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beginner forum: for novice and developing blues harp players >
Blues Scales Book - In case you missed!
Blues Scales Book - In case you missed!
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MindTheGap
1558 posts
May 01, 2016
2:55 PM
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In case anyone missed it - and it's buried in a thread about chromatic windsavers on the main forum!!!- Winslow has recommended what looks like a great book on blues scales.
http://www.shermusic.com/new/1883217385.shtml
http://www.modernbluesharmonica.com/board/board_topic/5560960/5492555.htm
Key thing he brings out is that there are TWO blues scales, a major-ish and a minor-ish one. For a while now, when finding phrases in peoples' playing that are interesting and a bit different I keep noticing people playing the major third, that's 3D, and properly major not a blue third (gasp!) and the sixth note of the scale - that's 2 blow and 5 blow. These are notes in the major-ish blues scale as opposed to the heavy use of the 4 hole in the more conventional bluesy blues harp phrases.
Not knowing anything really about jazz, I'd call them 'jazzy' phrases :)
So, that explains it. I'll be taking a look at this book.
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Last Edited by MindTheGap on May 01, 2016 2:58 PM
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SuperBee
3681 posts
May 01, 2016
3:33 PM
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Thank you. I'd never have read that thread without a headsup. "Windsavers" huh?
'Major blues scale' is a term I have seen used here only fairly recently and at some point just equated it with pentatonic but with addition of minor 3rd...which I don't practice but will from now on...
I think I recently mentioned winslow's article about playing chromatics in E. I must read the rest of his articles
Thanks again...
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Killa_Hertz
1254 posts
May 01, 2016
6:41 PM
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Yea Bee. See what can happen when you go off Topic. Lol. Im just bustin your chops
While your in the windsavers thread, check out winslows link to chromatic for the diatonic player. Looks promising.
MTG ... Now we know im not exactly the authority on scales n such. But I use all those notes all the time. I had no idea i was really switching between major and minor blues scale. Or whatever.
I thought i was just playing the blues scale,but adding 2b,3d,and 5b. (I guess. Truthfully i never really thought about it) I mean i play 2 blow quite a bit. Mostly as a passing note, but as a held note aswell. That goes for 5 blow also.
As i said in the other thread. It's probably most on chord changes. So if you look at it that way ..... am i playing major blues in 2nd or minor blues in 1st (or 3rd im not sure which, but i think its first.) Maybe i have a point here .. maybe i don't .. im not really sure, but ... Anyhow. Im confused. 8^/
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SuperBee
3683 posts
May 01, 2016
8:43 PM
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Re the music...the 5 blow is the 6th...it's in the scale...the bass loves it...I mean, the full diatonic major scale...the 3rd is too...but if the tune is in a minor key, the major 3rd is gonna clash with the tonic (I) chord...but in the IV chord it's the major 7..so probably still prone to be weird in a minor key...and in the V chord it's the 6th..so I'd say if you're playing a minor key song in 2nd position...3 draw is more likely a bum note than not
2 blow/5blow though...is the major 6, major 3rd and 9th of the respective I, IV and V chords...so again in a fully minor song I dunno it's gonna go so well over any but the V chord...not sure though, I am not so aware of that note...I mean it is overwhelmingly the character of the 3rd which gives the minor feel, and the minor 6 will reinforce it but maybe the major 6 is not such a strong clash...a major 7 will sound pretty weird at times...but it really does come down to the makeup of the chords..,
I think it's good to be aware of this stuff so you can try it and see for yourself, and just register what it is you're doing...playing consciously and learning
Last Edited by SuperBee on May 01, 2016 9:52 PM
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MindTheGap
1559 posts
May 01, 2016
10:53 PM
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Myself, I like insights into the underlying patterns that people use. I like it pointed out in black and white as I find it easier to remember like that. I think other people are able to discover it or work it out for themselves.
I daresay there is more to it than just adding the missing notes: 2nd, Major 3rd and 6th.
A book like this may be what I need to engage with the chromatic for blues: single note playing in multiple keys rather than the 3rd position Dm big-draw-chord-chrome-blues tradition.
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Last Edited by MindTheGap on May 01, 2016 11:11 PM
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Killa_Hertz
1259 posts
May 02, 2016
5:25 AM
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It still is chinese to me.
Mtg duds you check out that link winslow posted?
http://winslowyerxa.com/articles/harmonica-sessions/
It looks good. Imma dig into it more this afternoon.
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MindTheGap
1561 posts
May 03, 2016
1:54 AM
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Thanks, that's more useful info. I think a lot of this is about chromatic-specific techniques for that 3rd position playing - e.g. splits for different chords available in this position.
As I say, I'm interested in a single-note style for multiple keys. The later lessons (e.g. 'playing in B', 'playing in sharp keys') are more in that territory, although there are some layout-specific chords in there too.
It's reignited an interest. I've started listening to a few primers on jazz/blues trumpet which are essentially in single note style.
Last Edited by MindTheGap on May 03, 2016 2:02 AM
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MindTheGap
1563 posts
May 03, 2016
11:04 PM
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Well, I've listened to a few things, and I'm still not sure about single-note blues on the chromatic. There's something not quite right to my ears.
The 3rd and 1st position work is right on, but not what I'm looking for. I listen to Winslow's blues in B, and of course he's a highly skilful player - so if it doesn't hit the spot listening to it, what that means is that I could put in many, many hours work to get to something I don't really like in the end.
I've also been listening to some entry-level blues on trumpet and cornet and that does sound good. I mean the right stuff, not square peg in a round hole. A lot of that is switching about between Major and Minor blues scales, and there's something about the fluidity of movement around the 3rd and 5th scale degrees that is important. On the chrom, if you have to switch breath direction to go between Major 3rd and Minor 3rd, like you'd have to in some keys - that's lost.
Of course, the diatonic is perfect for that fluidity at the low end.
I have the germ of an idea to look at a trumpet.
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Last Edited by MindTheGap on May 04, 2016 12:43 AM
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