies Series)
Specs:
Height9.098407 Inches
Length7.299198 Inches
Number of items1
Weight1.212542441 Pounds
Width0.999998 Inches
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9. Technique of the Saxophone: Scale Studies

168 PagesScales StudiesWoodwind Method SeriesAuthor: Joseph Viola
Technique of the Saxophone: Scale Studies
Specs:
Height12 Inches
Length9 Inches
Number of items1
Weight1.35 Pounds
Width0.475 Inches
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10. A Complete Approach to Overtones: Vivid Tone and Extended Range

A Complete Approach to Overtones: Vivid Tone and Extended Range
Specs:
Height11.02 Inches
Length8.5 Inches
Number of items1
Weight0.35 pounds
Width0.12 Inches
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12. Country and Blues Harmonica for the Musically Hopeless (Klutz)

Country and Blues Harmonica for the Musically Hopeless (Klutz)
Specs:
Height8.75 Inches
Length5.75 Inches
Weight0.6172943336 Pounds
Width2 Inches
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14. A Complete Approach to Sound for the Modern Saxophonist

    Features:
  • Used Book in Good Condition
A Complete Approach to Sound for the Modern Saxophonist
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Height11.02 Inches
Length8.5 Inches
Number of items1
Weight0.4 Pounds
Width0.14 Inches
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18. Oboe Art and Method

    Features:
  • Bright Eyes and Britt Daniel- Home
Oboe Art and Method
Specs:
Height0.63 Inches
Length9.21 Inches
Number of items1
Weight0.77823178486 Pounds
Width6.24 Inches
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20. Rubank Elementary Method - Saxophone (Rubank Educational Library)

Softcover48 pagesSize: 12" x 9"Editor: N.W. HoveyISBN: 1423444817
Rubank Elementary Method - Saxophone (Rubank Educational Library)
Specs:
Height12 Inches
Length9 Inches
Number of items1
Weight0.4 Pounds
Width0.153 Inches
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🎓 Reddit experts on books about woodwind instruments

The comments and opinions expressed on this page are written exclusively by redditors. To provide you with the most relevant data, we sourced opinions from the most knowledgeable Reddit users based the total number of upvotes and downvotes received across comments on subreddits where books about woodwind instruments are discussed. For your reference and for the sake of transparency, here are the specialists whose opinions mattered the most in our ranking.
Total score: 593
Number of comments: 182
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u/Yeargdribble · 4 pointsr/piano

Well, you have the advantage of being able to read music and already have a grasp of understanding lots of basic theory concepts (I assume). But you'll have to be careful to weigh that against the disadvantage that often comes with lots of knowledge in one area... impatience. It's the same with accomplished instrumentalists trying to learn another instrument, a ear only players learning to read sheet music, or sheets only people learning to play by ear.

It's often easier to just keep working on what you're good at and it's difficult to humble yourself and sound like an infant working on something you're not as good. This is especially relevant with improvisation for people who are long time classical players because they are so used to play the "right" notes all the time and they want to play a "correct" improvised solo and don't allow themselves much room for exploration by way of mistakes.

Just keep that in mind as you approach new styles and you'll be fine. You might sound bad and it might be slow learning new concepts and using different approaches and you just have to push through those new fundamentals if you ever want to get better at it and you have to resist the urge to fall into old habits.

A mistake people sometimes make in thinking about improvisation is that it's full spontaneous with little preparation, much like speaking extemporaneously. Except it's not true with improv or speaking. If you were going to give an extemp speech, you've already spend years learning to speak your language. If you're good at public speaking, you've probably spent good deal of time practicing how to speak well. You might not have practiced a givens speech word for word or even practiced a topic, but you've practiced how to to speak. Improv is absolutely like that. It's a ton of preparation that allows you to improvise, but it's slightly more structured than many people think.

Now to a large degree, you already have a lot of the tools to get started right now. You have some technical ability. You know how to spell a major scale. I made a video about this some time ago (and desperately need to update and streamline it). It goes into a lot of the concepts I'm talking about and will get you started with using the tools you already have.

But going beyond the concepts in the video (mostly about learning to use and trust your ear), you'll need to get a much deeper understanding of the theory and stylistic elements behind the styles you want to play in. I really like recommending this book to people wanting the largest coverage of pop styles and there's a lot of overlap with certain jazz concepts, particularly in terms of larger chord structure in those styles. I feel like the book covers a huge amount of ground with concepts that are common to a vast amount of styles you're hear. You're understanding of what you hear in music will increase greatly and that will help you transcribe and steal ideas you hear and like, which is important.

For a start in jazz and particularly how to approach stuff like using lead sheets, I recommend this book. It covers a lot of bedrock elements of how to approach jazz standards (including the understanding of ii-V-I and 3-7 voicings) and by the end you'll know how to at least make a basic rendition of a song based off of a lead sheet. Beyond that you could dig much deeper with the Mark Levine book though I don't personally think it's a good starting point for people without at least a bit of grounding in jazz which is why I recommend the Mark Harrison book first).

You can also look at a lot of these books. The ones authored by John Valerio and Mark Harrison are particularly well put together. The Mark Harrison blues book in this series is pretty good and will give you a lot to chew on. I've heard good things about this Tim Richards book and keep meaning to pick it up to review for myself, but by all accounts it's solid.

If you get through all of that and want to go super deep, there are a lot of John Valerio books (like this, and this, and this) that I recommend. Really, anything by him is fantastic because of his pedagogical approach of building a foundation and then adding elements on top of it rather than just throwing lots of concepts at you (a reason I don't think Mark Levine has a good systematic approach).

Mark Harrison has a similar style with his variety of pop things and really covers the theory.

If you want to go really deep after that in jazz, Bert Ligon's Jazz Resources and Technique books and fantastic. I'm working in them currently and loving it.

Just remember to be willing to work on things you might think are easy or silly or below you. Be humble. Any time you think you know how to do something, don't skip over it... actually put your hands and the keys and see if you really can. I've found many situations where in doing so I realize that I'm not as solid I as I thought. Always be willing to work on foundational stuff just to make sure it's all there. I'm literally transcribing children's songs right now with no reference (something in one of the Ligon books) just to see how good I actually am. That might seem below someone who already plays decent by ear and makes a living playing music, but I've learned long ago that most of my roadblocks come from assuming I can do something or that it's too easy for me to bother with rather than just doing it. If it's really that easy, then you'll blaze through it and only lose a few moments. Or, you might find that it's not as easy and create a necessary building block in the foundation of your skills.

