I JUST WANT TO BE YOUR EVERYTHING
By: Barry Gibb
The BeeGees
Key: G

-4 -4 -4-3
For so long
-4 -4 -3 -3 -5 -5 -5 -4 -3
You and me been find-ing each oth-er
-3 -3 -3 3
for so long
-1 -1 2 3 3 -3 -4 -3 3
And the feel-ing that I feel for you
-3 -4 4 -4 -3
is more than strong, girl
-4 4 -5 6
Take it from me
-4 -4 4 4 4 4 4
If you give a lit-tle more
-4 -3 -4 -3 -3
than you’re ask-ing for
-4 4 -4 -3 -3 -3
your love will turn the key

-4 -4 -4-3
Dar-ling mine
-4 -4 -3 -3 -5 -5 -4 -3 -3 -3 -3 3
I would wait for-ev-er for those lips of wine
2 3 3 -3 -4 -3 3 -3
Build my world a-round you, dar-ling
-4 -4 4 -4 -3
This love will shine girl
-4 4 -5 6
Watch it and see
7 7 7 7 7 7 7
If you give a lit-tle more
6 -5 7 7 7
than you’re ask-ing for
6 7 7 6 -5 -5
your love will turn the key

7-776 7 7 7 7 -6* -6* -6* 6 6 -5
I, I just want to be your ev-‘ry-thing
-5 -5 -5 4 4 -4 4 -5 -5
Op-en up the heav-en in your heart
4 4 -4 4
and let me be
4 -5 4 4 -4 4
the things you are to me
4 -4 -3 4 -4 -4 -3 -4
and not some pup-pet on a string
7-776 7 7 7 7 7 -6* -6* -6* 6
Oh, if I stay here with-out you, dar-ling,
6 6 6-5
I will die
-5 -5 4 4 -4 4 -5 -5 4 4 -4 4
I want you lay-ing in the love I have to bring
-5 4 4 -4 5 -6* 7 -7 -7 7 7 -33-2*3
I’d do an-y-thing to be your ev-‘ry-thing

REPEAT

I JUST WANT TO BE YOUR EVERYTHING
By: Barry Gibb
The BeeGees
Key: G

5 5 5-4
For so long
5 5 -4 -4 6 6 6 5 -4
You and me been find-ing each oth-er
-4 -4 -4 4
for so long
2 2 -3� 4 4 -4 5 -4 4
And the feel-ing that I feel for you
-4 5 -5 5 -4
is more than strong, girl
5 -5 6 -6
Take it from me
5 5 -5 -5 -5 -5 -5
If you give a lit-tle more
5 -4 -5 -4 -4
than you’re ask-ing for
5 -5 5 -4 -4 -4
your love will turn the key

5 5 5 -4
Dar-ling mine
5 5 -4 -4 6 6 5 -4 -4 -4 -4 4
I would wait for-ev-er for those lips of wine
-3� 4 4 -4 5 -4 4 -4
Build my world a-round you, dar-ling
5 5 -5 5 -4
This love will shine girl
5 -5 6 -6
Watch it and see
7 7 7 7 7 7 7
If you give a lit-tle more
-6 6 7 7 7
than you’re ask-ing for
-6 7 7 -6 6 6
your love will turn the key

7-87-6 7 7 7 7 -7 -7 -7 -6 �6 6
I, I just want to be your ev-‘ry-thing
6 6 6 -5 -5 5 -5 6 6
Op-en up the heav-en in your heart
-5 -5 5 -5
and let me be
-5 6 -5 -5 5 -5
the things you are to me
-5 5 -4 -5 5 5 -4 5
and not some pup-pet on a string
7-87-6 7 7 7 7 7 -7 -7 -7 -6
Oh, if I stay here with-out you, dar-ling,
-6 -6 -66
I will die
6 6 -5 -5 5 -5 6 6 -5 -5 5 -5
I want you lay-ing in the love I have to bring
6 -5 -5 5 -5 -7 7 -8 -8 7 7 -44-34
I’d do an-y-thing to be your ev-‘ry-thing

REPEAT

Everything S Your Fault gp4 Guitar Pro Tab is free to download. Tablature file Everything S Your Fault opens by means of the Guitar PRO program.

W: Harold Adamson
M: Burton Lane
From: “Dancing Lady”
Billie Holiday, Eddie Arnold
Key: C

3 -3 -4 -5 4 -4 -3*
Ev-‘ry-thing I have is yours
-3* 3 3 3
You’re part of me
3 -3 -4 -5 4 -4 -3*
Ev-‘ry-thing I have is yours
-3* 3 3 3
My des-ti-ny
1 -1 2 -1 1 -1 2 1 1
I would glad-ly give the sun to you
1 -1 2 -1 1 -1 2
If the sun were on-ly mine
2 -2* 3 -2* 2 -2* 3 2 2
I would glad-ly give the earth to you
3 -4 -5 -1 3
And the stars that shine
3 -3 -4 -5 4 -4 -3*
Ev-‘ry-thing that I poss-ess
-3*3 3 3
I of-fer you
3 -3 -4 -5 4 -4 -3* 4 -3
Let my dream of hap-pi-ness come true
1 -1 2 -1 1 -1 2 1 1
I’d be hap-py just to spend my life
1 -1 2 3 -3 4 -5
Wait-ing at your beck and call
3 -3 -4 -5 4 -4 -3*
Ev-‘ry-thing I have is yours
-3* 3 3 4
My life, my all

QR code

3 4 3 -3b 2 -2b 3 2 -1 2 3
I’m so a-shamed of my vo-cab-u-la-ry

3 4 3 -3b 2 -3b -3b -3b -4 -4
It is-n’t what it real-ly ought to be

-3 -3 -3 2 -2b 3 3 -3b -3b -4 3
I have a task that is-n’t or-di-na-ry

3 -3 -3 2 2 -3 -3 -1 -1 3
When I’m des-crib-ing what you are to me

-3b 4 -4
Can’t you see

REFRAIN

5 -4 -4 4 2 1 2 3 4 -3
You’re my eve-ry-thing un-der-neath the sun

-3b 2 3 -2b -2b -2b -3b 4 -2b 2
You’re my eve-ry-thing rolled up in-to one

-1 2 3 3 3 3 -3 -3 -3 -3 -3b 3 3
You’re my on-ly dream, my on-ly real re-al-i-ty

-3b -3 5 5 5 5 -3 -3b -3 4 -4 3 3
You’re my i-dea of a per-fect per-son-al-i-ty

3 -4 -4 4 2 1 2 3 4 -3
You’re my eve-ry-thing, eve-ry-thing I need

-3b 2 3 -2b -2b -2b -2b -3b 4 -4
You’re the song I sing and the book I read

-3b -3 4 4 4 4 -4
You’re a way be-yond be-lief

5 -4 4 -3b -2b -1
and just to make it brief

2 -2b 3 3 -3 -3
You’re my win-ter, sum-mer,

-3b 3 -4 5 4
spring, my eve-ry-thing

ENJOY!!

Harmonica amplifiers – Are you thinking about buying a harmonica amplifier but you don’t know which to choose? Uncertain about the kind of sound you want to get or you feel you’ll want to understand more? Which amplifier is the best for the harmonica sound? If your brain will be brimming with such questions then this short article is just what the physician ordered.

Once you have read the article you must have got clear ideas about how to go on; non-etheless, I’ll introduce you to some amplifier models today and will discuss their salient features or benefits and drawbacks with you one at a time. Follow the instructions in next paragraphs carefully and I am sure that from now onwards, you can purchase your generic amplification system or your unique device with utter confidence you have made the best option according to your preferences.

Harmonica amplifiers – How to choose correctly for yourself?

[toc]

Let’s start by analyzing various categories of amplifiers that people find in market and which may be useful for the blues harp:

Guitar amplifiers or battery-operated generic amps.

Solid state guitar amplifiers and modeling devices.

Tube amplifiers for guitars.

Amplified speakers (also called active ones) for more pure sound.

On the basis of our needs we can choose among alternative categories and select the best for the harmonica. Let’s see these categories at length:

Guitar amplifiers or battery-powered generic amps

These amplifiers are small and have power ranging from 0.1 to 5 watts. They’re capable of operating with a power supply or even with common batteries; their capacity can reach up to 10 hours of work if powered by batteries. Sometimes they’re equipped with sound effects and rhythm reproduction. These amplifiers often possess computer connections and sometimes allow an additional microphone connection (e.g for voice).The unit are much appreciated by ones looking for something portable especially those who want to play on the street (busking) or for those who want to keep somewhat small yet powerful enough system internal to create wave in neighbourhood.

If you opt for a modeling amplifier, it will be possible to reproduce both pure harmonica sound and ‘Chicago’ which means we’ve everything we have to play independently. Given the choice of these types of equipments, one interesting fact shouldn’t be underestimated that they usually supply the option to connect to a mixer or other amplifiers, which gives us an opportunity to expand the sound power without compromising the kind of the audio we like. Now it might seem ,”Then I’ll have a little thing like this one, and something day I’ll link it to a bigger to obtain additional volume?” Yes, you have it right!

Now let’s look at two models of portable solid state modeling of an excellent quality: Vox Mini 5 and Roland Micro Cube. They are amplifiers with price ranging from $120 to $150 whereas the characteristics they exhibit are very similar.

The Vox provides an extra input for a vocal microphone, and is therefore more suitable if you would like someone to sing along when you play the harmonica (or guitar). This low impedance input enables you to have a clean instrument sound.

Both models have an input for external sound sources such as mp3 players or smart phones and the headphone output. This one can also be used to connect an additional amplification system or a computer.The two amplifiers provide effect such as for example delay and reverb whereas the modeling circuit allows us to choose emulation of various kinds of amplifiers. By changing the emulation configuration and adjusting the gain, the tone and volume controls, we are able to achieve the desired sound, including the ‘Chicago style’ one. The size of speaker included for VOX is 6.5″ and for Micro Cubecome it’s 5″.The energy of these devices is 5 watts max for the VOX and 2 watts for the Roland.

Solid-state guitar amplifiers and modeling

Larger devices with powers which range from 10 watts up to few hundred watts have to be connected to the electric supwardply. Because they are a composite of integrated circuits hence the title ‘solid condition type’.

