[Harp-L] ii-V-I question

[Rob.clark@xxxxxxxxxxx]

Here's and example for diatonic cross harp (key of G on C harp):

I chord:  G major  or G6 chord notes are GBD (A for the 6) (F# for GM7).
Emphasis the following holes D2 (or B3), D3, D4, B6, D6, D7, D8, B9, D10  Can also use 2D half step bend for the F#.
Avoid C (B1, B4, B7, B10) like the plague.  Avoid F (2D whole step bend, D5, D9) like the flu - since it will make it sound like a G7 chord instead of a G chord.

ii chord:  Am or Am7 chord notes are:  ACE (G for Am7)
Emphasize the following holes 1B, 2B, 3D whole step bend, 4B, 5B, 6D, 7B, 8B, 9B, 10B, 10D

V chord: D or D7 chord notes are DF#A (C for D7).
Empasize the following holes:  1B, 1D, 3D whole step bend, 4B, 4D, 6D,  7B, 8D, 10B, 10D.
Avoid F (2D whole step bend, D5, D9) like the flu - since it will make it sound like a Dm7 chord instead of a D7 chord.

For example,  playing one note per measure over a ii-V-I at one chord per measure you could play the following line:  4B, 4D, 3D or the notes C D B for chord tones on Am, D7, and G
(3rd of Am, root of D7, and third of G).   Emphasize chord tones in your playing (especially on the down beats).   Use other notes only as passing notes when playing a line or melody.  Be sure to resolve to a chord tone when the music is on that chord - best to resolve to chord tones from the triad to really empasize the changes.

There permtuations are (almost) endless.  Start with theory, then use your ear to decide which ones sound the best over the changes.

Rob