Re: [Harp-L] Some observations on 12th position on the diatonic

[Mojo Red <harplicks@xxxxxxxxx>]

Hey Jim,

Thanks offering for your perspective on the advantages of using 12th position. I'm using it more and more these days.
I'd like to add a few more observations:

1)  12th is great for tunes that are based in the I VI II V chord structure. 

2)  You mentioned that 12th is useful in tunes that modulate to the relative minor. Well the reverse is also true. Tunes that start in a minor and move to the relative major (if there is such a thing). Hesitation Blues is a good example. I'll start the tune in 3rd position and move to 12th. 

3)  If you are comfortable using bent notes as notes (rather than slurs), the first octave is also great in 12th, despite the fact that the tonic is a bent tone (2 draw, whole step bend). You can make that tonic very expressive indeed.

4)  12th is ideal for tin-pan alley type tunes such as "Nobody Knows You When You're Down and Out." You can cleanly play the ~melody~ instead of just throwing licks over it, but you can also throw licks over it. 

3)  Blues that have a strong major feel work great in 12th... such as Cakewalk Into Town.

4) 12th is a great alternative to playing in 1st because you have 2 adjacent octaves that flow together nicely, whereas in 1st position the middle octave can be awkward for bluesy tunes (most guys jump from the 3rd octave down to the 1st octave and ignore the middle).

5)  Despite the fact that the tonic in the 2nd octave (5 draw) is not a super expressive note, you can deliciously play around the tonic to get that expressiveness and use the tonic more as a passing tone. Who says you have to start your solo on the tonic?

6)  The downside to 12th is that if you are not comfortable with hitting a bent note as a single notes (rather than a slur), then the first octave can be very challenging. 

I encourage anyone who wants to open up their playing to explore 12th position. You'll be surprised how nicely things lay out there. 
Harpin' in Colorado,
--Ken M.



________________________________
 From: Jim Rumbaugh <jrumbaug@xxxxxxxxxxxxxxxxx>
To: harp-l@xxxxxxxxxx 
Sent: Sunday, January 22, 2012 5:56 PM
Subject: [Harp-L] Some observations on 12th position on the diatonic
 

Some observations on 12th position on the diatonic

If you have not tried 12th position, here's the sales pitch of why and where. Keep in mind, all my opinions are based on a "lazy man's approach" to 12th position

1) It's good for playing the major pentatonic scale.

2) I use it as an octave scale, starting on 5 draw, with a half octave below (down to 4 blow) and a half octave above (up to 10 blow). You can play all these notes with no bending

3) The root note is a draw note that allows you to be expressive. Compare that to 1st position, where the root note is a blow note. 

4) If you play the major pentatonic in 2nd position, your first note after that expressive 2 hole draw is a 3 draw bent a full step. If you don't want to bend in 2nd position, you gotta start on 6 blow, but then you've lost you're expressive root note.

5) When you play the major pentatonic in 1st position, the fifth scale tone below 4 blow is that same pesky 3 draw bent a full step. 

6) So from #3, #4 and #5, we can say, 12th is the position where you can be expressive on the root, play below the root, and above the octave with no bents notes

7) On tunes that modulate to the relative minor, like Georgia On My Mind,  you're set and ready to play in 3rd position.

That's it. There are some places, where 12th has an advantage over 1st, and 2nd when playing the major pentatonic scale. I still play most of my major pentatonic scales in 2nd position, but I'm enjoying using 12th more and more.