Category Archives: theory

Tempo, rhythm and groove

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When you are involved in playing music you will come across quite a bit of terminology that can be a bit confusing at first. Often there is a dry precise definition but the way people use the terms may be a bit confusing. I find that if you don’t understand the basic teminology you can quickly get lost when they are used a bit more loosely than you are used to. In this article I will introduce how I like to think about tempo, rhythm and groove and how they relate to each other. This is just as important as learning scales.

Tempo

Tempo is perhaps the easiest term to explain. Basically the tempo tells you how fast to play the music. I guess that you often tap your foot when you play or listen to music. Most likely you will tap your foot at the tempo of the rhythm (it is not uncommon though to tap your foot at twice the tempo or at half the tempo). In order to get the full picture though you also need to know what the tempo is referring to. To define this we have the time signature, this tells us how the music notation is divided in to musical bars.

4/4 is a very common time signature telling us that each musical bar contain four quarter note beats. Seems fair as four quarter notes would make up a whole note. However not all time signatures are that simple but let’s leave that for another time. If the time signature is 4/4, then the tempo tells you how man quarter note beats to play per minute. Therefore it also tells you how long a quarter note lasts.

The tempo is notated in bpm, beats per minute. 120 bpm translates to 2 beats every second. In 4/4 this means that a quarter note lasts half a second.

Rhythm

If the tempo is the speed of the music then rhythm is the repeating pattern of strong and weak beats. Every bar the same underlying pattern is repeated. Listen to how drummers play, rhythm is their contribution to the music and their playing with tell you which beats are strong and which beats are weak.

In 4/4 the recurring pattern is strongest beat, weaker beat, strong beat, weakest beat. For a blues harmonica player this is important to understand. People will pay more attention to the notes you play on beats 1 and 3, make sure make them count!

In comparison 2/4 rhythm (typically marches) only have two types of beats, a strong and a weak.

Groove

The best way to think of groove is the feeling of the music. A shuffle has a specific feeling and that is the groove. To be more specific I like to think of the groove in terms of how the sub divisions of the rhythm is handled. How is an eigth note played for example?

In rock music the eigth notes are played very straigth forward against the quarter notes. The eigth note between beat one and two is played half way between the beats.

In a shuffle the eigth notes have more of a triplet feeling, the eight note between two beats is delayed so that it is closer to the second beat. This gives a completely different feeling compared to the rock beat.

Beginner Blues Harmonica Riffs Boogie Inspired Rhythm
Depending on the groove the riff will sound different.

Summary

I hope this explanation will make communicating with other musicians easier for you. Maybe this can be your introduction to learning more music theory. A word of causion though. Different styles of music may use these terms differently. In general the way I have described things work most of the time but you may run into different usages as well. For example a beat can mean an entire track or the instrumental part of a song. Groove may mean that the musician is playing a rhtyhm with a lot of feeling pushing and pulling beats with a pleasing effect.

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Third Position Scales

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When learning to play in a new position it is a good idea to get to know where to the most important notes are. If you know where the chord tones of the I, IV and V chord as well as a few scales you are in good shape. Third position is a popular especially for minor blues so knowing some third position scales is a good idea.

Third position

Most of the time we reference a C harmonica when talking about specifics. Playing a C harmonica in third position will put you in the key of D. This means that the root note of any scale will be on 1, 4 and 8 draw. One way of looking at it is that third position is second position two holes up. For reference, take a look at the circle of fifths and try to make out for yourself why third position on a C harmonica is the key of D.

The blues scale

A you may already know the blues scale in scale degrees is:

Root b3 4 b5 5 b7 root (one octave up)

In D this transles to:

D F G Ab A C D

In tab for the middle octave this becomes:

4 5 6+ 6′ 6 7+ 8

third position scales - blues scale

The blues scale in D.

Quite an easy scale actually, only one bend and it is hole 6 which is not too difficult unless you use a high pitced harmonica. Also you don’t have to bend for the b3, it is there for free which is a big reason third position is very suitable for minor blues.

The lower octave require quite a bit more bending skills:

1 2” 2/3+ 3”’ 3” 4+ 4

The minor pentatonic scale

The minor pentatonic scale is almost the same as the blues scale but the lowered fifth is not part of it. The tab then becomes:

4 5 6+ 6 7+ 8

Very simple.