In this specific article I’ll not dig into the merits of diatribe ‘valve against transistor’ because internet has already been full of that and you could find all forms of opinions online. From my perspective, you may get a good sound from tube amplifiers and also from incorporated circuit amplifiers, nevertheless, you must remember that valve amplifiers often usually do not provide digital modules with effects, auxiliary connections etc.

Let’s go back to the category of amplifiers we were talking about: alongside portable amplifiers, comes a circuitry that amplifies the sound of the bullet microphone so, for models that emulate different devices it is possible to choose the type of emulated amplifier and still manage to get effects. Even these amplifiers often allow us to connect inputs and auxiliary outputs, plus some also provide the option to attach output to an extra speaker.

Most advanced models in this category may also be connected to the computer via USB cable and managed in a variety of configurations through custom software. Now, we look at two solid state amplifier models being among the most popular ones on the market: The Fender Champion 100 and the Orange Crush 35 RT, both cost around $250.

The Fender Champion 100 has enough power to be used on small and medium-sized venues, and is equipped with an emulation module and different effects. It has two 12-inch speakers, different connections for external effects, an auxiliary input for sound sources like mp3 or smart phones, and the headphones output that may also be connected to another sound system like a mixer or a computer. This is really a perfect amplifier that provides many possibilities.

The Orange Crush 35 RT is one most important amplifier that doesn’t emulate other models, but still offers the reverb effect, an auxiliary input for external sound sources and a headphones output which can also be utilized as a line output to get attached to a computer, a mixer and so forth. The 35 RT has a chromatic tuner and connections for external effects. It includes 35 watts power which is sufficient even though you play in a mid-sized room. The supplied speaker size will be 10 inches.

You can also find a 20 watt model of this brightly colored amplifier here.

Valve Guitar Amplifiers

These are the favourite ones for vintage lovers, renowned for good old tubes and known as supporters of warm sound. In fact the valves are usually fragile and warm-up easily but without a shadow of doubt, all the musicians, at some time fall for the charm of such sort of electrical circuit.

The first thing I wish to explain is that, there are no portable tube amplifiers because they require a whole lot of electric supply. The energy delivered by such amplifiers ranges from 5 watts to many hundred watts and their prices start from $150.

One point that should be taken into consideration is that the power output from the unit cannot be compared to that of solid state amplifiers; usually several watts on a tube amp would produce same volume as greater number of watts on a strong state device would do. Because of this you will discover in the market many tube amplifiers with a power ranging significantly less than 20 watts on average.

Often the unit have no auxiliary inputs or outputs, and so are designed to operate in a standalone configuration. Only in more costly models you could find connections for external effects, and output line connections to other audio systems.

Below I am going to introduce you to two models called VHT 6 Special Ultra and Fender Blues Junior IV. The first is no more available in the market nevertheless, you can still find an used instrument for $200, the next costs about $600.

VHT 6 Special Ultra is really a low-power unit that delivers 6 watts but has earned lots of appreciation from both guitarists and harmonica players. Built with 3 tubes, this amplifier, in addition to the standard controls has some inclusional controls to improve the sound at will. VHT includes a headphone output line which you can use for connecting it to external audio systems and also additional speaker results. The supplied speaker size is 12 inches.

The Fender Blues Junior IV is really a tube amplifier equipped with 3 valves and is with the capacity of delivering 15 watt power. It has a 12-inch speaker and reverberation effect. It does not have any connections for audio inputs or auxiliary outputs.

All the devices I’ve shown you are suitable to produce Chicago suond, and are used with high impedance microphones such as for example bullet type, like the famous shure 520DX. The VOX mini instead, has a low-impedance microphone input for voice or even more clean harmonica sound.

The last category of amplifiers I am going to present to you’re the generic amplified loudspeakers, also called active speakers (or amplified): this is actually the sort of amplification I use when I play around in not-so-big situations.

You can just make use of a voice microphone and connect it to an amplified active speaker which acts well being an amplifier without changing the harmonica sound. These speakers are available with power ratings ranging from a few watts up to several hundred watts, on the market we furthermore find models that focus on battery.

The speaker that I use includes a power of 40 watts and an autonomy that reaches 10 hours with rechargeable battery given it. There are active speaker models that have effects, equalizations, inputs for multiple microphones, usb connections and much more, only the most advanced models have bluetooth and wireless connections to also take advantage of wireless microphones. Lastly I wish to introuduce you to the Beheringer MPA40BT-PRO, a 40-watt unit built with an 8″ woofer and a 1″ tweeter.

The sound reproduction is good and the volume more than sufficient for small locations. Thwill be speaker has two inputs to which it is possible to connect microphones or instruments, auxiliary inputs for other external sources, bluetooth and usb socket for connecting wireless microphones (around 2). This amplifier can cost you $150.

If you are curious to know, let me tell you that the wireless microphone set for the active speaker Behringer MPA40BT-PRO consists of an USB adhere to be connected on the trunk side and two battery-powered microphones which have about l0 hours of autonomy.

This concludes our review of harmonica amps. As you can see, there are different types on the market, designed to meet not merely the usage requirements but budget also .See you within the next article.

-3 -3 -3 -3” 4
Here lies everything
-3 -3 -4 4 -3 -3” 2 5
The world I wanted at my feet
4 -4 5 -4 4 5
My victory’s complete
4 -4 5 -4 4 -3
So hai-l to the king
-3 -3 -3 3 3-3” 3
(Everything you e-v-er…)
3 3 3 -4 -4’
Arise and si-ng

-3 -3 -3 -3” 2 4
So your wor-ld’s benign
-3 -3 -4 4 -3 -3” 2 5
So you think justice has a voice
3 -4 5 -4 4 5 -4 4
And we all have a ch-o-ice
3 -4 5 -4 4 -3
Well, now your world is mine
-3 -3 -3 3 3-3” 3
(Everything you e-v-er…)
3 3 3 -4 5 -4 4
And I am fiiiinnee

-3 -3 -3 -3” 4
Now the nightmare’s real
-3 -3 -4 4 -3 -3” 2 5
Now Doctor Horrible is here
4 -4 5 -4 4 5 -4 4
To make you quake with fe-a-r
-3” -4 5 -4 4 -3
To make the whole world kneel
-3 -3 -3 3 3-3” 3
(Everything you e-v-er…)
3 3 3 -4
And I won’t feel
-4 -4’
A thing

by: Bryan Adams, Robert Lange, Michael Kamen
from: “Robin Hood: Prince of Thieves”
Key: C

6 -6 6 -5 6-55 -5 5 -4-33
Look in-to my eyes you will see
-3 -4 5 6-55 -5
What you mean to me
6 -6 6-5 5 -5 5 -4-33
Search your heart search your soul
3 3 3 -3 -4 5
And when you find me there
-6 6 5 -5 -5
you’ll search no more
6 -6 -6 -6 -6 -7 7 6 -5
Don’t tell me it’s not worth try-in’ for
-5 6 -6 -6 -6 -6 -7 6 6 -5
You can’t tell me it’s not worth dy-in’ for
-5 6 -6 6-55
You know it’s true
-6 7 -6 6 -5 3 6 6 -5 5 5
Ev-‘ry-thing I do I do it for you

6 -6 6 -5 6-55 -5 5 -4-33
Look in-to your heart you will find
-3 -3 -4 5 6-55 -5
There’s noth-in’ there to hide
6 6 -6-6 6-55 -5 5 -4-33
Take me as I am take my life
3 3 -3 -4 5 -6 -6 6 5 -5 -5
I would give it all I would sac-ri-fice
6 -6 -6 -6 -6 -7 7 6 -5
Don’t tell me it’s not worth fight-in’ for
-5 6 -6 -6 -6 -6 -7 7 6 -5
I can’t help it there’s noth-in’ I want more
-5 6 -6 6-55
You know it’s true
-6 7 -6 6 -5 3 6 6 -55 5
Ev-‘ry-thing I do I do it for you

5 -5 -5 -5 -5* -5*
There’s no love like your love
-5* -6 -6 -5 -5 -6 -6-55 5
And no oth-er could give more love
-6 -66 6-55 6 7 7 -5
There’s no-where un-less you’re there
7 7 7-6*6-5 -7 -8 -77 -7 7
All the time all the way yeah

|-5 6 -3|5 5 5|5…-56 -5|5……|6…-5 6 5|
|5 5 5|5…-56 -5|5……|6…-5 6 5|

7 7 7 -6 -6 -6 -6 -7 7 6 -5
Oh you can’t tell me it’s not worth try-in’ for
7 7 -77-6 -6 -6 -7 7 7 6 -5
I can’t help it there’s noth-in’ I want more
-6 -6 -6 6 6 6 7 76-5 -5 -5
Yeah I would fight for you I’d lie for you
7 -7 7 -6 -6
Walk the wire for you
7 -6 -6 7 7*
Yeah I’d die for you

5 7 -6 6
You know it’s true
-6 7 -6 6 -5 6-55 3 6 6 -55 5
Ev-‘ry-thing I do, oh I do it for you.

|-5 6 -3|5 5 5|5…-56 -5|5……|6…-5 6 5|
|5 5 5|5…-56 -5|5……|6…-5 6 5|

By: Tom Adair & Matt Dennis
Frank Sinatra
Key: Bb

3 -5 -5 -5 -5* 5
I make a date for golf
5 -3* -3 5 5 5 -5 -3*
and you can bet your life it rains.
3 -3* -3* -3* 5 -3 -3
I try to give a par-ty
3 -2 3* 3* 3* -3* 3
and the guy up-stairs com-plains.
-1 -2 -2 -2 3 -1*
I guess I’ll go thru life
-2* -3 -3* 5 5 5 5 -3
just catch-ing colds and miss-ing trains;
3 3 3 -3 -3 -3 -2
Ev-‘ry-thing hap-pens to me.

3 -5 -5 -5 -5* 5
I nev-er miss a thing
5 -3* -3 5 5 5 -5 -3*
I’ve had the meas-les and the mumps.
3 -3* -3* -3* 5 -3 -3 3
And ev-‘ry time I play an ace
-2 3* 3* 3* -3* 3
my part-ner al-ways trumps.
-1 -2 -2 -2 3 -1*
I guess I’m just a fool
-2* -3 -3* 5 5 5 5 -3
who nev-er looks be-fore he jumps;
3 3 3 -3 -3 -3 -2
Ev-‘ry-thing hap-pens to me.

