tookatooka
1484 posts
Jun 28, 2010
2:00 PM
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Just been re-studying Adams Upper Octave videos again Numbers 30-33 (I think). Trying to make more use of the upper octave but I still have trouble crossing the bridge where the blow/draw sequence reverses.
Anyone out there got any tips to make this easier or is at all just down to practice and muscle memory?
Many Thanks.
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saregapadanisa
244 posts
Jun 28, 2010
2:06 PM
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If it's not already done, you should suscribe to Adam's mailing list.
That's an excerpt of what I've received just yesterday (brand new lesson) :
"Upper Octave Boogie": INTERMEDIATE / ADVANCED INTERMEDIATE, although ADVANCED BEGINNERS will be able to get most of it. An original composition that breaks open the upper octave and make it available for further exploration.
Harp: C
Video: http://www.tradebit.com/filedetail.php/102135100-upper-octave-boogie-mov
Tab: http://www.tradebit.com/filedetail.php/102135099-upper-octave-boogie-pdf
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Jim Rumbaugh
249 posts
Jun 28, 2010
3:13 PM
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I have been working on crossing "that bridge" based on an idea posted by another member.
How I cross the bridge depends on which of my 2 favorite 2nd position scales I am using.
Major pentatonic is easy. (- = draw) 6 -6 -7 -8 8 9
Blues is the problem for me. I do not overblow or use alternate tunes harps. The "blue" 3rd degree of the second octave scale is the problem. I can leave it out or I do something thatis more like a riff than a scale.
6 -6 -5 7 -8 -9 9
I may regret this but.... here is a sample I just made with a Key of C harp.
Second Octave Bridge
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intermediate level (+) player per the Adam Gussow Scale, Started playing 2001
Last Edited by on Jun 28, 2010 3:17 PM
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arzajac
262 posts
Jun 28, 2010
3:19 PM
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I found learning the major scale from 1 blow to 10 blow was a turning point.
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Greg Heumann
595 posts
Jun 28, 2010
3:46 PM
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I'm sure active practice will overcome it. On the other hand I have terrible discipline - and I can tell you it WILL come, even slowly - if you just keep trying. Once someone suggested to me to cover holes 1-4 with a piece of tape to force yourself to stay on the upper holes while you noodle.....
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/Greg
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isaacullah
1028 posts
Jun 28, 2010
5:14 PM
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Hey tooka. I'm working on that too! One nice thing I've found is to put in the 6ob. It's your blue third in 2nd pos in that octave, and it lets you roll right up to the 7 blow (your fourth). If you can overdraw, you can do the -7od for your flat fifth, but you can put some inflexion on the draw 8 to get a semblance of that. It lets you get a little of the roll-off that you can get on the four draw.
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View my videos on YouTube!"
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gene
511 posts
Jun 28, 2010
5:27 PM
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Maybe these exercises will help.
1.
1/8 notes-mostly: (Major Four Pattern)
4 -4 5 4 / -4 5 -5 -4 // 5 -5 6 5 / -5 6 -6 -5 // 6 -6 -7 6 / -6 -7 7 -6 //
-7 7 -8 -7 / 7 -8 8 7 // -8 8 -9 -8 / 8 -9 9 8 // -9 9 -10 -9 / 10 (hold) //
-9 -10 9 -9 / 8 9 -9 8 // -8 -9 8 -8 / 7 8 -8 7 // -7 -8 7 -7 / -6 7 -7 6//
6 -7 -6 6 / -5 -6 6 -5 // 5 6 -5 5 / -4 -5 5 -4 // 4 (hold)
2.
The first notes a 1/8 note, then triplets-mostly:
(Mixolydian Triplet Pattern)
-2 // -3 -2 -3 4 3 4 -4 -3 -4 5 4 5 //-5 -4 -5 6 5 6 -6 -5 -6 -7 -6 -7 //
1/8
7 6 7 -8 -7 -8 8 7 8 -9 -8 -9 // 9 (hold), 9 (1/8th) //
9 8 9 -9 -8 -9 8 7 8 -8 -7 -8 // 7 6 7 -7 -6 -7 -6 -5 -6 6 5 6 //
-5 -4 -5 5 4 5 -4 -3 -4 4 3 4// 2 (hold)
3.
