Re: [Harp-L] Recommended Scales on chrom?

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

George Smith would have used mostly third position Dorian (like D on a
C chromatic) or 10th (Eb on a C chromatic, same as third but with the
button if you stick to just dorian). Sometimes he played in first,
probably using the button for some blue notes (Eb, Gb, Bb - all draw
notes). He may have done more, perhaps others could fill in the
picture. Bill Clarke would have been mostly 3rd and 10th. Paul deLay
used 3rd, 10th, 1st, and sometimes 2nd and 9th (Ab on a C, like 2nd
with the button held in if you stick to mixolydian). These six keys
(adding 8th, or Db on a C), if played in their default modes without
the button, have the strongest chordal possibilities. It's a limited
way to play, and it can be done as an excuse to play poorly, or can be
developed into something quite magnificent in the case of the players
you mention.

For Cats and Rascals, you'll find a lot of C and C#, but also several
other keys and often, even in a mainly major-scale pop tune, you're
going to find modulation into related keys and use of auxiliary scales
like the diminished scale, harmonic and melodic minor, etc.

Toots knows every scale in every key inside out. Bluesette modulates
through the keys of Bb, Ab, Gb/F#, and briefly B (or, if you play it in
the usual singer's key of G, the keys of G, F, Eb, and Ab).

Stevie Wonder often uses the six-note blues scale as a basis for what
he does, alternating it with major pentatonic in a variety of keys,
including C, E, F, G, Ab, A, Bb, maybe others.

If you want to play chromatic and not just toy with it, I suggest you
either deeply study the players you admire, starting by figuring out
the boundaries of what they used (as summarized above, for instance),
and then figuring out what they were able to exploit and develop within
those boundaries, or just admit you've got to plunge in and get wet.
With half an hour a day of disciplined and directed study, you could
gain a working familiarity of all of Bobby Joe's scales and more within
a year. That alone would give you the chops to tackle a wide variety of
material on its own terms instead of trying to eke out shortcuts.

Winslow



--- sean stephens <thepriapist@xxxxxxxxxxx> wrote:

> Hi folks,
> I recently bought a chromatic book from Mel Bay,think the author is
> Bobbie Joe Holzman.
> Very comprehensive study of the chrome and quite user friendly,having
> said that , he covers approximately 14 different scales on a C chrom
> and speaking personally,even in a lifetime I could never learn off
> all these, less commit them to memory!
> My question is; aside from the Dorian (3rd pos stuff,which I love!),
> what other modes would you quys suggest are the more
> important,/relevant scales to work on.
> I tend towards Smith,Clarke ,Delay etc but also appreciate Toots'
> Bluesette for example and listening to Smith's "Peg",its clear he is
> "pulling the trigger"occasionally ,ie not merely playing Dorian.
> For instance,what modes would the Harmonica gangs (Rascals etc )have
> used most frequently?
> Any advice appreciated.
> Sean
> 
> 
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