-3* -3* -3* -3* -3*
At first my heart tho’t
5* 5* -4 5* -3* -3* -3*
you could break this jinx for me.
-3* -3* -3* -3* -3* -4
That love would turn the trick
-2* -2 -1* -3*
to end des-pair.
-3* -3 -3 -3 -3 5
But now, I just can’t fool
5 -3* 5 -3 -3 -3
this head that thinks for me.
-3 -3* -3* -3* -3* -3* -3* -3 -3* 5
I mort-gaged all my cas-tles in the air.

3 -5 -5 -5 -5* 5
I’ve tel-e-graphed and phoned,
5 -3* -3 5 5 5 -5 -3*
I sent an Air Mail Spec-ial, too;
3 -3* -3* -3* 5 -3
Your an-swer was good-bye
-3 3 -2 3* 3* 3* -3* 3
And there was ev-en post-age due.
-1 -2 -2 -2 3 -1*
I fell in love just once,
-2* -3 -3* 5 5 5 5 -3
and then it had to be with you,
3 3 3 -5 -5 -5 -3*
Ev-‘ry-thing hap-pens to me.

-6 -6 -7 7 -6b
Some-bo-dy told me

-6b -8 -7 -7 7 -7
Boy ev-ry-thing she wants

-7 -8 -7 -7 7 -7
Is ev-ry-thing she sees

-6b -6b -6b -6 -7 7 -6b
I guess I must have loved you

-6b -6b -6b -8 -7 -7 7
Be-cause I said you were the

-7 7 -8 -7 -7 -5 -6b
per-fect girl for me, ba-by

-6b 7 -6b -7 -9 7 -6b
And now were six months old-er

-6b -8 -7 -7 7 -7 7 -8 -7 -8 7 -7
And ev-ry-thing you want and ev-ry-thing you see

-6b -6 -6b -6 -7 7 -8 -6b
Is out of reach not good e-nough

-6b -8 -7 7 -7 -9 7 -8 -7 -7
I don’t know what the hell you want from me

CHORUS)

7 7 -6 -6 6
Some-bo-dy tell me

-5 6 7 8 -6 -5 6
Why I work so hard for you

-6b -6b -6b -6b -6b
(To give you mon-ey)

VERSE 2

-6b 7 -6b -6 -6 -7 7 -6b
Some peo-ple work for a liv-ing

-6b -8 -7 -7 7 -7
Some peo-ple work for fun

-7 -8 -7 -7 7 -7
Girl I just work for you

-6b -6b -6b -6 -6 -7 7 -6b -6b
They told me mar-riage was give and take

-6b -6b -8 -7 -7 7 -7
Well you’ve shown me you can take

7 7 -8 -7 -7 -7
you’ve got some givin’ to do

-6b 7 -6b -7 -8 -9 7 7 -6b -8 9 9
And now you tell me that your hav-ing my ba-by

-6b -8 -7 -7 7 -8 8 8 7 -8 -7 -7
I’ll tell you that I’m hap-py if you want me to

-7 -8 -6 -6 -6b -7 -6b 7 -8 -6b
But one step fur-ther and my back will break

-8 -8 -6b -7 7 -7 -9 7
If my best is-n’t good e-nough

-8 -8 -8 -7 9 9 9 9 -9 9
then how can it be good e-nough for two

-6 -7 7 -7 -7 -7 -6 -6 6 5
I can’t work an-y har-der than I do

(CHORUS)

-6 -6 -7 7 -7 -6 -6 -6
Why do I do the things I do

7 -8 -7 7 -8 -7
I’d tell you if I knew

-6 -8 6 7 -7 -6 6 6 -6 7 -6
My god, I don’t e-ven think that I love you

(CHORUS TWICE TO END)

ENJOY!!!

W: Don Black, Charles Hart
M: Andrew Lloyd Webber
From: “Aspects Of Love”
Key: A, Eb

-3 -3 -4 -5 5* -4 -3
Love, love chang-es ev-‘ry-thing,
3* -4 -3 2 -1 -2* 2
Hands and fac-es, earth and sky,
-3 -3 -4 -5 5* -4 -3
Love, love chang-es ev-‘ry-thing,
3* -4 -3 2 -1 -2* 2
How you live and how you die.
-4 -4 4* -5 4* -4 -3
Love, can make a sum-mer fly,
4* -5 6 6 -6* -5 5* -4
Or a night seem like a life time,
2 -3 -3 -4 -5 4* -4 -3
Yes love, love chang-es ev-‘ry-thing,
3* -4 -3 2 4* -4 6
Now I trem-ble at your name,
-6* 6 6 -5 -5 5* 5* -4 -2* 3* -3
Noth-ing in the world will ev-er be the same.

Key: Bb

-3* -3* 4 -5* -5 4 -3*
Off in-to the world we go
-3 4 -3* -2 -1* 3 -2
Plan-ning fu-tures, shap-ing years
-3* -3* 4 -5* -5 4 -3*
Love bursts in and sud-den-ly
-3 4 -3* -2 2 3 -2
All our wis-dom dis-ap-pears
4 4 -5 -5* -5 4 -3*
Love makes fools of ev-‘ry-one
-5 -5* -6 -6 7 -5* -5 4
All the rules we make are bro-ken
-2 -3* -3* 4 -5* -5 4 -3*
Yes love, love chang-es ev-‘ry-one
-3 4 -3* -2 -5 5 -6
Live or per-ish in its flame
7 -6 -6 -5* -5* -5 -5 4 3 -3 -3*
Love will nev-er, nev-er let you be the same
7 -6 -6 -5* -5* -5 -5 5 7 -7 -7*
Love will nev-er, nev-er let you be the same

QR code

W: Don Black, Charles Hart
M: Andrew Lloyd Webber
From: “Aspects Of Love”
Key: A, Bb
Harps: A, Bb

4 4 -4 -5 5 -4 4
7 7 -8 -9 8 -8 7
Love, love chang-es ev-‘ry-thing,

-3 -4 4 3 -2” -3” 3
-7 -8 7 6 -5 -6 6
Hands and fac-es, earth and sky,

4 4 -4 -5 5 -4 4
7 7 -8 -9 8 -8 7
Love, love chang-es ev-‘ry-thing,

-3 -4 4 3 -2” -3” 3
-7 -8 7 6 -5 -6 6
How you live and how you die.

-4 -4 5 -5 5 -4 4
-8 -8 8 -9 8 -8 7
Love, can make a sum-mer fly,

5 -5 6 6 -6 -5 5 -4
8 -9 9 9 -10 -9 8 -8
Or a night seem like a life time,

3 4 4 -4 -5 5 -4 4
6 7 7 -8 -9 8 -8 7
Yes love, love chang-es ev-‘ry-thing,

-3 -4 4 3 5 -4 6
-7 -8 7 6 8 -8 9
Now I trem-ble at your name,

-6 6 6 -5 -5 5 5 -4 -3”-3 4
-10 9 9 -9 -9 8 8 -8 -6 -7 7
Noth-ing in the world will ev-er be the same.

Key: Bb

4 4 -4 -5 5 -4 4
7 7 -8 -9 8 -8 7
Off in-to the world we go

-3 -4 4 3 -2” -3” 3
-7 -8 7 6 -5 -6 6
Plan-ning fu-tures, shap-ing years

4 4 -4 -5 5 -4 4
7 7 -8 -9 8 -8 7
Love bursts in and sud-den-ly

-3 -4 5 3 -2” -3” 3
-7 -8 8 6 -5 -6 6
All our wis-dom dis-ap-pears

-4 -4 5 -5 5 -4 4
-8 -8 8 -9 8 -8 7
Love makes fools of ev-‘ry-one

5 -5 6 6 -6 -5 5 -4
8 -9 9 9 -10 -9 8 -8
All the rules we make are bro-ken

3 4 4 -4 -5 5 -4 4
6 7 7 -8 -9 8 -8 7
Yes love, love chang-es ev-‘ry-one

-3 -4 4 3 5 -4 6
-7 -8 7 6 8 -8 9
Live or per-ish in its flame

-6 6 6 -5 -5 5 5 -4 -3”-3 4
-10 9 9 -9 -9 8 8 -8 -6 -7 7
Love will nev-er, nev-er let you be the same

-6 6 6 -5 -5 5 5 -4 -6 -7 7
-10 9 9 -9 -9 8 8 -8 -10 10
Love will nev-er, nev-er let you be the same

7 7 -8 -9 8 -8 7
Love, love ch-anges ev-ery-thing,
-7 -8 7 6 -5 -6 6
Hands and fa-ces, earth and sky,
7 7 -8 -9 8 -8 7
Love, love ch-anges ev-ery-thing,
-7 -8 7 6 -5 -6 6
How we live and how we die.
-8 -8 8 -9 8 -8 7
Love, can make a sum-mer fly,
8 -9 9 9 -10 -9 8 -8
Or a night seem like a life time,
7 7 7 -8 -9 8 -8 7
Yes love, love ch-anges ev-ery-thing,
8 -9 9 9 -10 -9 9
Now I trem-ble at your name,
-10 9 9 -9 -9 8 8 -8 -6 -7 7
Noth-ing in the world will ev-er be, the same.