The major pentatonic scale

The major pentatonic scale will be imcomplete in the middle octave as it contains the third instead of the minor third. In scale degrees it is:

Root 2 3 5 6 root (one octave above)

In D this is:

D E F# A B D

The F# is not available in the middle octave (unless you do overblows) and becomes this in tab:

4 5+ (missing) 6 7 8

It can be played completely in the lower octave but it require more bending skills.

1 2+ 2′ 3” 3 4

Applying third psoition scales

Playing in a new position require quite a lot of practice but if you translate some of the riffs you already know to the third position scales you will have a good start.

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Minor Key Chord Tones in Third Position

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Playing in minor keys may not be the first thing you try on the harmonica. Even some fairly advanced players stay away from it. If you are strictly a second position player minor keys may be problematic for you. A pretty easy way of fixing this is to learn to play in third position. Don’t get me wrong here, playing in third position doesn’t mean that you automatically play in minor or that you can only play minor. Third position just makes minor keys easier. If you have not played over a minor 12 bar blues before then learning to find the minor key chord tones is a good way to get started. If you know where the chord tones are you can play both accompaniment and even solo.

The benefit of third position

The benefit of third position for minor keys is that the minor third can be played without advanced bending skills. This is especially true if you play hole 4 and upwards. The lower octave require more practice though. also the minor key chord tones are quite easy to find.

minor key chord tones needed for minor blues

12 bar blues in D minor

The minor 12 bar blues can be formed by replacing the every major chord with its minor counterpart. In Dm for example the 12 bar blues then consist of Dm, Gm and Am.

Minor key chord tones

If you play a C harmonica in third position you will be playing in D or Dm. The chord tones for the chord in Dm are:

  • Dm – D F A C (root, minor third, fifth, minor seventh)
  • Gm – G Bb D F
  • Am – A C E G

The chord tones for Dm in tab:

  • D     1, 4, 8
  • F     2”, 5, 9
  • A     3”, 6, 10
  • C     1+, 4+, 7+, 10+

The chord tones for Gm:

  • G     2, 3+, 6+, 9+
  • Bb   3′, 10+”
  • D     1, 4, 8
  • F     2”, 5, 9

The chord tones for Am:

  • A     3”, 6, 10
  • C     1+, 4+, 7+, 10+
  • E     2+, 5+, 8+
  • G     2, 3+, 6+, 9+

The Bb (minor third of Gm) is the one chord tone that is the trickiest. Playing the 3 unbent can sound horrible so make sure you play it in pitch. The 10+” is quite tricky as well. The whole step bend on hole 3 takes some practice too but there are easy options for playing the A elsewhere on the harmonica.

Get comfortable with it!

The best way to get comfortable with minor blues is to put on a jam track and practice playing the chord tones over it. With a little bit of practice you will be able to move around quite freely.

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IV-chord Adaptions and Considerations

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Playing in realtion to the chord being played by the band is what keeps us musical. The 12 bar blues gives us a good starting ground and a pretty safe path. This is especially true in second position and when using the blues scale or the pentatonic scales. I have previously written about using the V-chord to sound more professional and the IV-chord can offer the same opportunity. In this article I give you ideas on how to adapt to the IV-chord and take advantage of opportunities that otherwise pass you by.

The IV-chord and the blues scale in second position

First a look at the blues scale and the chord tones of the IV-chord. In G-major the blues scale is:

G Bb C Dd D F

The scales tones are:

C E G Bb

There is quite some overlap but not a lot of blue notes. The only clear blue note overlap is Bb which is the minor 7th. The flatted 5th and the 3rd is not in the blues scale. This means that our options for blues notes are limited for the IV-chord, which could make use of the Eb and Gb as well. Unless you are an overblow player or play a natural minor harmonica, Eb is out of the question for the lower octaves. In the higher octave it can be played by blow bending hole 8 (8+’). Gb is a good option to add playable by 2′ and 9+’.

There are also two notes in the blues scale best avoided for strong beats and long notes and those are D and Dd which would be a 2nd and a minor 2nd. These notes are dissonate but not in the bluesy way we are looking for. They are best used as passing notes.

Summary

So, to summarize it all here are my suggestions for adaptions for the IV-chord.

  • Avoid D (1, 4, 8) and Dd (1′, 4′) for strong beats and long tones.
  • Add Gb (2′, 9+’) to your notes to choose from.
  • Add E (2+, 5+, 8+) and Eb (8+’) to your notes to choose from.

By doing this you can play bluesy without straying to much from the blues scale for the IV-chord. Let me know how you get along and don’t forget to sign up below to get the Welcome package and get exclusive material!