Good luck!

u/[deleted] · 2 pointsr/musictheory

(7)

Remember that the Mixolydian scale had a structure of Root, major 2, major 3, perfect 4, perfect 5, major 6, and minor 7.

If our root is G that would be G, A, B, C, D, E, F, (G).

If we are to arrange this as a chord (by skipping notes) we get:
Root, major 3, perfect 5, minor 7, major 9, perfect 11, major 13.

(Remember that a 2nd becomes a 9th in the higher octave, so major 2nd = major 9th. A 4th becomes an 11th in the higher octave, so perfect 4th = perfect 11th. A 6th becomes a 13th in the second octave so major 6th = major 13th).

So now we can see how and why modes are used.

If you stack a Mixolydian scale as a chord, you can see how the first three notes spell out a major triad. Therefore, the Mixolydian scale can be used over a major triad. e.g. play a G major triad with the left hand, and improvise with the G Mixolydian scale in the right hand.

If you stack a Mixolydian scale as a chord, you can see how the first four notes spell out a major triad with a minor seventh: in other words, a dominant seventh chord. i.e. G Mixolydian works over a G7 chord, because the notes in the chord are contained within the scale.

If you stack a Mixolydian scale as a chord, the fifth note is a major 9th. A dominant seventh chord + a major ninth is a dominant ninth chord (usually just called a ninth chord). i.e. G mixolyidian works over G9.

We can keep going but you probably get the idea. A scale will work over any chord that contains the notes in the scale.

(8)

If you stack a major scale as chord you get:
Root, major 3, perfect 5, major 7th, major 9, pefect 11, major 13.

Note that both the major scale and the mixolydian scale contain a major triad as the first three notes. Therefore, both scales will "work" over a major triad (i.e. both G major and G mixolydian will work over a G major triad).

However, look at the 4th note you get when the major scale is stacked as a chord. It is a major seventh. Major triad + major 7th = Major ninth chord. Here's where the major scale and the mixolydian mode differ. The G Mixolydian scale will not work over a G major 9th chord, and the G major scale will not work over a G dominant ninth chord.

(9)

How to know when to use which scale?

Remember that the mixolydian mode was built off of the 5th note of the major scale. e.g. G mixolydian is the fifth mode of C major. So in the key of C the chord built off of the fifth note (the "V" chord) will naturally take the Mixolydian scale built off of that note.

However, for practical purposes, there's no need to think of modes when playing key-center based music: if you're in the key of C, playing the C major scale over the C major chord (the I chord) and then playing G mixolydian over the G major chord (the V chord) means that you're just playing the same scale over both chords--it will give you a different perspective, but the notes will be the same.

The real benefit of modes is that it gives you tools to play over songs that aren't necessarily major/minor key based; i.e. songs that use non-functional harmony. Imagine a song with a chord progression of G7 to Bb7 throughout the tune. These two chords don't belong to any one key: this is a situation where you'd want to think modally, i.e. play G mixolydian over the G7 and switch to Bb Mixolydian over Bb7.

(Note that chord-scale theory is not an improvisation method*. Many students are misguided when they are taught to play x scale over x chord. Chord-scale theory let's you understand harmony, which notes are strongest or most stable against a particular chord how to add extensions. Learning improvisation is more about learning how to target chord tones on the strong beats, and embellishing a melody using mostly chromatic devices.)
***
(10)*

So I used the major scale and the Mixolydian mode as examples in this essay. Since there are seven notes in the major scale, each one of those notes can be thought of as the root of a different mode; each one will be distinct, and the fully extended chord will be different for each mode.

The seven modes of the C major scale are:

C Major scale (a.k.a. C Ionian): C D E F G A B (Root, Maj2, Maj3, P4, P5, Maj6, Maj7)
D Dorian: D E F G A B C (Root, Maj2, min3, P4, P5, Maj6, min7)
E Phyrigian: E F G A B C D (Root, min2, min3, P4, P5, min6, min7)
F Lydian: F G A B C D E (Root, Maj2, Maj3, P4, P5, Maj6, Maj7)
G Mixolydian: G A B C D E F (Root, Maj2, Maj3, P4, P5, Maj6, min7)
A Aeolian (a.k.a the Natural Minor Scale): A B C D E F G (Root, Maj2, min3, P4, P5, min6, min7)
B Locrian: B C D E F G A (Root, min2, min3, P4, diminished 5th, min6, min7)

We can say these seven modes are
relative to each other, because they use the same set of notes. In other words, D dorian is relative to C major.

If we build each of those 7 scales on C, and look at their structure, we get:

C Lydian: C D E F# G A B (Root, Maj2, Maj3, Augmented 4th, P5, Maj6, Maj7)
C Major/Ionian: C D E F G A B (Root, Maj2, Maj3, P4, P5, Maj6, Maj7)
C Mixolydian: C D E F G A Bb (Root, Maj2, Maj3, P4, P5, Maj6, min7)
C Dorian: C D Eb F G A Bb (Root, Maj2, min3, P4, P5, Maj6, min7)
C Aeolian/Natural Minor: C D Eb F G Ab Bb (Root, Maj2, min3, P4, P5, min6, min7)
C Phrygian: C Db Eb F G Ab Bb (Root, min2, min3, P4, P5, min6, min7)
C Locrian: C Db Eb F Gb Ab Bb (Root, min2, min3, P4, diminished 5th, min6, min7)

We can say that these 7 modes are
parallel to each other, because they are built on the same root*. In other words C Dorian is parallel to C major, while C Dorian is relative to Bb major. (Also, try to figure out why I listed them in that order!)

It's up to you to go through them. Just remember what the important information is:

  • What is the interval structure of the mode, and how does it compare with the major scale built on the same root?
  • What are the chords produced by the mode when you skip every other note? What is the triad, what is the seventh chord, and what are the extensions?
  • Learn to sing each of the modes from memory; this is how you will learn the individual character of each.