(20, 4 Count Intro)
6 6 6 6 -5 5 -5 6 6
I wasn’t jealous before we met
6 6 6 6 6 6 7 6 -5 5 5 -5 -5
Now every woman I see is a potential threat
6 6 6 6 -5 5 -5 6 6
And I’m possessive, it isn’t nice
6 6 6 6 6 6 7 6 -5 5 5 -5 -5
You’ve heard me saying that smoking was my only vice
3 -3 5 5 5 -3
But now it isn’t true
-3 -4 -5 -5 -5 -4
Now everything is new
-4 5 6 5 5 -5 -6 -5
And all I’ve learned has overturned
-5 6 6 6_ -6*__
I beg of you
5_ -4_ -3 -4 5 -5 5__ -4__
Don’t go wasting your emotion
5_ -5 6 -5_ -5_ 5__
Lay all your love on me
(2, 4 Count Pause Then Repeat)

5_ -4_ -3 -4 5 -5 5__ -4__
Don’t go sharing your devotion
5_ -5 6 -5_ -5_ 5__
Lay all your love on me
(4, 4 Count Pause)
(Repeat 1st Verse Then To Last Verse)

5_ -4_ -3 -4 5 -5 5__ -4__
Don’t go wasting your emotion
5_ -5 6 -5_ -5_ 5__
Lay all your love on me
5_ -4_ -3 -4 5 -5 5__ -4__
Don’t go sharing your devotion
5_ -5 6 -5_ -5_ 5__
Lay all your love on me
(Repeat Last Verse)

It was like shooting a sitting duck
A little small talk, a smile and baby I was stuck
I still don’t know what you’ve done with me
A grown-up woman should never fall so easily
I feel a kind of fear
When I don’t have you near
Unsatisfied, I skip my pride
I beg you dear

I’ve had a few little love affairs
They didn’t last very long and they’ve been pretty scarce
I used to think that was sensible
It makes the truth even more incomprehensible
‘Cause everything is new
And everything is you
And all I’ve learned has overturned
What can I do

This plays with karaoke music, same Artist, run time 4:39.

6 6 7 7 -8 -8 7 7
The lone-li-ness of nights a-lone.
6 6 7 7 -8 -8 7 7
The search for strength to car-ry on.
7 -7 7 7 7 -7 7 7
My e-very hope has seemed to die.
7 -7 7 7 -8 8 -8 7
My eyes had no more tears to cry.
7 9 -9 8 -8 7 -8 7 7
Then like the sun shines from up a-bove.
-6 7 -10 8 8 -8 7 -8 7 8 -8 7
You su-rround-ed me with your end-less lo-v-e.
7 -9 8 -8 7 -9 8 -8
And all the things I could-n’t see,
7 -8 8 -8 -7 7
are now so clear to me.

-9 -9 9 -9 8 8
You are my e-very-thing.
-9 -9 9 -9 8 8
No-thing your love won’t bring.
-9 -9 -9 9 9 -9 8 -8
MY life is yours a-lo-n-e.
-9 -9 -9 -9 9 -9 8 8
The on-ly love I’ve e-ver known.
-9 -9 9 -9 8 8
Your spi-rit pulls me through,
7 -8 8 -10 8 -8 7
when no-thing else will d-o.

-8 8 -9 8 -8 7
E-very night I pr-ay,
6 -9 8 -8
on bend-ed knee.
6 -9 8 -8 7 -7 -6
That you will al-ways b-e,
7 7 -8 7
my e-very-thing.

7 7 7 -8 7 8 -8 7
Oh my e-ve-ry-th-in-g.

9 -9 8 8
Some-times you said.
9 -9 8 8 -8 -8 8 7
I did not lis-ten to your words.
9 9 -9 -8 8 9 -8
That I e-ven made you cry.
-6 -6 -7 -7 7 5
May-be I did-n’t show,
5 -6 -6 -7 -7 7 -4
in e-very pos-si-ble way,
-8 7 -7 -6
how much I cared.

9 8 -8 -8 -8
I’m so so-rry for
-8 8 7 -7 -6
not be-ing my-self.
9 8 -8 -8
For ev-very-thing,
-8 8 -7 7
end-ing this way.
-6 -7 7
May-be I,
-6 -7 7 -6
may-be y-ou,
-8 -7 -8 -8 -6
could lead this cha-nge.
-6 7 -7 7 -7 -6 6
I’m so-r-ry f—o-r.
-6 7 -7 7 -7 -6 6
For e-ver-y-thi-n-g.

9 -9 8 8
I wish that I.
9 -9 8 8 -8
Could stop your te-ars
-8 -8 8 7
from fall-ing down.
9 9 -9 -8 8 9 -8
Un-like me, I make it worse.

-6 -6 -6 -7 -7 -7 7 5
May-be I was-n’t al-ways there.
5 -6 -6 -7 -7 7 -8
it does-n’t mean I don’t care.
7 -8 7 -7 -6
What-ev-er it was.

9 8 -8 -8 -8
I’m so so-rry for
-8 8 7 -7 -6
not be-ing my-self.
9 8 -8 -8
For ev-very-thing,
-8 8 -7 7
end-ing this way.
-6 -7 7
May-be I,
-6 -7 7 -6
may-be y-ou,
-8 -7 -8 -8 -6
could lead this cha-nge.
-6 7 -7 7 -7 -6 6
I’m so-r-ry f—o-r.
-6 7 -7 7 -7 -6 6
For e-ver-y-thi-n-g.

-6 -9 8 -9 8
We’re min-utes a-way,
-6 -6 -7 7 8
from say-ing good-bye.
-8 -7 -8 -6
For all of time.
-6 -9 8 -9 8
I’m se-conds a-way,
-6 9 -9 8 -8
from break-ing a-part.
-6 7 -7 7 -7 -6 6
I’m so-r-ry f—o-r.
-6 7 -7 7 -7 -6 6
For e-ver-y-thi-n-g.

9 8 -8 -8 -8
I’m so so-rry for
-8 8 7 -7 -6
not be-ing my-self.
9 8 -8 -8
For ev-very-thing,
-8 8 -7 7
end-ing this way.
-6 -7 7
May-be I,
-6 -7 7 -6
may-be y-ou,
-8 -7 -8 -8 -6
could lead this cha-nge.
-6 7 -7 7 -7 -6 6
I’m so-r-ry f—o-r.
-6 7 -7 7 -7 -6 6
For e-ver-y-thi-n-g.

-1 -1 -1   -1 -1 -1    2   -1 -1

Making your way in the world today

-1   -1 -1 -2    3   -3”

takes everything you`ve got

-1 -1 -1 -1     -1   2 -2’   2 -1

Taking a break from all your worries

-1   -1  -2 -2 -3”

sure would help a lot

-3”–3” -3” -3”’ -3”’-3” -3 2

Wouldn`t you like to get away

CHORUS:

-3 -3   -3” -3 4 -4   -4 -4-4 5 -4   4   -3 4 -3” 3

Sometimes you wanna go where everybody knows your naaaame

-4 -4     5 -4   4 -3 4 -3” 3

and they`re always glad you caaaame

-4 -4 -4 -4 -3 -3” 3   3   3   -4 -4   -4 -4 -3 -3” 3

You wanna be where you can see our troubles are all the sa-me

-4 -4 -4 -4 -3  -3” 3 3 3 -3”   3   3

You wanna be where everybody knows your name

-4 -4 -4 -4 -3   -3” 3   -3” -4 -4 -4   -4 -3 -3” 3

You wanna go where people know people are all the sa-me

-4 -4 -4 -4 -3   -3” 3 3 3 -3”   3   -2

You wanna go where everybody knows your name

1 1   1   1 1  1  -1’ 1 1

Making your way in the world today

1   1 1 -2”    -2”   -2

takes everything you`ve got

1 1    1 1     1   -1’ 2 -1’ 1

Taking a break from all your worries

1   1  -2” -2” -2

sure would help a lot

-2 –2  -2 -2’ -2’ -2” -3”-1

Wouldn`t you like to get away

CHORUS:

-3” -3” 3 -3”-3’ 4   4 4 4 -4 4   -3’ -3” -3’3 -2”

Sometimes you wanna go where everybody knows your naaaame

4   4     -4 4   -3’ -3” -3’3 -2”

and they`re always glad you caaaame

4   4 4  4 -3”  3 -2” -2” -2”   4 4   4   4 -3” 3 -2”

You wanna be where you can see our troubles are all the sa-me

4   4 4 4 -3”  3-2”-2”-2” 3   -2” -2”

You wanna be where everybody knows your name

4 4 4  4 -3”   3 -2”   3 4 4    4   4 -3” 3 -2”

You wanna go where people know people are all the sa-me

4 4 4 4 -3”   3-2”-2”-2” -2  -2” -2”

You wanna go where everybody knows your name

-2 -2 -2   -2 -2 3 -3”   3 3
Making your way in the world today

3     3 3 4     4   -4

takes everything you`ve got

-2 -2 -2 -2     3   -3” -3 -3” 3

Taking a break from all your worries

3     3   4   4 -4

sure would help a lot

-4 -4   -4 -4’ -4’ -4 5 -3”

Wouldn`t you like to get away

CHORUS:

5   5   -4 5 -5 6   6 6 6 -6 6   -5    5 -5 -4 4

Sometimes you wanna go where everybody knows your naaaame

6   6   -6 6   -5   5 -5 -4 4

and they`re always glad you caaaame

6   6 6 6   5   -4   4   4   4   6 6     6   6   5 -4 4
You wanna be where you can see our troubles are all the sa-me
6   6 6 6   5   -4 4 4 4   -4   4   4

You wanna be where everybody knows your name

6 6 6   6   5   -4 4   -4   6 6   6   6   5 -4 4
You wanna go where people know people are all the sa-me

6   6 6 6   5   -4 4 4 4 -4     4   4

You wanna go where everybody knows your name

Verse 1

6 6 6 6 -5 5 -5 6 6 -5 5 -4 5 -5 4 3

Every day, I imagine a future where I can be with you

6 -6 6 6 -6 -6 -5 5 5 -4 -4 4 3 -4 5 4

In my hand is a pen that will write a poem of me and you

6 6 6 -5 5 4 -4 5 -5 6

The ink flows down into a dark puddle

-6 6 5 -4 3 -3 4 3 4 -4 4

Just move your hand – write the way into his heart!

6 6 6 -5 5 4 -4 5 -5 6

But in this, world of infinite choices

-6 6 5 -4 3 4 4 3 -4 5 4

What will it take just to find that special day?

-6 6 5 -4 3 4 4 3 -4 5 4

What will it take just to find that special day?

Verse 2 (Same as Verse 1)

Have I found everybody a fun a*signment to do today?

When you’re here, everything that we do is fun for them anyway

When I can’t even read my own feelings

What good are words when a smile says it all?

And if this world won’t write me an ending

What will it take just for me to have it all?

[Verse 3]

6 6 6 6 -5 5 5 -5 6 -5 5 -4 5 -4 4

Does my pen only write bitter words for those who are dear to

3

me?

6 -6 6 6 -5 5 -5 6 6 -6 6 -5 5 -4 5 4

Is it love if I take you, or is it love if I set you free?

