[Harp-L] Positions and modes, modes and positions, etc. (LONG)



There are many posts on this subject in the Harp-L archives, and also in the
message archives for HarpTalk. It is a sure-fire way to get a debate started
in any harmonica group!

A good resource which is very accessible (especially to self-taught music
theory neophytes like me) is:

    Theory and Harmony for the Contemporary Musician
    by Arne Berle
    $17.95 US
    ISBN 0.8256.1499.6
    Copyright 1996, Amsco Publications
    Distributors:

        Music Sales Corporation
        257 Park Avenue South
        New York, NY 10010 USA

        Music Sales Limited
        8/9 Frith Street
        London, W1V 5TZ England

        Music Sales Pty. Limited
        120 Rothschild Street
        Rosebery, Sydney NSW 2018 Australia

When playing the notes that occur naturally (no bending, overbending, or
other "unnatural" acts) on a Richter-tuned 10-hole diatonic harmonica, there
is a "built-in" correspondence between specific "positions" (defined as the
relative relationship between the key of the harmonica and the 12 keys [15
keys, if you count enharmonic keys separately] of Western music) and "modes"
(defined as the intervalic relationship of the 7 tones of a particular
scale).

Modes (based on the major scale):

Position Number     Built-in Mode     Intervalic Sequence (Scale Degrees)
        1           Ionian            1--2--3-4--5--6--7-1
        2           Dorian            2--3-4--5--6--7-1--2
        3           Phrygian          3-4--5--6--7-1--2--3
        4           Lydian            4--5--6--7-1--2--3-4
        5           Mixolydian        5--6--7-1--2--3-4--5
        6           Aeolian           6--7-1--2--3-4--5--6
        7           UNDEFINED
        8           UNDEFINED
        9           UNDEFINED
       10           UNDEFINED
       11           UNDEFINED
       12           Locrian           7-1--2--3-4--5--6--7

Please note that the last scale degree of the intervalic sequence given
above is the octave note, and NOT the same note as the starting note of the
mode. The scale is played ascending.

The "position" numbers given above are based on the Circle of Fifths, moving
in a clockwise direction around the Circle. For example, given a "G"
harmonica, the consecutive KEYS (without specifying the "mode") and
corresponding positions are:

Key:                 G  D  A  E  B/Cb  F#/Gb  C#/Db  Ab  Eb  Bb   F    C
Position ("G" harp): 1  2  3  4  5     6      7      8   9   10   11   12

The Ionian mode corresponds (based on the interval sequence) to the major
scale. The Aeolian mode corresponds (based on the interval sequence) to the
natural minor scale. A very large percentage of Western music is based on
these two scales.

"Modes" are also defined for other scales, such as the harmonic minor.
However, these "modes" are numbered and not named as above. These other
"modes" become very important for jazz, as an example. These other "modes"
are NOT addressed in this article.
 
EXAMPLE (deliberately avoiding "C" major as the basis of discussion):

"G" Major (Ionian) Scale     G--A--B-C--D--E--F#-G
Scale Degree                 1--2--3-4--5--6--7- 1

"A" Dorian Scale             A--B-C--D--E--F#-G--A
Scale Degree                 2--3-4--5--6--7- 1--2

"B" Phrygian Scale           B-C--D--E--F#-G--A--B
Scale Degree                 3-4--5--6--7- 1--2--3

"C" Lydian Scale             C--D--E--F#-G--A--B-C
Scale Degree                 4--5--6--7- 1--2--3-4

"D" Mixolydian Scale         D--E--F#-G--A--B-C--D
Scale Degree                 5--6--7- 1--2--3-4--5

"E" Aeolian Scale            E--F#-G--A--B-C--D--E
Scale Degree                 6--7- 1--2--3-4--5--6

"F#" Locrian Scale           F#-G--A--B-C--D--E--F
Scale Degree                 7- 1--2--3-4--5--6--7

On a Richter-tuned 10-hole diatonic harmonica, there will always be one
complete octave available naturally for each mode in the middle register of
the harmonica. Modal playing in the lower and upper register will require
bending and/or overbending to complete the modal scale.

Position 1  - Hole 4 blow - Ionian mode         (Major scale)
Position 2  - Hole 4 draw - Dorian mode
Position 3  - Hole 5 blow - Phrygian mode
Position 4  - Hole 5 draw - Lydian mode
Position 5  - Hole 6 blow - Mixolydian mode
Position 6  - Hole 6 draw - Aeolian mode        (Natural minor scale)
Position 12 - Hole 3 draw - Locrian mode

Many of the songs in the traditional (Irish, Scottish, Celtic, Appalachian,
Old Time, Bluegrass, etc.) music repertoire are modal. I suspect this is an
historical accident, based on the fact that some of the "traditional"
musical instruments are naturally modal, similarly to the Richter-tuned
10-hole diatonic harmonica.

In any event, I think that it IS important to have some understanding of
musical modality and its relationship to position playing, in order to find
the easiest way to play a particular song on a diatonic. That does NOT
preclude you from playing the notes of a particular song in any way that you
can. If you're Howard Levy or capable of playing chromatically on a
diatonic, play it however you like. For the rest of us amateurs without
thousands of hours to hone our chops, it's easier to learn a little modal
theory and play as "naturally" as possible for a given song. Knowing the
modal to position relationship provides instant access to a harp that "fits"
the song, rather than forcing the harp to perform "unnatural" acts.
 
Regards,
Crazy ('bout harp!) Bob





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