    ***
    (11)**

    Beyond the modes of the major scale, (and aside from the chromatic scale) you also have the seven modes of:

  • The Melodic Minor scale (a.k.a. the jazz minor scale)
  • The Harmonic Minor scale
  • The Harmonic Major scale
  • The Double Harmonic scale

    And there are the three symmetrical scales:

  • The symmetrical diminished (only two different modes)
  • The symmetrical augmented scale (only two different modes)
  • The whole tone scale (only one mode)

    These scales pretty much cover every possible scale/chord. Some people may include pentatonic scales, but those are really just derivatives, created by leaving out a couple notes from the other scales.

    (For a more in-depth resource on the theory/philosophy behind scales, see:
    TheTonalCentre.org, and
    Slonimsky's Thesaurus Of Scales And Melodic Patterns)
    ***
    (12)**

    The best general jazz chord-scale theory text I've seen (I've seen them all) is probably the Berklee book,
    Chord Scale Theory and Jazz Harmony;
    However, even better would be the Bert Ligon books, because they go into more detail about how to actually put it into practice:
    Connecting Chords with Linear Harmony
    Jazz Theory Resources Volume 1
    Jazz Theory Resources Volume 2
    Comprehensive Technique for Jazz Musicians
u/lejazzvp · 28 pointsr/Saxophonics

Long tones. Overtones. Transcribing. Patience and perseverance.



For TONE, if you're on your own, I'd recommend using "A Complete Approach to Sound for the Modern Saxophonist". It takes the best of classic books like Rascher's "Top Tones", as well as adds its own exercises, but above all explains everything very clearly - that makes it easier to follow if you're practicing without guidance.

You can download demonstration sound clips of some of the exercises [HERE](http://www.benbrittonjazz.com/completeapproach/Complete%20Approach%20Sound%20Clips%20(Demonstrated%20on%20Tenor%20Saxophone\).zip "20MB zip file!!").

Ben Britton also wrote a follow up book for more advanced overtone exercises: A Complete Approach to Overtones: Vivid Tone and Extended Range.



BUT, "sound" is not just about "tone", it's also about articulation and time feel. You can have the most mind blowing harmonic approach and tone, if your time feel and articulation isn't solid, you will always sound like an amateur. A few things to work on to develop good time and articulation:

  • make your metronome your new best friend
  • slow scale practice with mixed articulation (fundamentals never stop being cool...)
  • transcribing and focusing on imitating articulation and time feel. Coltrane and Rollins had radically different approaches for example. Transcribe both guys and find out why and how.

    One of the best exercises for developing a solid time feel is to play bass lines on the saxophone. After all, if you can't play quarter notes with a solid time feel, with that forward momentum a good bassist has, how can you expect smaller subdivisions to sound better? It's also a fantastic voice leading exercise, and makes refreshing or learning tunes efficient and entertaining. I'd explain more of the concept, but I got it from a Will Vinson video lesson so I'm not sure it would be cool. This and the other lesson on melodic improvisation are well worth the price IMO (less than the price of a box of reeds...).
u/dragontamer5788 · 2 pointsr/harmonica

I highly recommend 100 Authentic Blue's Licks.

However, the book assumes you know how to do a lot of advanced moves: tongue block chords and solid bending technique. I suggest you pick it up as soon as you can do F (2''), F# (2'), Bb (3'), A (3''), and Db (4').

Once you get those bends down, you'll be able to play ~30% of the licks in the book. Then you get Tongue Block chords to get another 20% or so. You can play the tongue-block versions without tongue blocking (just play the highest note), it just doesn't sound as cool / good... but it definitely simplifies things.

The last half of the book are technique specific: there's a chunk on Glissandos, Flutter Chords (related to Tongue Blocks), a few 1/4th step bends, a few Overblows and so forth. The book goes to advanced places, with tons of advanced techniques getting explored.

Sheet music, Tabs, AND a CD (if you're the type to learn by listening) are all provided as well. Its a great resource.

---------

More realistically, I think that taking a break and going for something easier often helps encourage me. I suggest playing easier songs, don't push yourself if you feel discouraged. That only leads to frustration.

Learning the Harmonica is going to be a years long commitment. There's no need to rush... just play and improve at a pace that feels comfortable.

Failing to differentiate between Bb (3') and A (3'') (half-step vs whole-step bends) over and over again is rough. Practice playing something easier like "Skip to my Lou" to build confidence and then return to bending practice.

------------

When I was learning to bend accurately (erm... I still am perfecting this technique actually...), I bought a Tuner that has note output and also checks for accuracy.

If you have access to a tuned Piano, you can just play the note and try to learn by ear what a bend should sound like.

u/winslowyerxa · 7 pointsr/harmonica

Tell him to try playing the inhaled notes in the first four holes. That's where you find the heart of the blues rock sound. This puts you in the key of G instead of C, but that's how you get that sound.

Here's the thing, though. If a song is not in G, you need to get a harp in the key that lets you play in that key. For tunes in G, you count four steps up the scale: -1-2-3-4 = G A B C - so, play a C-harp. And for a tune in, say, A, you'd count up A B C D to find that you'd use a D-harp. This way of playing is called "second position" and also "crossharp."

Playing in second position is not a strict rule for rock (or, for that matter for blues). Someone like Neil Young almost always plays a harp in the same key as the song. This is known as "first position" or "straight harp." Same for Bob Dylan.

On the other hand, rock players like John Popper, Steven Tyler, Mick Jagger, and many others mostly play harps very similar to the Special 20 in your link (SP20 used to be Popper's favorite harp until he picked up a Fender endorsement) and mostly play them in second position.

There are other ways of playing a harp in a different key from its named key. But second position is by far the most popular.

The other big thing to learn along with second position is note bending - making a note slide down to a lower note. This is done partly to create an expressive wailing sound and also to supply bluesy notes that aren't built into the harp.

Hope this helps a little.

Winslow Yerxa

Author, Harmonica For Dummies, Second Edition and Blues Harmonica For Dummies

Available for lessons in person or online

u/Wagner556 · 2 pointsr/saxophone

This by far was the best starter book for songs that I found -

https://www.amazon.com/Easy-Pop-Melodies-Alto-Sax/dp/1480384305

Incredibly well done AND easy to play.