6 6 6 -5 5 4 -4 5 -5 6

The ink flows down into a dark puddle

-6 6 5 -4 3 -3 4 3 4 -4 4

How can I write love into reality?

6 6 6 -5 5 4 -4 5 -5 6

If I can’t hear the sound of your heartbeat

-6 6 5 -4 3 -3 4 3 4 -4 4

What do you call love in your reality?

4 3 4 3 4 -4 4 4 -4 5 -4 5 -4 5 6

And in your reality, if I don’t know how to love you..

3 3 4 4

I’ll leave you be

(SPOKEN)
We got it together, didn’t we?
We’ve definitely got our thing together,
don’t we baby?
Isn’t that nice? I mean, really,
when you really sit and think about it,
Isn’t it really, really nice?
I can easily feel myself slipping
more and more ways that simple world of my
Own nobody but you and me
We’ve got it together baby

5 5 5 5 -6b -6b 5 -6b
The first, my last, my ev-ry-thing

-5 -5 -5 -5 -5 -6b -6b -5b
And the an-swer to all my dreams

-6b -6b -6b -6b -6b -5 -5 -5 -6b
You’re my sun, my moon, my guid-ing star

-6b -6b -6b -6 -6b -6b -6b -6b -6b -5
My kind of won-der-ful, that’s what you are

-5 -5 5 5 5 -5 -5 -6b -6b -6b
I know there’s on-ly, on-ly one like you

-6b -5 -5 5 5 -5 -6b -6b
There’s no way, they could have made two

-6b -6b -5 -5b -6b -6b -6b
You�re you’re all I’m liv-ing for

5 5 -5b -5 5 -6 -6 -6b
Your love I’ll keep for-ev-er more

-6b -6b -6b -6b -5 -6b -3 -4 4 4
You’re the first, you’re the last, my ev-ry-thing

all other verses are the same

ENJOY!!!

Jack Johnson – You and Your Heart

Intro
-7 -7 -7 -7 -7 -6 6
-5 -5 -5 -5 -5 6 -6
4 4 4 4 4 5 -5 5
4 4 4 4 4 5 -5 5

-7 -7 -7 -7 -7
Watch you when you say
-6 6 -6 -6 -6 -6 -6 -6 -6 4
What you are and when you blame
 everyone,
5 6 -6 4
You broken king
-7 -7 -7 -7 -7 -6 6
Watch you change the frame or Watch
-6 -6 -6 -6 -6 -6 -6 4
you when you take your aim
at the sum
5 6 -6 4
of everything

5 -6
Cause you
-6 7 -7 -6 6
and your heart
6 -8 7 7 7 6 6 -5
shouldn’t feel so far apart
5 5 -6
You can choose
-6 7 -7 -6 6
what you take
-8 7 -8 7 7
Why you gotta break
7 7 7 7 6 6 -5
and make it feel so hard

You lay there in the street
Like broken glass reflecting pieces of the sun
But you’re not the flame
You got the people passing by
Because you know what you don’t like
It’s just so easy, it’s just so easy

But you and your heart
Shouldn’t feel so far apart
You can choose what you take
Why you gotta break and make it feel so hard

Oh and you and your heart
Shouldn’t feel so far apart
You can choose what you take
Why you gotta break and make it feel so hard

(guitar riff)
6 6 -7 6 4 4 (or instead of 4 4 you can also play 7 7)
4 5 -5
6 6 -7 6 4 4
4 5 -5 x2

6 6 6 -7 -7 -6 -6 -6 6 6
You draw so many lines in the sand
6 6 6 -7 -7 -6 -6 -6 6 6
Lost the fingernails on your hands
6 6 6 -7 -7 -6 -6 -6 6 6
How you’re gonna scratch any backs?
6 6 6 -7 -7 -6 -6 6 6 6 -6
Better hope that time will take our lines away
-7 -8 -7 -6 6
Take all our lines and
-4 5 6 -6 -7 -8 -6 6
Hope that time will take our lines and
-4 5 6 -6 -7 -8 -6 6 6
Hope that time will take our lines away
-7 -8 -7 -6 6 6
Take all our lines away

LAY YOUR LOVE ON ME ABBA

KEY OF C

5 5 5 -4 4 -4 5 5
I wasn’t jeal-ous be-fore we met

5 5 5 5 5 5 -5 5 -4 5 4 -4 -4
now ev-ry wo-man I see is a po-ten-tial threat

5 5 5 5 -4 4 -4 5 5
And I’m po-sses-sive, it is-n’t nice

5 5 5 5 5 5 -5 5
You’ve heard me say-ing that smok-ing

-4 4 4 -4 4
was my on-ly vice

4 4 -4 -4 -4 4
But now it is-n’t true

4 4 -4 -4 -4 4
Now ev-ry-thing is new

4 -4 5 4 4 -4 -5b 5
And all I’ve learned has ov-er-turned

-4 5 5 5
I beg of you

-4 4 4 -4 -4 5 -4 4
Don’t go wast-ing your e-mo-tion

4 -4 5 -4 -4 4
Lay all your love on me

Verse 2 same as one

It was like shooting a sitting duck
A little small talk, a smile and baby I was stuck
I still don’t know what you’ve done with me
A grown-up woman should never fall so easily
I feel a kind of fear
When I don’t have you near
Unsatisfied, I skip my pride
I beg you dear……

(CHORUS)

VERSE 3 same as one and two

I’ve had a few little love affairs
They didn’t last very long
and they’ve been pretty scarce
I used to think that was sensible
It makes the truth even more incomprehensible
’cause everything is new
And everything is you
And all I’ve learned has overturned
What can I do……

Repeat Chorus to end

ENJOY!!

Fare thee well O Honey

(Dink’s song)

Diatonic tab from music notes in Key D

¾ time sig. with guitar chords of

D,D7,G,A7

With the advent of the Coen brothers film

“Inside Llewyn Davis” inspired by

Dave Van Ronk’s memoir

“The Mayor Of MacDougal Street”

I give you this version from the

collection of Traditional folk songs by

Alan Lomax

Also the Dave Van Ronk version for guitar

He did this in 6/8 time Key of G.

Lyrics for this song are varied DvR

starts his with Lomax’s 6th verse

D———————- D7

4 5 6 6 -6 -6 6~~ 5 5

When I// wore my a-pron/low could-n’t/

G———————————

5 5~~~4 -4 5 -4~ 4 5

Keep you—from my/door Fare thee/

D————– A7———D—–

7~~~~ -6 6 5 -4~~~ 4 4

Well—-O/honey Fare thee/well /

V2

D——————- D7–

when I wore my apron high

——- G———————-

sca’sely ever seed you passin’ by

chorus. Fare the well etc

V3

When my apron come unpin

Pass my door an’ you wouldn’ come in

V4

If I had a-lissened what mama said

I’d been a-sleepin’ in mama’s bed

V5

One of these days an’it won’t be long

You’ll call my name and I’ll be gone

V6

If I had wings like Noah’s Dove

I’d fly up the river to the man I love

(one)

Here is a version for guitar chords

In key G, 3/4 time

Intro chords G///-/// Em///-/// x 2

Em G C D

If I had wings~~~~~ like Noahs~~~ dove~~~

D Em C D

I’d fly up the river~~~ to the one I love~~

Chorus

D G Em

Fare thee well~~ Oh honey~~~~~

C D G Em/// ///G/// ///

Fare~~~ thee~~~ well~~~~

Em G C G

The woman I love~~~ is long and tall~~~

G Em C G

She moves her body like a cannonball

Chorus as before

Fare thee well etc

Em G C G

Early one morning~~ drizzlin’ rain~~~

G C D

In my heart~~ I felt an aching pain

Chorus

Fare thee well etc

Em G C G

One of these mornings~~~ it won’t be long

G Em C D

You’ll call my name~~ and I’ll be gone

Chorus

Fare thee well etc

Then return to v1 followed by chorus

And finish with your intro chords

Susan Salidor is an award-winning children’s music composer and performer with the heart of a teacher.  She is the author, along with illustrator Natalka Soiko, of two picture books for young children, I’ve Got Peace In My Fingers and One Little Act of Kindness (Sideline Ink Publishing), based on two of her most widely-known original songs.

Susan has written over 150 songs for children.  Her original music is influenced by her professional experience in musical theatre, cabaret folk and in her work as a preschool music specialist. Her recording Come and Make a Circle 3: Even More Terrific Tunes for Children and Those Who Love Them, is the third in the Circle series. All three Circle albums have received Parents’ Choice awards, and they are among the most popular of Susan’s eight recordings for children.

Susan has also been honored as a songwriter with several ASCAP Popular Awards for Songwriting.  In addition, the song “Color Me Singing,” is featured in a primary school textbook Making Music (Scott Foresman/Silver Burdett).  Susan’s recordings are recommended in The Best of Everything for Your Baby (Krantz/Exley, Prentice Hall), and her song, “Ruby B.,” appears in the first edition of civil rights icon Ruby Bridges’ autobiography Through My Eyes (Scholastic Press).  She has also published The Susan Salidor Songbook, a songbook and CD set of original music from her first four recordings.  For five years Susan co-hosted “Kids Play Radio,” a weekly broadcast on Chicago’s WLUW 88.7 FM.  Her songs have been heard on in-flight kids’ programming on UNITED Airlines, XM Radio, Spotify, Sirius Satellite Radio and are available wherever music is streamed and downloaded.

Susan’s concert venues include schools, libraries, colleges, theatres, children’s museums, music festivals and bookstores throughout the country.  On the educational front, she teaches preschool music in and around Chicago each weekday throughout the school year, and her music workshops (Sure-Fire Hits for Preschool Teachers, Sure-Fire Hits 2: Just the Songs, and Come and Make a Circle) have received rave reviews at professional teaching conferences nationwide.  She has presented multiple times for the NAEYC conference, which draws 25,000 early childhood educators annually.  Susan has served as an “Artist in Residence” for the Rockford Public Schools’ Early Childhood Program, Waukegan Public Schools and Mary Meyer School (Chicago), teaching music classes and training teachers.  Susan and husband Jay Rehak created a children’s show, Noah’s Ark: The Musical, which has been produced in both Chicago and Michigan.  All of Susan’s recordings are available on Spotify,  Apple iTunes, Amazon.com and CDBaby.com.  Susan and Jay have created dozens of YouTube videos to her songs, but they are most delighted by the hundreds of original videos recorded by fans of Susan’s music found on the internet.  Her song, “I’ve Got Peace in My Fingers,” is included in the songbook Rise Again! compiled by Peter Blood and Annie Patterson (a follow up songbook to Rise Up Singing!).  The song is sung in elementary schools throughout Spain to help celebrate its Day of Non-Violence and Peace each year on January 30th, and it can be heard in school celebrations throughout Canada for its Remembrance Day each November.