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Scales to Learn for Blues Harmonica Players

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Probably the most used ways to stay in key when improvising is to use riffs already internilized and to use a scale fitting the key. For blues harmonica most players learn the blues scale and stick with that one. Perfectly fine but there are other scales that will benefit you as a player and can help you play when the song calls for something that is less bluesy for example. In this article I show you how to play two essential scales in second position.

The blues scale for reference

First we take a look at the blues scale. If you play a C harmonica in second position you will be playing in G. The G blues scale is:

G Bb C Db D F G (octave)

This root b3 4 b5 5 b7 root one octave above.

Scales Blues Scale

The blues scale.

The blue notes are the minor third (b3, Bb), flatted fifth (b5, Db) and the flat minor seventh (b7, F). These are the notes that gice us that special bluesy feeling. A cool thing about the blues scale is that it works over both minor and major keys (although people tend to stay away from minor keys in second position).

Minor pentatonic

The first alternative scale I want you to learn is the minor pentatonic scale. The blues scale is actually based on this scale. The only difference is that the minor pentatonic scale does not have the flatted fifth (tritonus) which is considered the most dissonate interval. This means that if you stay within the minor pentatonic scale you will stay clear of some of the more dissonant riffs that may not be appropriate for some songs.

The G minor pentatonic scale is:

G Bb C D F G (octave)

This root b3 4 5 b7 root one octave above.

Scales Minor Pentatonic

The minor pentatonic scale.

Major pentatonic

The second alternative scale is the major pentatonic scale. This is a bit different and does not have the blue notes of the blues scale or minor pentatonic scale. It also have the major third which means this scale is best suited for major tunes. Since the blue notes are missing this is a good choice for songs with a happier feel to them where bluesy riffs feel out of place.

The G major pentatonic scale is:

G A B D E G (octave)

This is root 2 3 5 6 root one octave above.

Scales Major Pentatonic

The major pentatonic scale.

This may require some work as A is three draw whole step bend and you want that in tune. Tricky but worth working for.

Putting the scales to use

To put these scales to use you need to internalize them so that you can stay within them when you choose to. Spend some time learning them and try using them to different jam tracks to work out where they work best for you.

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12 Bar Blues Variations – Get More Options

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The 12 bar blues is one of the most common chord progressions used in the music world. It may seem like it would become boring quickly but it doesn’t. Things like groove, key, tempo and how to start and stop a song gives plenty of variety to the listener. There are however a few 12 bar blues variations that I feel are good to know. These will add a few more options when you play. I will use the roman numeral notation for the chord progression to make it key agnostic.

Quick change

A quick change means that you go to the IV-chord already in bar 2, the rest is just the same as the standard 12 bar blues. The quick change introduces a bit more movement in the chord structure and is one of the more common 12 bar blues variations. An example of a song using it is “Before you accuse me”. I like this variation and it is well worth practicing jamming over it because you will probably run into it.

12 bar blues variations - quick change outline

Outline of the 12 bar blues with a quick change.

Long V-chord

12 bar blues with a long V-chord may actually be a variation that is older than what we consider the standard form today. In this variation you stay on the V-chord also in the tenth bar. This form is used in the verses by Chuck Berry for “Johnny B Goode”. This is not a very common variation today but just for that reason it can be cool to use it sometime. It is also a great opportunity to show off your V-chord skills.

12 bar blues variations - long V-chord outline

Outline of the 12 bar blues with a long V-chord.

ii-V-I change

This change replaces the V-IV-I of the standard 12-bar blues. It has a bit of a more jazzy feel to it. You might be intimidated by the minor chord it introduces but it is not that difficult to handle. For G-major the ii-chord is Am which consits of A C E and G so two of the chord tones are already in the blues scale and E is easily accessible on a C-harp in 2nd position. An example of a song using this variation is Rory Gallagher’s “When my baby she left me”.

12 bar blues variations, ii-V-I change

12 bar blues with a ii-V-I change

Combining 12 bar blues variations

These variations don’t have to be used in isolation you can combine the quick change with either the long V-chord or the ii-V-I change. This way you can put more 12 bar blues variations under your belt. Sonny Boy Willimanson II’s “Born Blind” uses both a quick change and a ii-V-I change, one of my favorite songs. It is great fun to play.

Try it!

Now it’s time for you to try. I have put together three jamtracks of the variations in different styles for you to use when practicing.

