Re: 12th instead of 3rd

Hi Mike,
     12th and 11th are often overlooked positions.  Maybe because 
their numbers are high?  Or because the tonic (resolution note) of 
each requires bending in the first octave?  These are why I 
overlooked them for many years.

     But if you think about it, they are as close to the named key of 
the harp --- on the cycle of fifths and in terms of the number of 
shared scale tones --- as are 2nd and 3rd positions, respectively.  
What a shame to ignore them!

     For blues hounds, 12th position shines on blues and early jazz 
tunes originating in Kansas City (such as "Kansas City Blues"!) and 
New Orleans, as well as jump blues, and big-band blues such as sung 
by Big Joe Williams.  These use the dominant (blues) 7th chord and 
scale tone far less frequently than do Chicago, Delta and modern 
blues, and blues-influenced rock; instead they have melodies and 
harmonies that tend to accentuate the 6th, M7th, and 9th scale tones. 
If 2nd position fails you on such major-scale tunes, if it has you 
grabbing for a file to pitch-raise hole 5 draw, or to lower gaps in 
that hole for the overblow, then you ought to also consider using 
12th position on a harp pitched a whole tone higher.

Nice to reconnect, Mike!  I sent a novice to your website and she's 
been raving about it for a week!

- -John     

Mike Will wrote
>Perhaps you could post a little more about your experience with 12th
>position.. what it works particularly well for.. what the trade-offs
>are, a particular tune to start with, yada yada.  I remember Paul
>Messinger, Chris Michalek, and a few others talking about 12th years
>ago, but I've never gotten into it.
>Happy New Year!
>Mike Will

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