Susan continues to teach and perform online and in-person, as COVID protocols allow, and she is working on her third picture book for children plus a brand new album of songs written during the last decade.

Harmonica players today have access to a wealth of software tools that can help them learn, play, record, and maintain their instrument. In this article, we’ll explore some of the most useful softwares for harmonica players. Whether you’re just starting out or you’re an experienced player looking to expand your harmonica horizons, read on for a roundup of handy harmonica helper apps, sites, and programs.

Top Useful softwares for Harmonica players

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Learning Tools

When you’re first taking up the harmonica, it can be invaluable to have supporting software to supplement your practice. Learning-focused programs can provide structured lessons, receptive feedback, and resources to accelerate your mastery of the instrument.

Apps for Learning Harmonica (for Android & iOS)

Dedicated harmonica learning apps like Harmonica – Play and Learn provide beginner-friendly interfaces with progressive lessons, covering everything from holding the harmonica properly to playing songs. Built-in microphones listen to your playing and offer real-time feedback to improve your technique. Other features like slow tempo controls, note highlights, and repeat loops maximize your retention while learning.

Harmonica Easy Tab

Harmonica Easy Tab is a free mobile app for Android that provides a library of tablature and songs for playing harmonica. It includes over 150 songs with tablature shown in an easy to read format. The app also has useful tools like a tuner, metronome, and transpose options.

Real Harmonica

Music teachers recognize the need for a practical guide to help beginners enter the world of harmonica playing. For those looking to pick up the harmonica, Real Harmonica provides the perfect portable toolkit to start learning anytime.

Real Harmonica is designed for people seeking a functional harmonica instructional they can carry and consult on-the-go. The app covers the many types of harmonica, including diatonic, orchestral, bass, and more. Detailed directions are provided for every harmonica variety so users can get oriented with their new instrument.

The app visually lays out all the notes and holes found on a harmonica. Real Harmonica is easy to pull up and use even during short breaks, making it an ideal learning companion for busy students. Whether you’re able to practice for hours or just have a few minutes to spare, Real Harmonica has the specialized guidance to further your harmonica education.

With Real Harmonica, music teachers have created an application to serve as a true roadmap to musical enlightenment for harmonica beginners. If you’re looking to pick up this satisfying instrument, Real Harmonica has the tools to start playing right away.

Harmonica Bending Trainer

Harmonica Bending Trainer is a mobile app focused on helping players master the challenging technique of bending notes on the harmonica. Available for Android, the free app lets you practice bending while providing visual feedback.

Overall, Harmonica Bending Trainer aptly aids practice and measurement of harmonica bending skills. While light on instruction, its real-time visual feedback makes it easier to develop and self-correct your proficiency with this essential technique. The free specialized app fills a useful niche for bending practice.

Harmonica Clinic

Harmonica Clinic is a paid learning app for iOS focused on techniques like bending, overblowing, and vibrato. Through progressive video lessons and built-in tools, it aims to help players master difficult harmonica skills.

HarpNinja

HarpNinja is a free Android app for learning and playing harmonica. It provides a clean, interactive interface along with tools like songs, lessons, and backing tracks.

Harmonica Lessons

Teach Yourself Harmonica

Harmonica Exercises

The Harmonica Plus

Learn to play the harmonica

Harmonica Saz

YouTube Tutorials

Beyond apps, a world of harmonica tutorial content exists on YouTube. Experienced harmonica teachers share useful tips on embouchure, bending notes, and more. Seeing as well as hearing the guidance makes YouTube an excellent free resource. Searching “learn harmonica” yields many detailed, high-quality video lessons.

Online Courses

For those seeking a structured curriculum, online harmonica courses like HarmonicaLessons.com provide step-by-step training programs. Ranging from absolute beginner lessons to advanced techniques like tongue blocking and overbends, these courses offer guided progression along with community support. Their video libraries allow you to learn at your own pace.

Recording Software

Once you’ve developed your harmonica skills, recording your playing can be rewarding and fun. Specialized software exists to capture harmonica’s expressive nuances.

DAWs for Recording Harmonica

Digital audio workstation (DAW) software like GarageBand, Logic Pro, Ableton Live, and Pro Tools all allow for quality harmonica recording. Their editing capabilities enable you to perfect your takes and add effects. Features like autotune can even compensate for imperfect pitch during bending or overblowing.

Plugins for Harmonica

Harmonica-specific audio plugins can accentuate the instrument’s signature sound. The EastWest Quantum Leap Blues Harmonica virtual instrument simulates a variety of blues harp mics and amps. For convenience, AudioModeling SWAM Harmonica generates realistic harmonica tones via MIDI. And effects like Waves Metaflanger or Soundtoys Crystallizer can infuse your harmonica recordings with psychedelic style.

Backing Tracks

Playing along with backing tracks augments the fun of harmonica while tightening your rhythm and improvisation skills. Some software provides auto-generated accompaniments.

Apps for Jamming to Backing Tracks

Apps like iReal Pro offer a band-in-your-pocket experience, with AI-generated backing tracks in any style, key, and tempo. You can slow tracks down to practice and memorize their chord changes. Then test your soloing chops at full speed while iReal Pro follows you.

YouTube Backing Track Channels

YouTube channels like Backing Tracks for Harmonica provide extensive libraries of style-specific backing tracks to jam along with. Blues, rock, jazz, country, and bluegrass backing tracks give exposure to each genre’s characteristic progressions.

Sheet Music Tools

While harmonica playing doesn’t strictly require reading sheet music, some players appreciate tablature references. Software exists to display and transpose tabs.

Apps for Sheet Music

Mobile sheet music reader apps like Musicnotes or forScore allow you to access, annotate, and even transpose digital sheet music. Their libraries include harmonica songbooks and tablature. You can follow along hands-free on a tablet rather than flipping pages.

Websites for Harmonica Tabs

Websites like Harptabs.com compile user-submitted harmonica tablatures spanning genres from pop to classical. Their song catalogs, often with multiple tab options per song, offer helpful guidance for learning pieces note-for-note. Transposition tools make it easy to adapt tabs to your key of harmonica.

Tuning and Maintenance

Keeping your harps sounding their best involves regular tuning and upkeep. Some software aids this important process.

Tuning Apps

Mobile tuning apps with chromatic pitch detection like Cleartune or InsTuner can assist with tuning your harmonica to concert pitch or custom temperaments like just intonation. Their precision tools and audio feedback help optimize your instrument’s tuning.

Cleaning and Maintenance Tools

Proper harmonica maintenance requires occasional deep cleanings. While not software per se, ultrasonic cleaners provide an effective digital solution to remove grime from a harmonica’s reeds and combs. Just a few minutes of ultrasonic vibration can restore free reed motion and clean airflow.

Conclusion

In summary, exploring specialized software can expand a harmonica player’s abilities and enjoyment. Learning apps expedite mastery, recording tools capture expressive playing, backing tracks make soloing fun, tablature aids reference songs, and maintenance programs keep harps sounding their best. Integrating the variety of helpful digital solutions above will have you wailing the blues – or any genre – in no time. Software might not directly improve the mechanics of your harmonica playing, but it provides assistance to deepen your relationship with the storied instrument.

FAQs

Are you eager to master the art of harmonica playing but unsure where to begin? Fear not! Even though the world of harmonica is full of surprises, remember that its essence lies in its simplicity. Not only is it a portable instrument, but it also effortlessly creates a soothing atmosphere and boosts your mood. Stay tuned as we guide you through basic techniques, handy resources, and step-by-step tutorials on your harmonica journey.

Ok, it’s not as hard as you think! Today we will synthesize the most basic knowledge to help you play the harmonica in the easiest way.

If you’ve finished reading this everyone’s harmonica guide, and you still can’t play, I’m pretty sure you don’t want to play.

The easiest way to play harmonica

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Things to prepare to play harmonica

Choose a harmonica.

There are many different types of harmonica available for purchase, which vary in use and price. For now, purchase either a diatonic or a chromatic harmonica. Either type can be used to play most popular music, such as blues or folk.

• The diatonic harmonica is arguably the most common type available, and certainly the cheapest. It’s tuned to a specific key, which can’t be changed. Most diatonic harmonicas are tuned to the key of C. Types of diatonic harmonica include the “blues harmonica,” the “tremolo harmonica,” and the “octave harmonica.”

  • In the western world, the blues harmonica is common; in east Asia, the tremolo harmonica is seen more often.

• The chromatic harmonica is a type of harmonica that uses a mechanical apparatus to control which holes make noise. Basic chromatic harmonicas with 10 notes can only play one full key (the same as a diatonic harmonica), but chromatics with 12-16 holes can be tuned to any key. Chromatics are considerably more expensive than most diatonic harmonicas; a quality chromatic from a reputable brand can cost several hundred dollars.

  • Because of their flexibility, 12-plus-note chromatic harmonicas are generally preferred for jazz music.

• A common shorthand term for the harmonica is the “harp.” This comes from its other traditional names, including “French harp” and “blues harp.” It’s also known as a “mouth organ”.

Learn about your harmonica.

The harmonica is a reed instrument that uses brass reeds. The reeds are what split the air you push or pull through the holes to create tones. Reeds are mounted on a plate, sensibly called the reed plate, which is also usually made of brass. The part of the harmonica that the reed plate is mounted to is called the comb, and is typically made of plastic or metal. The mouthpiece of the harp may be integrated into the comb, or in chromatic harmonicas, screwed on separately. The cover plates cover the rest of the apparatus, and can be made of wood, metal, or plastic.

