This is the piano chord notes that goes along with the tablature in the key of C. Play the harmonica with the piano to guide you and help with the pitch on the bend notes in this exercise. But the tabs above can be used on any diatonic harmonica no mater what key, click to enlarge.
Once you have mastered this exercise. You can use this scales and chord notes to play rhythm changes. For instance, a stranded blues progression 1- 4- 5, but here is a One {major} – six {minor} – 2 {minor}- 5 {Dominant seventh} progression. Here is a piano part to play along with. Play the chord notes and then improvise. You can use the scale notes in those modes.
Next,below are the scale and tablature for other position. They will work on blues, but once learn the other chord of the song you’re working on and discover whether it’s a minor cord or major chord. There will be adjustment. Use you ear and follow the chord progression.
Above is the scale and tablature for fifth and forth position.Soon I will have a video and an audio file for this page.
Wikipedia Americana refers to the studies of American culture, especially studies based in other countries American music is contemporary music that incorporates elements of various American roots music styles, including country, roots-rock, folk, bluegrass and blues, resulting in a distinctive roots-oriented sound.
The Second Fiddles Produced, mixed and recorded at Miguel’s recording studio in 2007. Guillaume Goussault: Lead vocals and resonator/ slide/ guitar, Jon Verey: Mandolin, Banjolyn, lead voice, backing vocals and Jug, I overdubbed drums, the virtual acoustic bass, bass vocals, piano and played the harmonica during the original recording.
Juanita { above} Guillaume Vox
Lonesome Train Jon Vox
You May Leave Guillaume Vox
The Dozen Jon Vox
Whats the Matter With the Mill? Jon Lead Vox, Guillaume Vox
play every Friday at AOC east in Manhattan from 9:30 till late!
Past Gigs and live videos!!
Also, my first live session { in my studio} was done on the 9th of July featuring Miguel Weissman on harmonica, David Langlois on percussion, Dave Speranza on bass, Michaela Gomez and Nick Russo on guitars! On the 30th of July, Gordon Webster laid down some masterful piano, What player!!!
Miguel can be booked for gigs as a side man, Soloist or with the Brooklyners [Reggae}, the Hot Clubbers {Gypsy Jazz} or his own band { costume gerners} though his email harpburn@yahoo.com and price varies to the size of the group.
This was done at the Brooklyn Bowl, we play there one a month for the children’s Playhouse.
It was 100° out yesterday in Philadelphia, but the Brooklyners kept it Kool @ the ARDMORE MUSIC HALL!
Saturday APRIL 7, 2018 3:00 PM 4:00 PM GARCIA’S AT THE CAPITOL THEATRE 145 Westchester Avenue Port Chester, NY, 10573
SUNDAY, APRIL 8, 2018 12:00 PM 1:00 PM THE ARDMORE MUSIC HALL 23 East Lancaster Avenue Ardmore, PA, 19003
And other gigs to be announced.
At Mona’s east village NYC The JAHWID videos taken from a fan/s phone in 2013. Miguel enhanced the sound a bit and created the Logo and Titles.
We use be called Jahwid…Then Jahwid and the Broolyners, Now The Brooklyners, this was done in 2014
The Canglosi Cards
The Cangelosi cards with Tamar Korn, Jake Sanders, Marko Gazic Cassidy Holden Andrew Nemr, New Year’s eve 2007! This was at the grand ballroom is the Manhattan Center. The Dresden dolls saw us busking on the street and hired us to be one of the Warm-up bands. With the agreement that we would ask for donations to the couple thousand people in the audience! Was a lot of ones! Was the longest day ever! We had three gigs and two rehearsals! We started about 10 in the morning and went to about 6 AM the next day! This video was from the telephone bar on second Avenue. That’s Tamar on Vox and Mark Tipton on trumpet. We had a regular gig there in the back room, where people could dance but no one could talk! LOL! Was nice! Got spoiled!
The Canglosi Cards past gigs include opening the 2007 New Year’s Eve Show at the Grand Ballroom in Manhattan, Swing Out New Hampshire (’06, ’07,’08, ’09), the Washington D.C. Lindy Exchange (’08, 09’), The Big, Big, Event in Washington D.C. (’07).
For examples of Miguel’s theater sound designs, go to Sound Designs.
For examples of ADR and sound designs created for those productions, go to Video.
For examples of his synthesizer programming, treatments of voices and real instruments and virtual instruments manipulated through computer techniques, go to Music.
Miguel programed Mixed and produced this track at countdown Studios C 1999
Deep house is known for complex melody, use of unrelated chromatic chords underlying most sequences, and a soul, ambient, or lounge vibe to the vocals (if any). In the early compositions (1988—89), influences of jazz music were most frequently brought out by using more complex chords than simple triads (7ths, 9ths, 13ths, suspensions, alterations) which are held for many bars and give compositions a slightly dissonant feel. The use of vocals became more common in deep house than in many other forms of house music. Sonic qualities include soulful vocals (if vocals are included), slow and concentrated dissonant melodies, smooth, stylish, and chic demeanor.[citation needed] Deep house music rarely reaches a climax, but lingers on as a comfortable relaxing sound.
Spoken Word “FLOWETRY POETRY” by Sir Shadow, piano drum programing, sound designs and arrangement by Miguel Weissman. Jesse Selengut Trumpet, Brian Petway Bass.
