Diggsblues
818 posts
Jun 18, 2011
10:17 AM
|
As far as I can remember I think it was butterfield
that I heard use this. How does it fit in?
I think of it as the 9th and when bent the b9 of
the I chord In G this would be A or Ab
whole six on the C harp. It breaks away from
the blues scale and when you really emphasize that note it
seems more toward jazz. On the IV chord the sixth or
13th hmm more dam jazz LOL on the V the the 5th or
bent the b5 of that chord.
You could think of them as part of the modes that
would go with the chord.
I have this as part of my regular playing signature.
So is this a modern trait?
Anybody else use this?
----------
Emile "Diggs" D'Amico a Legend In His Own Mind
How you doin'
Last Edited by on Jun 18, 2011 11:18 AM
|
walterharp
613 posts
Jun 18, 2011
11:03 AM
|
i do
|
GamblersHand
280 posts
Jun 18, 2011
12:54 PM
|
Sure - I think I first noticed an emphasised 6 draw/6 draw bend over the IV chord from James Harman - a traditional player.
Not sure why it works musically - yes a little discordant but still sounds good to me
|
5F6H
737 posts
Jun 18, 2011
2:30 PM
|
Little Walter used it to sign off in the "outro", 6d being the II chord sits particularly well over the V chord, good for a II V turnaround, though I guess a lot of guys would use the 3d'' instead, like they have for decades.
|
hvyj
1439 posts
Jun 18, 2011
5:44 PM
|
I use it. I will bridge to the upper octave hitting blow 5 (sixth) and draw 6 (ninth) which sounds pretty smooth. i will occasionally use it as a ninth and I will occasionally bend it on the V chord since that would be the flat fifth of the V chord and the bent 6 draw sometimes generates just the right amount of intensity if used as a crescendo note on the V so long as you don't overdo it.
On certain fast tempo material I use the bent 6 draw on the V and then launch into a high register solo from there on the I and that works well if done just the right way and at the just the right time and if not used too often.
I tend to play the high register without using blow bends very much and when I'm running around up there I'll sometimes use draw 10 as a ninth which is, of course, the same note as draw 6 only an octave up.
I'll regularly use draw 6 to bridge the registers, otherwise i use it very selectively and certainly not frequently. But in just the right spots, it sounds great IMHO.
I tend to think of it as an extension tone (ninth) unless I'm playing it on the V. As i understand it, ninth chords are very consistent with the traditional blues style.
Last Edited by on Jun 18, 2011 5:53 PM
|
barbequebob
1669 posts
Jun 19, 2011
11:13 AM
|
At times I find it over used by some players and often hit too hard and it can sound out of place real quick if you're not careful with it. I don't use it a lot but when I do, I make sure it fits properly within the groove and feel, something which too many players totally lack an understanding of when they throw it the whole kitchen sink musically.
----------
Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
|
Jim Rumbaugh
519 posts
Jun 19, 2011
5:04 PM
|
AS per BBQBob above:
I use it too much.
I love it. I even use it when I play bass guitar too.
----------
The WV State Harmonica Championship at The Diamond Teeth Mary Blues Festival Aug 27th & 28th 2011, Huntington,WV
|
CamiloHarper
90 posts
Jun 20, 2011
6:35 AM
|
If I'm not wrong, Big Walter uses this.
Also Jean JAcques Milteau uses this quite widly (lick with 7 draw and 6 draw)
I Prefer to use it in V for marking the chord change. Sometimes I stay there and add some vibrato for creating a lot of tenson and then when the chord chanes again to the IV I do i little chromatic run between -6 -6' +6 blow, that way I'm playing both "5ths" of the chords. For me it sounds great.
During the I chord I don't use it much, but I do use the 3'' bend. SOme licks where I go between the -2, -3' and -3''
For this kind of stuff is that I think is great to know some theory because you understand why certain things work or don't, and the relationshp between the notes (always tension and relaxation). With some theory the positions just lend naturally (or logically) to you
----------
With some latin flavour for you, chico!! :P
Last Edited by on Jun 20, 2011 6:37 AM
|
barbequebob
1673 posts
Jun 20, 2011
7:48 AM
|
Big Walter sometimes used it in transition from the I to the IV chord, but often during the V chord, and he didn't play it very hard and lot of players who tend to be either somewhat Butterfield, or more often country and even morse so, very heavily rock influenced (especially rock guitar influenced) tend to really use too much and hit often times far too hard, and with the rock approach, it's kind of almost always to be right in your face 24/7, which tends to be more often the norm.
----------
Sincerely,
Barbeque Bob Maglinte
Boston, MA
http://www.barbequebob.com
CD available at http://www.cdbaby.com/cd/bbmaglinte
|
Jim Rumbaugh
521 posts
Jun 20, 2011
8:55 AM
|
Slightly off topic, but related.
That 6 draw is part of the major pentatonic, and it's there on ALL of my major pentatonic tunes.
Yes. I know it's not considered part of the blues scale, that's why the question was asked "is this part of the MODERN bles"
ANDDDDDDDDDDDDDDDDD
I do a lick that starts on the 10 draw going to 9 blow over the I chord. That's similar to the 6 draw, just an octave up.
----------
The WV State Harmonica Championship at The Diamond Teeth Mary Blues Festival Aug 27th & 28th 2011, Huntington,WV
|