• A chromatic harp’s sliding bar is also usually made of metal.
• Depending on whether you inhale or exhale through your harp, different notes are produced by the reeds. A typical diatonic harp tuned to C on the exhale is tuned to G on the inhale. These scales complement each other nicely, each filling in the other without having to add extra holes.
• The reeds inside your harmonica are delicate and will wear out over time. Gentle playing and regular care are required to maintain a good tone as long as possible.

Learn to read harmonica tablature.

Like guitars, harmonicas can be played by following tablature, which reduces the notes on a sheet of music down to an easy-to-follow system of holes and breath patterns. Tablature is useful for larger chromatic harmonicas as well, but it differs somewhat from diatonic tablature, and is less common.

• Breathing is marked by arrows. An up arrow indicates a breath out; a down arrow indicates a breath in.

  • Most holes on a diatonic harmonica produce two “neighbor” notes on a given scale; thus playing C and then D on the same scale is accomplished by blowing into the appropriate hole, and then drawing in from the same hole.

• Holes are marked with a number, starting from the lowest (left-hand) tone and moving upward. Thus, the lowest two notes are (up) 1 and (down) 1. On a 10-hole harp, the highest note would be (down) 10.

  • Some notes on a regular 10-hole harmonica overlap, notably (down) 2 and (up) 3. This is necessary to allow proper range for playing scales.

• More advanced techniques are marked with slashes or another small mark. Diagonal slashes through the arrows indicate that note bending (covered later) is required to get the proper tone. Chevrons or slashes on chromatic tablature can also indicate whether or not to hold the button in.

  • There isn’t a standardized system of tablature that’s used by all harmonica players. However, once you practice and get comfortable reading one type, most other types will make sense to you quickly.

• You can read How to read harmonica tabs to understand more.

Basic Harmonica Technique

Breathe in with your belly.

Breath control is very important when playing the harmonica, and it’s important to practice your technique beforehand. To try breathing in with your belly, lie flat on the ground and put your hand on your stomach. Take a deep breath in and feel your stomach rise up, but don’t let your chest move. Then, slowly push your breath back out.

• Belly breathing gives you more control over your breath, and it also lets you take more air in.

Make a note by blowing.

The very first thing to practice with your new instrument is making a note. Pick a hole or a set of holes on the mouthpiece and blow gently into them. Neighboring holes are typically designed to harmonize with each other automatically, so try blowing into three holes at once to make a pleasing sound. Practice switching between only playing one hole, and playing chords on multiple holes.

• This type of playing is called “straight-harp” or “first position.”
• As you might suspect, the number of holes you blow through is partly controlled by your lips. To allow greater control over the notes you play, you’ll eventually learn to use the blade of your tongue to block holes as well. This is covered later.
• Try not to allow any air to escape through your nose. Push it all out through your mouth to get a full note.

Draw in a breath to change notes.

Remembering to pull air across the reeds gently, breathe in to bring each note up a step. By breathing in and out through the mouthpiece, you can gain access to all the notes your harp is tuned for.

• This type of playing is called “cross-harp” or “second position.” Cross-harp notes are often well-suited to blues riffs.
• If you have a chromatic harmonica, practice pushing and holding the slide button to further control the notes you produce.
• To make breathing out easier, try saying “hah!” Push the air out forcefully with your diaphragm to get a full note.

Try playing a scale.

On a C-tuned diatonic harmonica, the C scale starts with (up) 4 and climbs to (up) 7. The standard out, in pattern is repeated except for on the 7th hole, where it is switched (draw in first, then out). This scale is the only complete scale on a C-tuned harp, but you can sometimes play songs on other scales, provided they don’t require the missing note(s) of the scale.

Practice.

Keep practicing playing scales and individual notes until you’re comfortable with playing just one note at a time. Once you can exert that level of control over your instrument, pick out some simple songs and practice them as well. Tablature for songs like “Mary Had a Little Lamb” and “Oh, Susanna” is easy to find online, if you get stuck.

• Try adding texture by playing multiple notes at once. The next step in your practice is to slightly relax your control and add two-note and three-note chords to the songs you practice by playing two or three adjacent holes at once. This will help you develop more control over your mouth and your breathing, and make the songs more interesting to listen to.

  • Don’t play everything in chords! Try adding a chord at the end of a verse or phrase. The important thing is to get comfortable switching between single notes and multiple notes.

Advanced Techniques

Pay for lessons.

From this point on, though you can certainly continue to teach yourself, you’ll see faster and more technically sound results if you practice under the tutelage of an experienced player. Harmonica lessons vary in price and frequency; feel free to try a few lessons from a teacher and then move on until you find one who fits your needs.

• Even as you take lessons, continue to rely on guides and books to help augment your playing. There’s no reason to drop all your other material just because you’re supplementing it with professional lessons.

Skip holes. 

It’s easy to fall into a pattern of constantly forcing air in and out through your harp, but as you begin to play more advanced songs, you’ll need to practice skipping over some holes to reach others. Play songs with notes that require you to jump a hole or two, such as the American traditional tune, “Shenandoah,” which has a jump from the 4th to the 6th hole near the end of the second phrase (on a standard C diatonic).

• Practice skipping by pulling the harmonica slightly away and then returning it to the appropriate position (to further your familiarity with the position of each hole) and by stopping your airflow without removing the harmonica (to give you more practice with breath control).

Play with two hands cupped.

To start with, you’ve probably been holding the harmonica with the pointer finger and thumb of your left (or non-dominant) hand and sliding it as you play. Up your game by adding your right (or dominant) hand. Rest the heel of your right palm under your left thumb, and then lay the blade of your right palm along your left to that your fingers can curl up around your left pinky finger. This creates a “sounding hole” that can be used to affect the sound coming from your harmonica.

• Add a soft warble or wail by flapping your sounding hole open and shut. Use it at the end of a verse to add emotion, or just practice it anywhere you like.
• Create a train whistle effect by starting with the sounding hole open, then tapping it shut and open again once.
• Play a muted, soft sound by leaving the sounding hole mostly closed.
• You’ll likely find that this position forces you to hold your harp at an angle, with the left end pointed slightly down and inward. This position actually lends itself to other techniques as well, so embrace it.
• How to Hold your Harmonica?

Learn to tongue block.

Tongue blocking is a great way to roll single notes into beautiful chords without breaking the original note. Using the side (blade) of your tongue, you’ll block some notes of a chord, and then lift off partway through the note to add them. This technique takes practice, but your sounding hole position should help present the side of your tongue to the mouthpiece naturally.

• Start by opening your mouth to cover the first four holes of your harp. Using your tongue, block holes 1 through 3 and play a straight-position note on hole 4. If you did it right, you should only hear (up) 4 being played. Once you can do this with ease, play a sustained note and then lift your tongue off halfway through to introduce the full harmony.
• Tongue blocks can be used to add a waltz- or polka-like airiness to songs by alternating them with individual notes, or in any of a number of other different ways. They’re very flexible. Practice using them until you’re comfortable improvising them from song to song.
• Harmonica Tone
• Tongue Effects

Begin to learn note bending. 

Probably the most advanced technique in terms of the sheer amount of practice it takes to master is note bending. Note bending is the art of actually changing the notes your harmonica produces by making airflow tighter and sharper. Master harpists can turn a diatonic harmonica into a de facto chromatic harmonica just by note bending. For now, practice using it to produce flat notes to increase your repertoire.

• The basic technique for bending a note is to make the opening in your lips very very small, and sharply suck air through them into the hole you want to bend. Draw a cross-harp note and gradually pinch your lips together until you begin to hear the tone change. By pinching your lips more or less, you can further control the tone of the note.
• Be very careful when you practice note bending. Because the air crosses the reeds so sharply, it can easily loosen or bend them, ruining your instrument. Patience and care are required to find a happy medium between not bending a note and bending it too harshly.
• How to bend a note on Harmonica?
• Diatonic Bending

Conclusion on how to play harmonica

After reading our harmonica guide for everyone, are you ready to play harmonica cyar?

If you are still not confident to play harmonica, read the article again. Take a deep breath, exhale softly, then get ready to play harmonica!

Wish you play harmonica very well, very attractive!

Reference:

• https://www.wikihow.com/Play-a-Harmonica

What Is Tempo? There’s a pulse that connects all music. This universal communication tool is more than just rhythm, harmony and melody-in fact, non-e of the matter without a tempo.

Tempo is one the simplest concepts to grasp in music theory, but it’s 1 of the most difficult to actually play.

Musicians will spend their entire lives attempting to play and find the tempo.

In this article let’s explore all the different ways of approaching tempo so you can master the concept in your own music.

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What Is Tempo?

Tempo is the speed at which a little bit of music is played. There are three primary techniques tempo is communicated to players: BPM, Italian terminology, and modern language.

Tempo vs. Time Signature

Since it refers to the number of beats per minute and not the amount of beats per way of measuring music, tempo is quite different from time signature.

Tempo and rhythm are intertwined and rely on each other very closely, but tempo should be thought of as the canvas or structure where rhythms exist.

You can imagine time signature as interacting with the tempo in the sense that the bottom number in enough time signature determines the pulse and the way the pulse is subdivided.

Time signatures, rhythms and syncopation are how artists take a factual, measurable number like BPM and sculpt it into musical information-essentially creating art with the fabric of time!

Tempos are sort of psychedelic when you consider it!

What Is Beats Per Minute (BPM)?

This method involves a*signing a numerical value to a tempo. “Beats per minute” (or BPM) is self-explanatory: it indicates the number of beats in a single moment. For instance, a tempo notated as 60 BPM means that a beat sounds exactly once per second. A 120 BPM tempo will be twice as fast, with two defeats per second.

In terms of musical notation, a beat almost always corresponds with the piece’s time signature.

• In a time signature with a 4 on the bottom (such as 2/4, 3/4, 4/4, 5/4, etc.), a beat will correspond with quarter notes. So in a 4/4 time, every four defeats will take you through a full measure. In 5/4 time, every five beats will need you through a measure.
• In a time signature with an 8 on the bottom (such as 3/8, 6/8, or 9/8), a tempo beat typically corresponds having an eighth note.
• Sometimes tempo beats correspond with other durations. For instance, if you need to count the right path through a measure of 12/8, you could choose a tempo that represents eighth notes (where 12 tempo beats get you through one determine) or perhaps a tempo that represents dotted eighth notes (where 4 tempo beats would allow you to get through the measure).

