Re: [Harp-L] Positional Thinking

[Dan Hazen <bluesmandan76@xxxxxxxxx>]

I wasn't suggesting it as a standalone approach, but as something useful
for a player to get out of a rut.

Arpeggiated triads are fine, but you're just working with 3 notes. A
positional approach is more scalar, and has to do with how you view the
whole harmonica and all the notes. Both are good and useful approaches, and
I think a good player will play with both arpeggios and scales in mind. In
my mind, the arpeggiated approach focuses on purposely hitting a few choice
notes, whereas a positional approach looks at the whole harp and focuses
more on what notes you DON'T include (on diatonic harp anyway). There's a
lot of overlap between the two approaches as far as the actual notes used
are concerned, but there is a different mental feel in arpeggios vs.
scales, I think.

Think of it like this (and this is sort of an extreme example, to make the
point): If you have a song that really vamps on a single chord, what are
you gonna do? Say its a Dm chord, you've got a C harp. Do you just
arpeggiate D F A over and again? That could get repetitive. Or do you just
think "3rd position" and play everywhere?

Arpeggios absolutely are necessary, but in some cases it is useful to be
more scalar, and play with the corresponding position in mind (provided you
understand the relationship between scale and position).


On Sun, May 18, 2014 at 12:35 PM, Buck Worley <boogalloo@xxxxxxx> wrote:

> What about when there is a 6 minor chord in the song? Do you think of 6th
> position? Or a 2 or 2 minor? Well, 2nd position? or a 3 minor? 3rd
> position? or a b7th chord? This method seems a bit confusing to me. I guess
> it goes back to how we learn and develop habits and I certainly have had to
> retrain myself because I learned a bad habit. I don't mean to pass judgment
> on this thought process and say it is bad, I was referring to other bad
> habits that I have had to correct. As for me, if I'm playing in 2nd pos and
> the song calls for a 4 chord I just know where the root for the 4 is as
> well as the other notes for the triad or alterations of a 4 chord such as
> 4sus or 4 minor; where the notes are and/or if they are even available.
> Same goes for all chords. I know from practicing harmonizing the major
> scales where the chords and notes are. Same goes for 3rd or 1st positions
> and so on. Practicing arpeggios will get you there. I guess I just don't
> get it. However I am always open for anything useful.
> Regards,
> Buck
>
> > Date: Sat, 17 May 2014 22:37:24 -0500
> > Subject: Re: [Harp-L] Positional Thinking
> > From: michaelrubinharmonica@xxxxxxxxx
> > To: bluesmandan76@xxxxxxxxx
> > CC: harp-l@xxxxxxxxxx
>
> >
> > Certainly. I have talked with many players who do the same and I teach
> > this method.
> > Michael Rubin
> > michaelrubinharmonica.com
> >
> >
> > On Sat, May 17, 2014 at 10:15 PM, Dan Hazen <bluesmandan76@xxxxxxxxx>
> wrote:
> >
> > > Sometimes when I'm playing, I think of the "position" that is
> appropriate
> > > for the chord I'm playing. For instance, in a standard blues tune, the
> I
> > > Chord is 2nd position.... the IV chord is 1st position, and the V
> chord is
> > > 3rd position. For minor blues, the I Chord is 3rd position, the IV
> chord is
> > > 2nd position, the V chord is 4th position (relative minor).
> > >
> > > I think of those positions for each change, and it helps me play a
> little
> > > more freely over the changes using different licks than I might
> otherwise.
> > > As you know, each position has its own feel and particular licks, so
> this
> > > approach adds a little variety... That is, you could approach a
> standard
> > > blues, for instance, ONLY thinking about 2nd position licks... which is
> > > what I think most people probably do. But if you think of the position
> > > that fits the chord changes... then you have 2nd, 1st, and 3rd position
> > > licks in mind as you move through the song. It makes my playing a
> little
> > > more varied, I think. For me, it mentally "feels" like playing guitar
> and
> > > moving my hand to a different pentatonic position for each chord...
> almost
> > > like changing harmonicas for each chord (but not quite).
> > >
> > > I'm wondering: does anyone else do this? Do you ever approach each
> chord in
> > > terms of the position it corresponds to on the harp... and mentally
> make a
> > > "switch"? I've never heard anyone express it in these terms before,
> and I
> > > think it might be a useful approach for some...
> > >
>