This books works well for learning -

https://www.amazon.com/Essential-Elements-2000-Alto-Saxophone/dp/0634003178/ref=sr_1_1?keywords=alto+essentials&qid=1562175637&s=books&sr=1-1

Gives you the next "challenge" to work on great from a complete beginner's perspective. If you do every exercise in that correctly until at least half way through you'll be playing the previous book easily and the music is written so well for it you could play it on the street if you wanted to. Also lets you log in to hear how it's played and so you can play along.

I would recommend using this random sheet music generator to practice playing playing notes faster the first time you read them -

http://www.randomsheetmusic.com/

An instructor will be needed to make sure you are doing things correctly like getting notes out etc. I would recommend getting also 1.5 reeds because it's almost impossible to not get the note out with them.

u/DieAllRight · 2 pointsr/Saxophonics

"Sorry nobody is answering your question..." Kind of discouraging. Here is an answer! I've been experimenting with making my own reeds for about a year now. As far as resources are concerned here's what I've discovered. Obviously the majority of the materials that cover reed making are meant for double reeds and clarinet reeds.

  • Reed Making Method
  • Clarinet Reed Making
  • "Handbook for Making and Adjusting Single Reeds" - Kalman Opperman (This book is kind of hard to find)
  • The Art of Saxophone Playing - Larry Teal - A general account of saxophone technique and practice. Takes some reed making and adjusting into account.
  • Trial and Error!

    In my experience reed making is kind of expensive to get into as far as getting a good reed knife (around $100) but buying the cane in the form of pre-cut blanks, is relatively cheap (about $1.20 per blank). Getting into making your own blanks would more or less require a small mortgage. Keeping your knife sharp is very important so it's usually good to invest a sharpening stone. I use a water stone which is great for reed knives because they only need very fine honing.

    I would also research specifically where reeds and cane from, which is mainly France, South America, and now China/other Asian countries. It's good to know about what reeds are (from the plant Arundo Donax) and how they react to environmental changes and whatnot.

    The general process takes some getting used to and a lot of practice but after a bit of work it gets easier to see exactly which areas of the reed need to be adjusted. I'm not at the point where reed making is economic because it does take a lot of time (however gives you 100% control over the reed) and energy. What I have gotten out of learning all of this stuff is how to adjust reeds to my liking when I don't get one that plays well out of the box.

    I realize this is a bit of long post, but I could provide some more information if you all would find it useful!
u/skybrian2 · 2 pointsr/Accordion

I haven't been playing much longer than you and there's no way I'd play in public, but here's what I have:
For jumps, it can be frustrating but I don't think there's any real trick other than to practice until the muscle memory gets you there. Like any difficult passage, you want to practice that particular part in a loop sometimes, rather than playing the whole song which is less efficient. Consistency comes pretty gradually but it does get easier. Also, I find that after a while, I know immediately what I did wrong and can recover more easily, so maybe it's not too noticeable.

I'm not sure how you manage to look at what you're doing on the left side; are you using a mirror? In any case, that's no good, you want to get used to navigating by feel. It helps if the buttons feel different. If your accordion only has an indentation on C, maybe mark the A-flat and E somehow so they feel different? (See chart at [1].)

For exercises, "Melodic Adventures in Bassland" [2] is fun and helps quite a bit for sight-reading bass notes and for remembering where the buttons are and their relationships to each other. There are also a lot of exercises in "The Mighty Accordion" [3] but I found them too boring to use much since they're not really songs. It has fingering and exercises for advanced chord combinations, though, so it might help later.

[1] https://en.wikibooks.org/wiki/Accordion/Left_hand

[2] https://www.amazon.com/Palmer-Hughes-Accordion-Melodic-Adventures-Bass-Land/dp/0739021729/

[3] https://www.amazon.com/Mighty-Accordion-David-DiGiuseppe/dp/0786688394/

u/lostmykeysonbroadway · 2 pointsr/Music
  1. Always have a harmonica in your pocket. Always. You never know when you'll have 5 minutes to blow a tune.

  2. Go on walks through your neighborhood and play every night. It's the perfect practice environment (especially when you're just learning)... by the time anyone cares to look outside and see who's making the noise you'll already be down the street!

  3. Play any simple song you can and play it repetitively. I started with Amazing Grace, The Man on the Flying Trapeze, Dixie Land, and a bunch of church hymns I remember from when I was young. They aren't suppose to impress anyone... they're supposed to teach your mouth what happens when you blow through your harmonica. They will also teach your ear how to hear the harmonica and you'll get used to where the holes are and what the pitches are relative to one another.

  4. Don't only play slow songs.

  5. Don't only play fast songs.

  6. Change keys. Sometimes when you're practicing in a C, stop and play the exact same thing on an A. It will teach you the differences in how the keys play and it will help you further get used to the sounds and placement of the intervals.

  7. Don't be afraid of repetition. It's okay, for example, to practice a single train chug on a 6 block walk. Also, play scales often as warm-ups.

  8. Record yourself. I have recordings dating back to my first week on the harp. It's good to be able to listen to yourself and hear what you sound like. Also, you'll occasionally record a gem that's worth sharing with friends and Redditors.

  9. Search YouTube and try to emulate people you hear. Some favorites of mine are Sonny Terry, Buddy Greene and G Love.

  10. Even if you can't come close to copying them, you can listen to harp music all the time to get it stuck in your soul. I got a hold of a copy of A History of Blues Harmonica and never stopped listening to it. I also got heavily into listening to Muddy Waters, Little Walter, Big Walter, Howlin Wolf and the whole Chicago Blues scene.

  11. I almost forgot that when I first picked up a harp I went to the library and checked out Rock n' Blues Harmonica by John Gindick. It's as good an introduction to the harmonica as your going to get in a book.

  12. Blow, baby, blow! It is a quick learning curve but it won't feel like it sometimes. Just play and keep on playing!

u/BeowulfShaeffer · 4 pointsr/piano

If you want to play "combo style" just don't play the root at all. The LH plays chords with at least the guide tones (3 and 7) and the RH plays melody, The root is left for other instruments to play. It's not uncommon at all for a jazz pianist to play something like EGBD for a CMaj7. In fact my teacher would scold me for being too square if I played that and would want me to play something more like EABD. I the bass plays a C you're now playing a C6/9 between the two of you. If you use "band in a box" software you can let it play the bass for you for practice.