Mostly 1/8 notes: (Mixolydian One Step Back Pattern)
-3 -2 4 3 / -4 -3 5 4 // -5 -4 6 5 / -6 -5 -7 -6 // 7 6 -8 -7 / 8 7 -9 -8 // 9 (hold)
9 8 -9 -8 / 8 7 -8 -7 // 7 6 -7 -6 / 6 5 -5 -4 // 5 4 -4 -3 4 3 -2
Last Edited by on Jun 28, 2010 10:30 PM
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hvyj
419 posts
Jun 28, 2010
5:32 PM
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You can play mixolydian in the upper register (play all the notes that are there below hole 10 w/o bending anything) instead of trying to play the blues scale--it's easy to do, it works and it sounds good even for blues. Bridge the registers by playing BLOW 5 and DRAW 6 (which are the 6th and 9th in second position). Very smooth, very melodic, very fluid, and very musical.
Remember, the major 3rd can work playing blues. BB King plays mixolydian with some regularity, and he's generally regarded as a masterful blues musician. Don't be blues scale bound--your blues scale licks will carry more power if you break out of the blues scale every now and then as you play. And since you can't get the blues scale in the upper register in second position anyway w/o OBs, that's the perfect place to break out it.
I didn't get this idea listening to old Chicago blues records, but it works. And it works well.
Try this to get the "feel" of playing the high end: Start with Draw 9 and Blow 9 (root, flat 7th), Go in and out on those (which always sounds good) and work your way DOWN by ear, hitting notes that sound good regardless of whether they are in the blues scale. But when you get to 6 play DRAW 6 as you go down and then hit BLOW 5 after DRAW 6 to connect the registers.
After you fool around going down, finding notes that sound good by ear, then try it going up or else just move around the upper end, playing what sounds good by ear without being scale conscious.
I think it's easier to learn to work the high end if you start by descending, and the 9 hole is a stable base to work from as you do it. FWIW.
Last Edited by on Jun 28, 2010 5:53 PM
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oldwailer
1304 posts
Jun 28, 2010
5:46 PM
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Just jump up there and mess around now and then when you're all alone--act like you know what you're doing--pretty soon it will just start to make sense and cool riffs will start to appear to you.
I know--sounds simplistic as hell, but it's really been working for me lately. . .
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arzajac
264 posts
Jun 28, 2010
6:47 PM
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"Draw 9 and Blow 9 (root, flat 7th)"
Isn't that backwards (flat 7th = 9D, root = 9B)?
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hvyj
420 posts
Jun 28, 2010
8:20 PM
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@arzajac: Yep, you're absolutely correct. But, as a practical matter, in and out on hole 9 is a decent place to start constructing high register riffs no matter in what order you play those notes. Then start to work your way down.
I mean, there's other ways to it, but (unless the material has a major 7th) in and out on hole 9 is musically pretty safe to play until you can think of other notes to hit which mostly happen to be along the way down. Of course, one also needs to be able to control the tone of the high notes, and in and out on 9 is an easy way to start to learn that, too.
Just one approach, FWIW. But to a certain extent, if you fool around playing mixolydian on the high end you wind up playing some chord extension tones, which isn't a bad thing to do since they often work over the chords when the blues scale tones you might otherwise be inclined to play are not available w/o OBs. It makes it easier to sound melodic, which can be a nice contrast to well worn blues scale licks. I also happen to agree w/Oldwailer's recommendation.
Btw, mixolydian is the do-re-mi scale with a flat 7th. It is the scale that you get in second position in the middle and upper registers if you don't bend or OB any notes.
Last Edited by on Jun 28, 2010 8:33 PM
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hvyj
421 posts
Jun 28, 2010
9:37 PM
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@Jim Rumbaugh: For minor key adventures on the high end, play 5th position and use the same breath pattern as you use to play the major pentatonic scale in 2d and it gives you the MINOR pentatonic scale in 5th. Blow 9 is the flat third in 5th position. You can run the scale down from there. Of course, playing mixolydian is not an option in 5th.
Caution: In 5th one must usually AVOID Draw 9 and Draw 5 as those are the flat second which usually doesn't fit very well. Otherwise, it's pretty easy to get around in 5th.
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Andrew
1033 posts
Jun 29, 2010
12:22 AM
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I don't do much there at the moment but noodle in 1st position, and sometimes in 12th. Even playing happy birthday or something will familiarise you with the notes. Like Arzajac says, practise major scales. Forget all this mixolydian shit, I thought that was a disease of rabbits, anyway. If you play the major scales in 1st and 12th, at least you'll get practice in both 10 blow bends. You'll need the 6OB for the full 12th posn scale, but the 7 draw works too in 12th posn noodles.
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Andrew,
gentleman of leisure.
Last Edited by on Jun 29, 2010 12:36 AM
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