[Harp-L] Re: Born in Chicago (XB-Melody)

["jazmaan@xxxxxxxxxxxxxx" <dmf273@xxxxxxxxx>]

One of the main reasons it is possible (and even pretty easy) to play blues in the key of A on a
Bb XB-Melody is because the #3 blow bends down 1-1/2 steps from G to E and vice-versa from E up to
G:

        E
        F   Ab      Eb  Ab      Eb  Ab
A   Db  Gb  A   Db  E   A   Db  E   A
Bb  D   G   Bb  D   F   Bb  D   F   Bb
1   2   3   4   5   6   7   8   9   10
C   F   A   C   E   G   A   C   E   G
B   E   Ab  B   Eb  Gb  Ab  B   Eb  Gb
    Eb  G
        Gb


As far as I know, that blow bend of 1-1/2 steps is unique to the XB-Melody.  When the XB-Melody
was still in the planning stages I remember Pat Missin asking "Are you sure you really want that
there?"  And I said, "Well I don't see any other way of giving that E a stable home."

Little did I know that beyond its theoretical necessity, that 1-1/2 step bend would turn out to be
one of the most musically useful bends on the harp in several different keys and contexts
including blues in the key of A.   And any trepidations I had about the physical demands of
achieving that deep blow bend vanished once I actually had the harp in hand.  Its an easy bend
from G down to E and feels quite natural.   Similarly useful and only slightly more difficult is
hitting the fully bent E first and then letting it up to G.     

Both are used extensively in the "Born in Chicago" example at 

http://www.bebopradio.com 

For example:

E to G (1st chorus, bar 1)  
G to E (1st chorus, bar 9)

Both bends are used repeatedly throughout the rest of the song.   Without them, the blues in A
wouldn't work half as well.

If you listen closely you may also hear one example of the #1 blow bend of low A (1st chorus, bar
9).    That's about the only note in the solos that Butterfield didn't play but I threw it in
anyway just for fun.


Give a listen and let me know what you think!

http://www.bebopradio.com