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Taking Advantage of the V-chord

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When it comes to improvising on the harmonica there is one place in the 12 bar blues where you really can stand out from the crowd. The place I am talking about is the V-chord, how you handle the V-chord signals to other musicians how knowledgeable you are. In this article I will give you the information you need to use theory to really shine over the V-chord.

V-chord

The V-chord sometimes causes harmonica players a bit of problems.

The problem with the V-chord

Let us first understand why the V-chord might be a bit problematic. For G-major (C harp in 2nd position) this is D. The chord tones are:

  • D, root
  • F#, third
  • A, fifth
  • C, minor seventh

If we look at the blues scale for G-major we have the following notes: G, Bb, C, Db, D and F. As you can see, C and D fit well with the chord tones but the other may need a bit of more care. G is the fourth of the scale realting to D which is a workable note but primarily a passing tone. Bb is a minor sixth, also primarily a passing tone and not even a scale tone. F is a minor third, a blue note for the chord and definately useful to create tension. Lastly Db is the major seventh and not really a note you want to use too much in blues.

The BS way

Playing many fast notes over a chord a player is not 100% comfortable with is not uncommen among some players. Although this will not sound bad it will not let you shine as a player. Maybe you will impress some people with speed but the pros will instantly recognise what you are doing. I do not recommend this approach and it is simple to avoid.

The easy ways

There are a couple of easy ways to handle the V-chord and still be musical. The first and easiest way is to hang on the root not all through the chord and perhaps touch on the minor seventh before going to the IV-chord. The same thing can be done with the fifth (6 draw would be easiest then). The only problem with this approach is that you will repeat yourself a lot, probably too much.

The second easy way is to learn a few V-IV-I-turnaround riffs to use. This is where a lot of players go and there are a huge number of them out there. It is basically up to you how many you choose to learn to avoid too much repetition. I think this is an excellent way and encourage you to seek out riffs to use. You will be standing on the shoulders of giants.

The knowledge approach

Even though I think learning riffs from other players is a great way I also think that using your theory knowledge can set you apart. By combining rhytmic patterns with chord tones you can come up with great riffs yourself. This will add options when you play and toyr riff bank will grow together with the set licks you have already learned. You will also be able to modify riffs you already know by stubstituting a few notes for the chord tones.

Besides being able to stay withing the chord tones for the V-chord there is another benefit. If you use mainly use the blues scale over the I- and IV-chord you will not use F# at all and probably A to a lesser extent. This means that to the human ear those notes will sound fresh when you use them. It doesn’t matter that you have played the third and the fifth of the other chords, the pitch of the note will be new and fresh to the ear. This is not only true for expert musicians who may actually be able to tell exactly what notes you are playing but also the average listener will notice. He or she will not be able describe what happens but it will sound fresh.

What next?

Now I would like to encourage you to internalize the chord tones for the V-chord and start using your knowledge when you play. Learn a few new licks and experiment with them. I also cover this and blue notes for the different chords in my “Learn to play awesome 12 bar blues harmonica solos” on Skillshare and Udemy.

If you have any questions, please don’t hesitate to send me an e-mail.

Blues Harmonica Music Theory

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Last I touched upon some arguments about music theory. This week I will give you a quick primer of the blues harmonica music theory you need to know to become an even better player. As you will see it is not very complicated and the benefits are well worth it.

Structure and chords of the 12 bar blues

The most common form of accompaniment you will come across when playing blues is the 12 bar blues. The picture shows the 12 bar blues outline with roman numerals and writing it like this means it can be used in any key.

Blues Harmonica Music Theory 12 bar blues outline

12 bar blues outline in roman numerals

  • I is the tonic chord of the key, based on the first note of the scale
  • IV is the sub-dominant chord of the key, based on the fourth note of the scale
  • V is the dominant chord of the key based on the fifth note of the scale

More on chords

A chord is two or more tones played together taken from a scale and the chords in a major key are based on the tones of the major diatonic scale. A G-chord is made up of notes from the G-major scale, a C-chord is made up of notes from the C-major scale and a D-chord is made up of notes from the D-major scale. What is often referred to as a chord is the first, third and fifth note of the scale played together. Stacking every second not of the scale is usually how it’s done (we won’t dive super deep into this). There is one exception however and that is that the seventh note of the scale i flattened when it is included in a chord. This makes the chord sound more interesting.