Incidentally Levine is great and all but I highly recommend you pick up a copy of Phil DeGreg's book Jazz Keyboard Harmony. Levine covers a lot of theory but DeGreg is a lot more hands-on useful.

I also recommend Bert Ligon's book which is very thorough to the point of intimidation but wow holy fuck is it good.

Oh, and get yourself a real book, of course.

u/GodOfHangnail · 2 pointsr/Jazz

Thank you for all the advice!

I started in elementary school band, where I picked up a bunch of crappy playing habits, and stopped playing when the music teacher left for a better salary elsewhere. It's been some years and jazz has rekindled my interest in playing. (Especially Lee Morgan, Clifford Brown and Dizzy!)

Anyway, I'm about two months into playing, and I've taken great care to avoid bad habits: posture, breathing, mouthpiece pressure, et. al.

I'm using a couple of method books right now: The Jazz Method For Trumpet, Mitchell on Trumpet, and the Rubank Elementary Method. I use the Mitchell book to build technique, supplemented with some exercises from the Rubank book. I'm using the Jazz Method to incorporate musicality into my practice. I've been putting off buying Arban's and Clarke's since I'm still a beginner, but I guess you just took care of that for me. (ha!)

My only issue right now is practicing intonation and ear training in general. I do long tones with a tuner, but I have heard mixed opinions on practicing musical passages with one. Certain situations may require playing with just intonation, such as with other wind instruments or fretless stringed instruments, but playing along with a piano will require equal temperament. How do I practice either of these?

My routine is about 45-60 minutes long. I do long tones, lip slurs, some tonguing exercises, and then I try to squeeze in some actual music, all with a metronome. I'll try out your suggested breathing exercises and look into keeping a practice log.

Thanks for your thoughtful reply!

u/scubasurprise · 1 pointr/Accordion

I picked up the accordion relatively easily having played classical piano as a kid/teen. I would definitely recommend trying it if you have an accordion available and you're interested, It's such a fun instrument! I bought this book after someone recommended it on here. It's great for pianists cause it focuses on the left hand and doesn't waste time going over beginner music theory.

u/harmonicaben · 1 pointr/harmonica

Thanks for your feedback - I think you're right in thinking now is the time to focus on your breathing, because breathing leads directly into your tone. I remember when I was starting out, after I had gotten a grip on how to isolate notes and move around the harp, I focused a lot on breathing from my stomach. This gives you a deep and full bodied tone, especially from the lower notes. You don't want to "chirp" them. Here is a video that really helped me with this concept starting out.

I think it would also be useful to start thinking about different positions on the harp over the next few months. I'm not sure how familiar you are just yet, but depending on where you start and what notes you stick to, you can play different styles easily. First position lets you play basic melodies, but when you move into second and third position you can really start feeling the blues. This is a book that really helped me.

Finally, I really like your idea of an overarching song when you're first learning. It would be cool to break it down into different exercises and riffs, then build it up to a full song at the end. I'll definitely keep this in mind when building the site.

u/_joesavage · 3 pointsr/compsci

I'd suggest looking at Harmonic Experience by W. A. Mathieu. Although it could be considered a little pseudoscientific in places, it presents a theory of music across many cultures and time periods that I think is well worth a read. It starts from the very basics of the harmonic series, which I think you will appreciate. That being said, it's somewhat non-standard, and I'd recommend contrasting it with more standard western music theory — e.g. via Michael New's excellent video series.

Bigger picture: once you have a good foundational understanding — through reading, listening, and a whole lot of deliberative practise and experimentation — analyse some songs you like. Figure out what it is that you like about them, then imitate and improvise around those ideas to work them into your repertoire.

u/jazzadellic · 2 pointsr/musictheory

There's nothing controversial about the fact that jazz is an extremely demanding style of music which requires a higher level of chord & theory mastery than most other styles of music. There is also a different approach to improvising then is used in other styles like rock, metal & blues. So yes it will push you towards a very in depth knowledge of the guitar, but it certainly won't make you an expert at playing every style. If you were able to get through one of Leavitt's books in 6 months on your own, then you are doing better than most of my students. But on the other hand, I can't tell you how many times I've had someone come in who has played guitar for many years and has terrible technique. Once you've been playing with bad technique for years, it can be difficult to impossible to correct it. It can be good to have another pair of eyes & ears to look at and listen to you play, they can spot problems in your playing that you won't. That would assume they are highly skilled and knowledgeable with their own technique, which unfortunately is not always the case with everyone who offers their services as a guitar teacher. But it's not hard to spot the difference between a high level guitar player and not so high level.

Jim ferguson makes some very well organized entry level jazz guitar books with standard notation and TAB. A little more advanced, but excellent jazz style book is Bert Ligon's Comprehensive Technique for Jazz Musicians . It's standard notation only.

u/tipsyopossum · 1 pointr/IWantToLearn

Here is a little Harmonica Curriculum from someone who has bounced around nearly every instrument for a time or three.

Part One
The Harp Handbook

Rock 'n Blues Harmonica

Part 2
Building Harmonica Technique

Blues Harmonica Collection

Part 3
Just listen to everyone you can, analyze how they play (transcribe solos if you can) and work on developing your own style, learning songs and learning how to play with others.


Listen To- Little Walter, Big Walter, Sonny Terry, Carey Bell, John Popper and Howard Levy so you don't trick yourself into feeling "limited" by harmonica.

Learning a bit extra of music theory wouldn't hurt either, especially if you want to play with bands.

You are absolutely going to need multiple harmonicas if you want to play with other bands- other instruments tend to get tired of always playing in G. If you're just playing by yourself, though, all you need is one in C (or whatever key works best for your voice) to work most harmonica books.

u/ellril · 1 pointr/trumpet
  • Rent a trumpet from a nearby music store (I see you live in Sweden, do they offer instrument rental programs there?): cheap, and you can ensure it works (instead of buying a possible dud from ebay). Most shops will ask for a minimum of 3 months- this will give you some time to figure out if this is something you'd like to continue with.

