Re: [Harp-L] scales and positions

[philharpn@xxxxxxx]

Not the only way to skin a cat: "The only caveat is that you need the overblow technique to get the F#."




Overblows are not the only way to go. If they were, everybody would use them. I have not noticed THIS yet. But everybody bends notes. And probably a large number of those who bend, also blow bend the top notes ( a la Jimmy Reed). If you can do that, you can bend the notes in the middle of the harp mentioned below.


The "missing notes" are also available by using a Suzuki's new SUB30, the Hohner  XB40, the Suzuki Promaster Valved (MR-350), and the  Seydel with the Gazell method. The Promaster and Gazell method are half-valved.


I spent a week ostensibly trying to learn how to execute overblows, but it never really happened for me or the rest of the dozen classmates back in 1989. So I am familar with the concept as well as the frustration.


My point that playing a blow bend to get that pesky F# is a lot easier (and sounds a lot more pleasant) than the overblow. Even the average harp player can easily master valved and extra reed blow bends. The blow bend on a all C harps mentioned above for F# is Hole 6 (you flatten the G a half-step).


For those who use already use overblows and have success with them; great. Keep up the good work. Some people can execute them.  But for many others they are simply an exercise in frustration.


I think the average person can learn to work valved or extra-reed blow bends a lot easier than overblows. Plus, the blow bends are in the right spot. When I play keyboard and want to play F#, I play the next key to F.  The overblow for F# is 5 blow (aka E). So with overblows, the E is "overblown" F#. With valved-reeded blow bends the G is bent down to F#.  Makes more sense to me. And sounds better. Which is at least as important as ease of execution.


 (Your mileage may vary and you may even give up and switch to chromatic diatonic (Koch, Slide Harp) or solo tuned chrome.)






Hope this helps.
Phil Lloyd


BTW: 











-----Original Message-----
From: Bob Cohen <bob@xxxxxxxxxxxxx>
To: William Madel <wmadel@xxxxxxxxx>
Cc: harp-l <harp-l@xxxxxxxxxx>
Sent: Thu, Sep 20, 2012 8:15 am
Subject: Re: [Harp-L] scales and positions


On Sep 20, 2012, at 12:36 AM, William Madel <wmadel@xxxxxxxxx> wrote:

> been playing for about 18 months.  Of the many weaknesses that I still see
> in myself as a player, I seem to have an overall lack of awareness and
> comprehension regarding scales and positions.  I naturally pick up scales
> (seemingly) although I don't know any, and I often play in positions other
> than 1st and 2nd even though i have no idea what that even means because I
> barely comprehend 1st and 2nd position.


IMHO, you should forget about positions and focus on scales and scale exercises. 
Positions merely provide a starting place for a given scale. E.g., 2nd position 
on a C harp begins the 2 draw. That note is G. Starting from there you can play 
G scale (G A B C D E F# G). The only caveat is that you need the overblow 
technique to get the F#). If you're playing traditional blues this is not a 
problem because the G7 scale is G A B C D E _F_ G. That is, the seventh note in 
the scale is flattened. If you approach blues playing chromatically, you chose 
the notes from each chord scale as they relate to the particular change. 

Written as functions where the numbers stand for the chords in a given scale, 
the standard 12 bar blues pattern is: 

| I | I | I | I | IV | IV | I | I | V | IV | I | I/V | 

For the Key of G

| G7 | | G7 | G7| G7| C7| C7| G7| G7| D7| C7| G7| G7/D7 |

G7 Scale G  A  B  C  D  E  _F_  G
C7 Scale C  D  E  F  G  A  _Bb_ C
D7 Scale D  E  F# G  A  B  _C_  D

Google Harmonica Note Layout to learn where the the notes are on your C harp. . 
E.g., http://www.angelfire.com/tx/myquill/HarpLayoutGenerator.html Learn the 
patterns and then you can apply them to the other harps.

Then you want to learn some different scales like the blues and pentatonic 
scales. I have found this site useful: E.g., http://www.jazclass.aust.com/scales/sca7ch.htm  
I also use the RUBANK ADVANCED METHOD SAXOPHONE Vol. 1 for exercises. For a 
blues specific approach you might try Jamey Abersold's book VOLUME 2 - NOTHIN' 
BUT BLUES.

This is how musicians who play other instruments study. Kick up your game, learn 
to read, understand how things work, and have fun. You'll be a better musician 
for the effort.

***Standard disclaimer *** This information is based on my understanding. Anyone 
who knows more, please feel free to comment and/or correct***

Bob Cohen
Writer, Internet Consultant, Teacher
w: bobjcohen.com
t: #itsabobworld