For the key of G (second position on a C harmonica) these are the chords:

  • I is G (found on a holes 1-3 draw on a C-harmonica)
  • IV is C (found on a holes 1-3, 4-6, 7-9 exhale on a C-harmonica)
  • V is D (not found as a complete chord on a C-harmonica, root note on 1, 4, 8)

Chord tones

To be able to use the knowledge of the chords further, it is a good idea to know where to find the chord tones on the harmonica. This blues harmonica music theory knowledge is second position specific and carries over when you change key as you then change the harmonica as well to stay in second position. Knowing the chord tones is especially important for the V-chord as few of the chord tones are in the blues scale (covered below). For each chord the cord tones are (key of G, although best to think of them as root, third, fifth and flat seventh):

  • I-chord G, B, D, F (root, third, fifth and flat seventh)
  • IV-chord C, E, G, Bb
  • V-chord D, F#, A, C

For the I-chord (read about harmonica tabs here):

  • G (root note) 2, 3+, 6+, 9+
  • B (third) 3, 7, (10+’)
  • D (fifth) 1, 4, 8
  • F (flat seventh) 2”, 5, 9

For the IV-chord:

  • C 1+, 4+, 7+, 10+
  • E 2+, 5+, 8+
  • G 2, 3+, 6+, 9+
  • Bb 3′, (6+o (overblow)), (10+”)

For the V-chord:

  • D 1, 4, 8
  • F# 2′, (5+o (overblow)), (9+’)
  • A 3”, 6, 10
  • C 1+, 4+, 7+, 10+

The notes on parenthesis are overblows and blow bends and if you do not master those techniques just ignore them.

Blues scale

The blues scale is probably the most common piece of practical blues harmonica music theory that people do learn. It gives a safe path to a bluesy sound over the 12-bar blues. The blues scale is based on the I-chord and the minor pentatonic scale connected to that chord. In addition to that scale the minor fifth is added which is a note that creates a lot of tension. It is known as tritone or “the Devil’s Interval”. The blues scale is made up of the following scale degrees:

Root, minor third, fourth, minor fifth, fifth, minor seventh

or

R, b3, 4, b5, 5, b7

On the harmonica this translates to:

1+, 1′, 1, 2”, 2, 3′, 4+, 4′, 4, 5, 6+, (6′, 6,) 7+, 8, 9, 9+’, 9+, 10+”, 10+
4, b5, 5, b7, R, b3, 4, b5, 5, b7, R, (b2, 2,) 4, 5, b7, R, b3, 4

Note: The holes and tones in parentesis are often added to make the scale more flowing as the b3 and b5 are missing between holes 6 and 9. This adds a little extra bluesiness to this range.

To make it a little bit more readable, here is the scale between holes 2 and 6.

2, 3′, 4+, 4′, 4, 5, 6+
R, b3, 4, b5, 5, b7, R

Blue notes

Blue notes are notes that create nice bluesy tension towards the chord. These are b3, b5 and b7. The blues scale contain these notes for the I-chord but also knowing them for the IV-chord and V-chord gives you nice option to play over those chords.

For the I-chord:

  • b3 3′, (6+o (overblow)), (10+”)
  • b5 1′, 4′
  • b7 2”, 5, 9

For the IV-chord:

  • b3 8+’
  • b5 2′, (5+o (overblow)), (9+’)
  • b7 3′, (6+o (overblow)), (10+”)

For the V-chord:

  • b3 2”, 5′, 9
  • b5 3”’, 6′
  • b7 1+, 4+, 7+, 10+

Benefits of blues harmonica music theory for soloing

Playing solos that completely stay within is absolutely fine but using chord tones and blue notes to follow the chords and mark chord changes for example can really create awesome solos. Especially how you handle to V-chord can set you apart from the rest of the pack. Here knowing the chord tones is cruical.

Benefits of blues harmonica music theory for accompaniment playing

When playing accompaniment playing you have a few options on what to play. However you chose to play it is your job to play something that is musically appropriate. You can for example play a bass line together with the bass player and then you will definately need to know where the chord tones are. Another option is to create tension against the chords and then you need to use blue notes and stay away from the chord tones. However you chose to play, know the theory will help you.

Putting it to use

I hope I have convinced you that learning blues harmonica music theory is a good thing and you want to make use of it. What you need to do now is take each of the concepts in this article, comit it to memory and start using it. The best way to do this is to concentrate on one single thing and have that as a focus when practicing playing solos for example. If you want to get to know the chord tones then play a lot of solos just using chord tones, when that starts becoming natural start using a few blue notes and so on. Before you know it this will become second nature.

