Depends what position I want to play in. C# is first, F# would be 2nd, B would be 3rd, E would be 4th. Probably one of those unless I chose playing C# on chromatic. Which position would depend on how I feel and how the song feels in that exact moment with that exact band. I likely would use a B harmonica but who knows.
I try to choose the way that is easiest for playing a song, grabbing the low hanging fruit of the position associated with the mode best suited to the song. This is regarding playing Richter diatonic harp, not necessarily chromatic.
If I were on stage and an unknown song was called in C#m/Dbm I would likely try a B diatonic in 3rd as my first choice, then I might try LF# or F# in 2nd if I didn't like B in 3rd.
If the song seemed to alternate between C# minor and E major I might try 5th position on an A harp so I could switch to playing an A harp in 2nd in those parts in the key of E.
If the song seemed pretty much all natural minor I might go to 4th on an E harp.
I would not think of choosing to play in 1st on any minor song because it would be too much work and my overbend ability is limited.
I would listen and find what worked OFF MIC before comping or soloing on mic. I am often asked to play on songs I do not know, but I have to lay out and hear it, and find where it lays before making audible sounds on stage. ----------
Doug S.
Last Edited by dougharps on Dec 01, 2016 12:33 PM
Well, there are different types of minors and that makes a difference in what harp to choose. But my first choice would be A (5th position). This allows me to play natural minor, and by bending draw 4 to get the major sixth I can also play Dorian and I can bend blow 8 for the major seventh to get harmonic minor. Ocassionally a minor tune just seems to lay out better in 4th position for which I would play an E harp. Great for natural minor but you can also play harmonic minor by bending draw 6 to get the major 7th.
You can use a B harp which is 3d position but personally I don't like 3D position as well as 4th or 5th for playing minors BUT certain minor jazz tunes and certain minor R&B material play really well in third. Personally, I rarely use 3D for playing minor blues, though.
If you are playing minor on a Richter harp you cannot bend randomly or you will likely throw yourself out of key and you don't have very many chords that work so you can't chug or do the choo-choo train thing, either. When playing/soloing in a minor, emotion is evoked through note movement rather than bending.
Last Edited by hvyj on Dec 01, 2016 5:45 PM
@doug: if you are able to identify the applicable mode or the applicable non modal minor scale and select the right harp, the tune will often almost play itself. This greatly simplifies the process of note choices.
Last Edited by hvyj on Dec 01, 2016 5:53 PM
BUaBS is very playable in second position so long as you can hit the 3 hole half step bend consistently. If the band is in C# second position would require an F# harp which puts you in dog whistle territory.
I don't usually carry a regular F# harp. I carry a low F# and I think lowF# harps play and sound great. In fact, I don't understand why Low F# isn't the standard harp in that key. Seydel makes a lowF# but for many brands if you want a lowF# you need to have one custom made.
Last Edited by hvyj on Dec 01, 2016 11:18 PM
Pretty sure I play that in second position. I haven't used regular F# harps in a long time, though I have one in my gig kit. I much prefer low F# harps. I would consider the higher harp only if the song was FAST! ----------
Doug S.
Last Edited by dougharps on Dec 01, 2016 11:11 PM
Yeah, it's C# major. It's a pretty dark-sounding major -- the riff leans heavily on the minor notes of the C# blues scale -- but the chords underneath it are all dominant sevenths. Listen to the piano!
Last Edited by timeistight on Dec 02, 2016 8:11 AM
Sometimes I just have to try several positions to see what works. B and A provide you with a nice range of sound without going into the dog whistle F# zone. My bet would be on 3rd position with a B harp but 5th position with an A harp might work for you.
Oxharp, a low F# harmonica will work great for Born Under A Bad Sign. I do it all the time. And the song really does sound best in its original key, I don't know why but it does.
the problem with using cross harp is, you are missing the low E note.
not necessarily a problem, considering blues is all about call and response.
do we really need everyone in the band playing "the riff"
personally, i like to establish that i know a riff then i can choose to leave it out.
but here, there are issues. we can get a E note in the upper octave if we use an overblow.
try that on an F#. ha ha.
now, i have yet to try brendon powers lucky 13 harp. but it would seem to me that it would be ideal. you could start in the upper octave then come down to get the low E
every instrument has it's limitations, the harmonica being a toy has its fair share.
Last Edited by 1847 on Dec 03, 2016 9:20 AM
I think that's second position (sounds like the 5 draw minor seventh when the harp comes in), but remarkably cliche-free. Don't have my harps to hand; perhaps a D harp? Lots to learn from that clip - building a solo, use of space and emphasis.