  • The trumpet is a very physical instrument and it's easy to develop lasting bad habits that will really hurt you down the road. Try to take at least 1 lesson with a teacher so you can get the ball rolling. If that's REALLY not possible (a 30min lesson is $20-45 usually so it's not much!) search for Charlie Porter on Youtube and check out his vids.

  • You will improve fastest if you can play everyday: even if it's only 5 min. Rest often! The goal is to reinforce good habits.

  • Get a method book that will inspire you to continue playing. If you have not played an instrument before, I wouldn't recommend Clarke/Arban like another poster suggested- those are extremely technical and Arban is frankly probably out of your range right now. Try The Jazz Method for Trumpet. It has a playalong CD and tunes that are much closer to the type of music you like (rock) than most other method books. Other good beginner books: Embouchure Builder, or Getchell (might be a little out of your range for the 1st few weeks).

  • Lastly, please do not get discouraged! Most people sounded awful when they first started out- that will probably include you. Don't judge yourself too hard- just be patient and practice consistently and I promise you that the improvement will come.
u/everythingerased · 1 pointr/Accordion

You're going to love it! When you get some experience under your belt, it's not an informational book, but this guy's books come with a CD, and I find it really helpful to hear a song when I'm learning it https://www.amazon.com/Klezmer-Sephardic-Tunes-Traditional-Performances/dp/1847612563/ref=mp_s_a_1_1?ie=UTF8&qid=1543119702&sr=8-1&pi=AC_SX236_SY340_FMwebp_QL65&keywords=Klezmer+accordion

He has books for different types of music, you may or may not like it. Last up, it's super in depth, but if you want to master the left hand, this book is the gold standard as far as I'm concerned : https://www.amazon.com/gp/aw/d/0786688394/ref=tmm_pap_title_0?ie=UTF8&qid=1543119891&sr=8-1

u/tel · 9 pointsr/synthesizers

I pretty much agree with everything you've mentioned. I'll take it a step further though, too. Synthesis taught me an approach to music that's outside of the "standard, western canon" and in particular really opened my eyes to music just being "sound" instead of those notes we write down in black and white. This helped me appreciate music from other cultures more and helped me to appreciate that even harmony itself is just a fancy form of timbre. There's a lot of historical perspective to this which I was sort of unable to appreciate prior to really spending a lot of time thinking about timbre alone.

If this also sounds like you I'd recommend reading Harmonic Experience by W. A. Mathieu.

u/pedro6285 · 2 pointsr/Saxophonics

There's a great book by Dr Rousseau that goes over some good fingerlings for all saxophones. Also there are some good exercise to get your embouchure like it should be in order to play altissimo. Here's the book - https://www.amazon.com/Saxophone-High-Tones-Eugene-Rousseau/dp/158106005X

Once you get comfortable with using the front fingerlings for E, F, and F#, you'll be able to seamlessly go to G.

u/tallpapab · 3 pointsr/harmonica

Take a look at the sidebar. There are pointers to web sites that can get you started. Or you could go old school and pick up a book like Jon Gindick's Country and Blues Harmonica or Harmonica for Dummies. The dummies author, Winslow Yerxa, also has a good Blues Harmonica for Dummies. Or you could just start playing with it. Good luck! Have fun!

u/letsallbecalm · 5 pointsr/saxophone

In terms of horns, you should go with which one captivates you the most. For me, the tenor is remarkably close to the human voice and it feels more personal.

Once you get the horn, you'll obviously have to run through fundamentals. There's a good book in our sidebar called The Art of Saxophone Playing which I highly recommend you read through. I also suggest you grab a copy of the Rubank Elementary Method Saxophone to work through to build up some technique and understanding. The Basic Jazz Conception in the sidebar is also a great resource to build technique and work on jazz fundamentals. After you get going, you're going to want to start transcribing (I suggest starting with Young, Hawk, or Webster) as you'll want to begin learning the jazz language.

Also, I highly recommend that you get a good teacher (in your case someone specialized in jazz) who can keep you pointed in the right direction.

u/elihu · 1 pointr/Guitar

This isn't guitar specific, but maybe something like this would be of interest to you: https://www.amazon.com/Harmonic-Experience-Harmony-Natural-Expression/dp/0892815604 (Though it does cover just intonation extensively, and while that's something I find very interesting, it's not really directly applicable to guitar, except as a way of understanding equal temperament.)

The music book that I wish someone would write is to take the general idea and structure of this amazing book: https://www.amazon.com/Pattern-Language-Buildings-Construction-Environmental/dp/0195019199, and apply it to music instead of architecture.

u/caspianx67 · 2 pointsr/WeAreTheMusicMakers

Seconded! I learned using the Clarke Tin Whistle Book and a whistle in the key of "C". There's a plethora of whistles available in various keys for under $20 each. See Dale Wisely's Chiff and Fipple Guide to Inexpensive Whistles for more information. A set of whistles in various keys, especially C, D, and E, will provide access to most of the comfortable "guitar" keys -- a D whistle can play easily in D, Bm, G, and Em with minimal cross-fingering. I have played Clarke's, Sweetone's, Generation's, Shaw's, and Susato's among others, and while all of them have their own character, I think I prefer the playability and tone of the Susato line best.

u/TheColorBrown · 1 pointr/Accordion

I also mainly play the piano and would highly recommend The Mighty Accordion. Someone recommended it on this sub and it's perfect for piano players; it focuses on the left hand and eases you into it.

u/duus · 1 pointr/WeAreTheMusicMakers

I only play Hohner Blues Harps (they should run you about $25.) If you're planning on playing more blues, then you'll be seeking to play "cross harp" and you'll want an A harp to play blues in E. If you're playing more folk, then you'll be seeking to play "straight harp" and you'll want a C harp to play songs in C.

I learned with this book, which apparently you can buy used for 1 cent. Or new for only 158 dollars.

http://www.amazon.com/Country-Blues-Harmonica-Musically-Hopeless/dp/0932592082/ref=sr_1_1?ie=UTF8&s=books&qid=1279593197&sr=8-1

u/oboist73 · 1 pointr/oboe

You need an oboist who can look at the instrument, the reeds, and the kid and give pointers with better info than we have online. See if you can bring in someone from a nearby university for masterclasses.