BPM is the most precise way of indicating fast tempo or slow tempo. It’s found in applications where musical durations must be completely precise, such as film scoring. It’s also used to create metronomes that are used on the highest level professional recordings. In fact, some people utilize the term “metronome marking” to spell it out beats per minute.

What Are the Basic Tempo Markings?

Musical terminology makes regular use of the following tempo markings:

• Larghissimo—very, very slow, almost droning (20 BPM and below)
• Grave—slow and solemn (20–40 BPM)
• Lento—slowly (40–60 BPM)
• Largo—the most commonly indicated “slow” tempo (40–60 BPM)
• Larghetto—rather broadly, and still quite slow (60–66 BPM)
• Adagio—another popular slow tempo, which translates to mean “at ease” (66–76 BPM)
• Adagietto—rather slow (70–80 BPM)
• Andante moderato—a bit slower than andante
• Andante—a popular tempo that translates as “at a walking pace” (76–108 BPM)
• Andantino—slightly faster than andante
• Moderato—moderately (108–120 BPM)
• Allegretto—moderately fast (but less so than allegro)
• Allegro moderato—moderately quick (112–124 BPM)
• Allegro—perhaps the most frequently used tempo marking (120–168 BPM, which includes the “heartbeat tempo” sweet spot)
• Vivace—lively and fast (typically around 168-176 BPM)
• Vivacissimo—very fast and lively, even faster than vivace
• Allegrissimo—very fast
• Presto—the most popular way to write “very fast” and a common tempo in fast movements of symphonies (ranges from 168–200 BPM)
• Prestissimo—extremely fast (more than 200 BPM)

How Is Tempo Used in Music?

Tempo is a key element of the musical performance. Inside a piece of music, tempo can be just as important as melody, harmony, rhythm, lyrics, and dynamics. Classical conductors use different tempos to greatly help distinguish their orchestra’s rendition of a classic item from renditions by other ensembles. However, most composers, all the way from Mozart to Pierre Boulez, provide a lot of tempo instructions in their musical scores. So when it comes to film underscore, certain tempos are crucial when setting certain moods.

One particularly notable tempo is the “heart rate tempo,” that is a musical speed that roughly aligns with the beating pulse of a human heart. Although heartrates change from person to individual, most fall in the range of 120 to 130 BPM. Analysis has shown that a disproportionate number of hit singles have already been written within this tempo range.

How to find the tempo?

Space and time aside, finding the tempo is a lot more difficult-and it’s definitely the most crucial section of understanding and using tempo.
Keeping up and playing around with that rigid, unforgiving, deterministic measure of time requires a lifeperiod of skill plus practice.

Here’s a few things to keep in mind when approaching tempo in your music.

Find a metronome

The metronome was invented in the 1800s and contains been used as a way to help musicians continue beat ever since.

Today metronomes are very easy to find when compared to classic wind-up metronomes of days past.

Your best bet would be to get an app, Google it or utilize the metronome in your DAW-which is clocked to MIDI and glues everything together.

Practice to a metronome

Practicing to a metronome mthey be the equivalent of eating your vegetables, taking vitamins and weight lifting.
It’s difficult, it takes discipline, it’s not super fun-but it will make you a much, much better musician.

Even the most seasoned professionals will turn the metronome on during their private practice sessions.

The metronome is like a mirror, it shows where all your imperfections lie also it gives you a reference point for where you can reach.

Playing to the metronome is indeed important, if you want in order to be a serious musician you need to practice to one.

When you practice with a metronome you’ll discover how difficult it really is to play at slower speeds.

A slower tempo is often very difficult for musicians to internalize because the space between beats is more pronounced.

Hot tip: If you play with a group, learn to perform your songs to a metronome at various tempos. Achieving this will provide you with a greater level of control when playing live and with out a metronome.

 Look at your watch

Looking at your watch is an excellent solution to identify a tempo if you’re curious what the tempo of a song is, or desire to find the tempo before kicking off a track.

Just look at the clock and count the number of beats throughout a specific interval.

For example, if you count 40 beats during a 30-second interval the song is played at 80 BPM.

Memorize a few songs

In the movie Whiplash, the conductor asks the drummer to play a specific tempo, with the expectation that the drummer should know exactly how to kick off a song at 130 BPM.

In reality, this is not an expectation that any band leader should place on any musician.

Humans are not robots and you also can’t expect anyone to play a particular BPM on command.

But, with practice, humans are great at approximating a tempo on command.

One great way to master this skill is by memorizing the tempo and beat of a handful of memorable songs that are well-known for following a certain tempo.

Here’s a few which come to mind.

Today, Harmonica Tabs will guide you how to install & active Guitar Pro (6,7 & 8 version).

How to setup and active Guitar Pro

Download Guitar Pro

Download Guitar Pro 6 | Tablature Editor Software

This article gathers the necessary links to safely download and install Guitar Pro 6 on your computer.

• Guitar Pro 6 is no longer supported by Arobas Music’s technical team.
  Therefore we can not guarantee that you will able to install and use Guitar Pro 6 successfully on your computer. Arobas Music supports former Guitar Pro versions up to one year after the release of the last and current version (Guitar Pro 8.x). 
  Former Guitar Pro licensed users benefit of a 50% discount on any Guitar Pro 8.x purchase made from our website.
  They invite you to give Guitar Pro 8 a free try for 7 days by downloading our trial version from this link.
• You will need a valid license in order to activate Guitar Pro 6.
• Guitar Pro 6 licenses are no longer available for sale. No exception will be made. They can not offer you a free Guitar Pro 6 license either.
• If you purchased Guitar Pro 6 by the past you can recover your license information from this link.

Download Guitar Pro 6

Guitar Pro 6 is available for Windows, macOS et Linux.

WINDOWS – Download Guitar Pro 6 for Windows

MAC – Download Guitar Pro 6 for macOS

LINUX – Download Guitar Pro 6 for Linux

The software has been translated in 27 languages: Czech, Danish, German, Greek, English, Spanish, Finnish, French, Hebrew, Croatian, Hungarian, Italian, Japanese, Korean, Norwegian, Dutch, Polish, Portuguese, Brazilian Portuguese, Romanian, Russian, Slovenian, Swedish, Turkish, Vietnamese, Traditional and Simplified Chinese.

Guitar Pro 6, system requirements

Operating systems:

• Windows XP/7/8/10 (32 and 64 bits) – Processor Intel or AMD 1,8 Ghz
• macOS X 10.4 or later (32 and 64 bits) – Processor Core duo 1,8 Ghz
• Ubuntu 9.10 or higher (32 bits) – Processor Intel or AMD 1,8 Ghz

General settings:

• Your computer must have a sound card
• RAM 2 Gb
• Hard drive free space 2 Gb
• Screen resolution 1024 x 768 pixels. Guitar Pro 6 is not compatible with high-resolution displays.
• You must have administrator privileges

Download Guitar Pro 7.6 | Tablature Editor Software

This section gathers the necessary links to safely download and install Guitar Pro 7.6 on your computer.

• You will need a valid license in order to activate Guitar Pro 7.6.
• Guitar Pro 7.6 licenses are no longer available for sale from our website. We can not offer you a free Guitar Pro 7.6 license either. 
• If you purchased Guitar Pro 7.6 from our website or registered it you can recover your license information from this link.

Download Guitar Pro 7.6

Guitar Pro 7.6 is available for Windows and macOS

Windows – Download Guitar Pro 7.6 for Windows

macOS – Download Guitar Pro 7.6 for macOS

The software has been translated in 13 languages: German, English, Spanish, French, Italian, Japanese, Korean, Polish, Brazilian Portuguese, Russian, Swedish, Chinese (China – Taiwan).

Guitar Pro 7.6 system requirements

Operating systems:

• Windows 7/8/10/11 
• macOS X 10.10 or later 

The Guitar Pro 7.6 support will end in May, 2023.

General settings:

• Architecture 32 or 64 bits
• RAM 4 GB
• CPU: Dual-core CPU
• Hard drive free space 2 GB
• Screen resolution 960 x 720 pixels. 
• You must have administrator privileges
• Your computer must have a sound card

Download Guitar Pro 8 | Tablature Editor Software

Guitar Pro for Windows

Guitar Pro for macOS

Guitar Pro 8 system requirements

Install/Setup Guitar Pro

Installation Guitar Pro 6 likes Pro7 and 8.

Once the download is complete, launch the executable file and follow the instructions. Check the recap statement and click “install”.

Near the end of the installation, a “Microsoft Visual C++ 2005 Redistribuable” window will come up. It is vital that you do install that component for Guitar Pro 6 to run smoothly. Do not close that window!

You have finished installing Guitar Pro.

Activation Guitar Pro

Guitar Pro 6 activation

Then launch Guitar Pro 6. The activation window comes up. 
Type in the license information that you have received from Arobas Music, and click OK after you have read the End User License Agreement.

If everything has gone right, the following window comes up. Congratulations, you have successfully installed and activated Guitar Pro 6!

In case your numbers have been mistyped, the following window comes up. Please make sure that you have correctly typed in your license information.

If your computer has failed to connect to the activation server, the following message appears:

Adjust your firewall settings and try again.

Guitar Pro 7.6 activation

Once Guitar Pro 7.6 installed, you need to activate it with your license number (or User ID). This license number has been sent to you by email after your order from our website.
You can retrieve it at any time once logged to your Guitar Pro account (My Licenses section).

Open Guitar Pro 7.6 and enter your license number in the activation window as shown below, then select Activate.

After you active success, it will be:

Guitar Pro 8 activation

Once Guitar Pro 8 installed, you need to activate it with your Guitar Pro 8  license number.

Please make sure to use your Guitar Pro 8  license, and not the license of a former Guitar Pro version (7.6/6/5/…). Otherwise you won’t be able to activate Guitar Pro 8. 

The Guitar Pro 8 license is composed of 3 sequences of 8 characters (numbers and letters), and always start with the 8 digit looking like this:

8XXXXXXX-XXXXXXXX-XXXXXXXX .

If necessary you can order a Guitar Pro 8 license from this page.

Enter your license number in the activation window as shown below, then select Activate.

Guitar Pro 8  is now successfully activated!