Also, high F is a pretty awful note to start with. I'd have her work through an actual oboe beginner book (NOT the oboe version of a band book) like this one : https://www.amazon.com/Student-Instrumental-Course-Oboe-Level/dp/0757982891/ref=pd_aw_fbt_14_img_2?_encoding=UTF8&psc=1&refRID=DX114R6SZ9MCBAZTDY5E with the help of a book about oboe playing like https://www.amazon.com/Oboe-Art-Method-Martin-Schuring/dp/0195374576/ref=mp_s_a_1_1?ie=UTF8&qid=1539131437&sr=8-1&pi=AC_SX236_SY340_QL65&keywords=Martin+schuring+oboe&dpPl=1&dpID=51x7aICx6yL&ref=plSrch

Edit : so far from your description, I suspect e and its secondary key are MASSIVELY out of adjustment, and D and its secondary are somewhat, too. Another reason to bring in a professional (check the local colleges; you might even get a professor for free, if they can get paid as college recruitment, or you might get a cheap grad student). A professional oboist should be able to adjust things and better narrow down any issues that will require a repair shop, whereas many repair shops are terrifyingly poor at diagnosing and adjusting oboes. Of course, the kid might just not have all the holes fully covered, or might be letting the F# key up.

u/Theo_dore · 12 pointsr/Clarinet

Really, the only way to do it is to practice your scales and arpeggios! The Baermann scale book (division 3) is what almost every clarinet player uses. It has every way to play a scale that you could ever imagine.

When I have fast scales and arpeggios, I don't look at every note; I've practiced them enough to know what comes next. If there's a note in the passage that isn't in the normal scale/arpeggio, I circle it to make sure I actually look at that specific note.

Edit: [here's the Baermann on IMSLP](http://imslp.org/wiki/Vollst%C3%A4ndige_Clarinett_Schule,_Opp.63,_64_(Baermann,_Carl)! Again, division 3 is the one you're looking for. You can also buy your own, easier-to-read copy on Amazon. You'll most likely be playing out of that book for the rest of the time you play clarinet; I think it's worth it to spend a little on it!

u/BigRonnieRon · 1 pointr/Irishmusic

You're new to playing it, yeah? In which case, get what I list or other reputable brands (which I also list) in the same price range. If you really get into it, you can look at more expensive super-deluxe models later.

Just get a Clarke D whistle, they're @$10-15
https://www.amazon.com/Clarke-CWD-Celtic-Tin-Whistle/dp/B0002I8Y6W

Clarke's what I play on, they play fine. Any D whistle made by a reputable manufacturer (Generation, Feadog, etc) will do, though. Some play a bit easier than others though and you may find you have a preference.

Get the Clarke book too @$15
https://www.amazon.com/Clarke-Tin-Whistle-Deluxe-Book/dp/0962345679

There's also the Geraldine Cotter books and a few others which are quite good, but if it's just the one, I'd just get the Clarke, it's fine.

u/Easy75 · 1 pointr/harmonica

Yeah, I got that bit from Gindick's book "Rock 'n' Blues Harmonica" https://www.amazon.com/Rock-Blues-Harmonica-Techniques-Generation/dp/0930948106/ and it really helped me get those 3 draw bends down. I highly recommend this book for beginners and intermediate players, if you're the kind who learns well from books. Yeah it has some hokey or cheesy stuff in it, but for me that was just a reminder to not take shit too seriously.

The syllables you articulate with can really change the sound a lot, and the mouth shape of various vowels can definitely apply to bends.

u/ShrekInAPotato · 2 pointsr/Saxophonics

I know that you may not want to hear this, but Sheet Music is pretty much bread and butter imo. If you don't know how to read notes, try Essential Elements. I know it's a very basic book, but it teaches you the exact fingerings of each note and how it appears on the page. I used that book on my first year of learning Tenor Sax, and it actually helped out a lot. I didn't need this book after my first year, but man is it informative. It also has some very, very basic beginner tunes imo (yet, I'm not sure what your definition of a beginner tune is).

Edit: You can also find a Tenor Sax version on Amazon as well. The link I provided is alto.

u/L-phant · 9 pointsr/saxophone

Easy answer: practice overtone exercises such as the classic:
fingering low Bb and changing your throat position to play a Bb up an octave, and then F a 5th above that, and Bb a 4th above that, etc.

Personal experience: what I found while developing my control of the altissimo register was that I often tried to capture higher overtones by biting more in my embouchure and blowing harder, when I needed to be utilizing throat positioning instead to reach higher overtones as well as to develop better control of them.

Check out these books for a much more comprehensive understanding of the altissimo register:

Top-Tones for the Saxophone: https://www.amazon.com/O2964-Top-Tones-Saxophone-Four-Octave-Range/dp/082582642X

Saxophone High Tones: https://www.amazon.com/Saxophone-High-Tones-Eugene-Rousseau/dp/158106005X/ref=pd_lpo_sbs_14_t_1?_encoding=UTF8&psc=1&refRID=T61FKP0VVR5H1CHJRB5W

Beginning Studies in the Altissimo Register: https://www.amazon.com/Saxophone-Beginning-studies-altissimo-register/dp/B00072ZF9C/ref=sr_1_1?s=books&ie=UTF8&qid=1505855702&sr=1-1&keywords=rosemary+lang+altissimo

u/telperiontree · 3 pointsr/Clarinet

Reed strength is actually more dependent on the mouthpiece than on you. If you have a close mouthpiece(orchestral), you need a higher reed strength. If you have an open mouthpiece(jazz) you need a low reed strength.

It's harder to play the really high notes with a low reed strength.

Also, if you're going for an orchestral tone, try Gonzalez reeds. And bump up the strength to a three at least - you can get singlets if you go to good(not chain) music store.

Arbans is recommended for clarinet students as well, but it doesn't cover the highest and lowest registers - you should grab Baermann's III as well.

Art of Clarinet Playing talks a lot about the mechanics and embrochure without treating you like a five year old who can't tell a treble clef from a curlicue.

u/thamiam · 1 pointr/Jazz

Larry Teal is the best (IMO) place to start. Get The Art of Saxophone Playing, work it diligently, and you will make measurable and immense progress.

u/sincinnatislink · 1 pointr/IWantToLearn

Look in used bookstores:
http://www.amazon.com/Country-Harmonica-Musically-Hopeless-Cassette/dp/0932592082

This got me where I was going, anyway, and ultimately gave me a pretty good basis to teach myself guitar a couple years later . . . and then make fumbling attempts at counterpoint later.

u/rverne8 · 1 pointr/saxophone

If you have the Universal Method for Saxophone, by Paul Deville, that is the Bible. Here are some more suggestions. The Ferling is tough.

The Ten Best Saxophone Books Ever

48 Famous Studies op 31 by Ferling

Technique of the Saxophone: Scale Studies by Joe Viola

The art of Saxophone Playing by Larry Teal

u/gilmore606 · 1 pointr/NoStupidQuestions

The book Harmonic Experience answers this question thoroughly and deeply. If you love music it is a must-read.

u/Adhvaga · 1 pointr/india

If anyone is interested in this topic I highly recommend the book Harmonic Experience. The author is an American pianist/composer who has practised Hindustani music for over 25 years.

u/AKPIPE · 4 pointsr/Accordion

I purchased "The Mighty Accordion" from Amazon. It's a book just for learning the Stradella bass system. I'm still a beginner in general, but the book seem very helpful for positioning, and slowly learning the layout.

https://www.amazon.com/Mighty-Accordion-David-DiGiuseppe/dp/0786688394

u/Leo-Bloom · 6 pointsr/oboe

Oboe Art & Method

Martin Schuring’s book is the best out there, and the second half of it is all about reedmaking.

u/Jongtr · 2 pointsr/musictheory

You'd probably be interested in this book (if you don't already know it). Not for any help with the technical/production application side of what you're doing, but with the physical sensations of singing and intonation, and - if you like - a more organic relationship with music.

u/AgentAway · 4 pointsr/GiftIdeas

She might be too young for this but it still promises to be very annoying. Frozen Recorder Set

u/Retro-Squid · 6 pointsr/offmychest

Frozen play along recorder set!!!

Edit: Found it

u/abyl · 1 pointr/Saxophonics

The Rubank Method books are a great place to start. Some may suggest Essential Elements and Accent on Achievement books, but for independent study I wouldn't bother.

u/glideguitar · 1 pointr/Guitar

i already gave you a book to read. check it out.
https://www.amazon.com/Harmonic-Experience-Harmony-Natural-Expression/dp/0892815604

the short answer is that in five-limit harmony, every interval is a combination of fifths and major thirds, over tonal and reciprocal. major seventh? a fifth and a third up. minor third? fifth up, third down. like that.

whole steps and half steps come after the fact. that's not what a major scale is built out of.

i know what you think you're saying, but you're way off here.

u/alephnul · 3 pointsr/harmonica

Harmonica for Dummies is a pretty good place to start. I don't usually like the "for Dummies" books, but this one is a gem.

u/YoungRaddish · 43 pointsr/offmychest

For the girl, consider this, it’s a learn how to play Flute with songs from Frozen.


Frozen - Recorder Fun!: Pack with Songbook and Instrument https://www.amazon.com/dp/1495013057/ref=cm_sw_r_cp_api_fzo-BbF6N2GX0


u/Reptyler · 1 pointr/Parenting

Haven't read all the comments to see if this has been mentioned, but I'm definitely using this on my least favorite sister-in-law:


https://www.amazon.com/Frozen-Recorder-Pack-Songbook-Instrument/dp/1495013057

u/squabzilla · 1 pointr/AskMen

I know someone mentioned a recorder earlier, but did they mention THIS!?!?

u/Delta_Eridani · 3 pointsr/childfree

Speaking of recorders and kids: welcome to hell

u/upvotz4u · 1 pointr/musictheory

as the sign in my car repair shop reads:

you can have it done: fast, cheap, right... choose 2

with that said

http://www.amazon.com/Harmonic-Experience-Harmony-Natural-Expression/dp/0892815604

compared to the multi-hundreds of dollars price point of so many college "text books" this one provides a massive "bang for the buck"

u/Dr_Legacy · 6 pointsr/harmonica

Look for Winslow Yerxa's Harmonica for Dummies.

In the meantime there's this list.

u/MenacingSailboat · 1 pointr/Saxophonics

As somebody who taught himself, developed a bad habit or two, and corrected them with the help of a book (that is to say, no actual teacher), I'd say it's neither hard to teach it to yourself nor hard to correct bad habits on your own, given the right materials.

It's not that I wouldn't have preferred a teacher; I just wasn't ever in a position where I could learn from one. Probably the best book I ever bought was A Complete Approach to Sound for the Modern Saxophonist, by Ben Britton. If you wind up teaching yourself, regardless of what other books you work from, you should pick that one up. It takes all of the "this is what to do to play with proper technique" advice that you see in so many books and gives you much better explanations for how to achieve these things, what to listen for, etc. etc., and it happens to be the sole reason I recognized and corrected my bad habits.

u/iComeInPeices · 1 pointr/harmonica

Been dealing with this issue on my secret santa, what to get someone, when by the things that they like they probably have stuff they need. If he's interested in harmonica's and doesn't have one, then a C special 20 would be good. If hes like me, I have everything but a few odd keys, and some duplicates (with broken reeds)
If they have harps, then maybe some books:
These are a few I don't have... ya know, if my Santa comes by

http://www.amazon.com/Blues-Harmonica-Collection-Leonard-Corp/dp/0793516005

http://www.amazon.com/gp/product/1480312916/ref=pd_lpo_sbs_dp_ss_3?pf_rd_p=1944687642&pf_rd_s=lpo-top-stripe-1&pf_rd_t=201&pf_rd_i=0793516005&pf_rd_m=ATVPDKIKX0DER&pf_rd_r=1QZN7YP1JS15KEWNTYAX

u/byzantinebobby · 1 pointr/pics

My sister threatened to get my son a drum set. I told her I would get 3 of this for her girls if she did. My son never got a drum set.

u/KnockMeYourLobes · 3 pointsr/breakingmom

When my son was in 5th grade and had to buy a $5 recorder (which we never saw again after they were done with that unit..I wonder where the damn thing went?), I almost bought myself one from Amazon.

I still kind of want this, too. LOL