Should you want to learn more general music theory I can recommend “Music Theory for Dummies” as a good starting point or you can take music theory classes on Skillshare (take advantage of the Premium membership offer).

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Music Theory – Pros and Cons

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Music theory may not be at the top of your mind when you start playing blues harmonica. Some people even argue that knowing theory is bad. When I started playing I didn’t study any theory at all but during the last couple of years I have discovered the benefits. In this article I give you some counter arguments to arguments against knowing music theory.

Arguments against music theory

I have come across a few arguments against music theory for blues haromica players and I just want to make a few comments.

The masters got by without knowing theory.

Although it might be true that the masters of the early and mid 20th century were not classically trained in music theory, they certainly had a good intuitive grasp of it. They were learning from each other and other musicians and learned what sounded good. They learned it in practice. Most of us don’t spend as much time practicing and gigging as many of the early masters did. Learning theory is a way for us to leapfrog some of the trial and error.

I just play by ear.

Playing by ear is great and training your ears is a great thing. However theory will not hurt your by ear playing, it will just increase your understanding.

I don’t want to know music theory.

This argument I have the most difficulty understanding. I think it comes from a view that learning to play purely by ear is more noble and that music theory will hamper creativity. I would say that knowing theory increases creativity. You have to know the rules before you can break them with good effect.

It will stop me from being creative.

Actually I would say that knowing more allows you to be more creative. It allows you to utilize riffs and musical passages that you never would have thought of if the theoretical connections hadn’t been there.

Music theory pros

Understanding more of what you do is always a benefit in my opinion. More knowledge changes how we see things and we often end up enjoying it more. We also get a new vocabualry that we can use when communicating with other musicians. It is definately beneficial to be able to communicate with a musicians vocabulary in a open stage situation or if you gig with somebody you normally don’t play with.

Music theory cons

I don’t really see any cons with knowing a bit of theory. The only thing might be that when you pratice to internalize it you might feel like you have taken a step back. Don’t worry, it is just temporary.

What next?

Next week I will continue this topic and outline the few things you need to know as a blues harmonica player. You will see that it is not all that much and not very complicated. I will also tell you more about the benfits of knowing a little bit of music theory. Sign up below so that you don’t miss when that article comes out!

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Blues Harmonica Positions at a Glance

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I often get questions about different positions when playing blues harmonica. Most beginning players learn to play second position, for a very good reason, and never really think about why. To be honest, you probably don’t have to know why but I tend to think that expanding your knowledge is always good. It will make you a better player even if you take pride in playing by ear and play what you feel. Another thing I have noticed is that some of the information being tossed around is sometimes misleading. In this article I will give you my view of why we use different positions. I hope this information will help you chose which harmonicas to buy.

Harmonica theory

First some theory. When playing blues we tend to focus our playing around the blues scale. This because that gives us a very nice sound and keeps us in tune. The blues scale is formed by adding the flatted fifth to the minor pentatonic scale. R b3 4 b5 5 b7. In C this would be C Eb F Gb G Bb. If you play blues in C this is the blues scale no matter what position you play in. I sometimes come across the misconception that the scale is different depending on the position, it is not. However you may not always have access to the complete scale in the position you have chosen. Still, the scale itself stays the same. This takes me to the first reason we might choose a specific position.

Convenience

Choosing a position based on convenience is sort of like a guitar player that doesn’t like playing in F using a capo on the first fret to be able to use the same fingering as in E. Everything becomes easier.

First position

If you map the C blues scale to a C harmonica you will notice that some of the notes are hard to play. I am not including overbends/overblows here since that is quite advanced. Usually not something you master early in your blues harmonica career.

On holes 1-3 you can get R, 4, b5, 5 and b7 on 1+, 2”, 2′, 2 (or 3+) and 3′. So almost a complete scale, only missing the flatted 3rd. On holes 4-7 though you get R, 4 and 5 so you are missing all blue notes. Not a good place to start. On holes 7-10 things are better again and you get R, b3, 4, b5, 5 and b7 for a complete blues scale on 7+, 8+’, 9, 9+’, 9+ and 10+”. However you end up with quite a bit of blow bending which may take you some time to get right. So even if you can play in first position it will present some challenges and it won’t be the the first choice for beginners.

Second position

If instead you map the C blues scale on an F harp, known as second position, you get the root note on hole 2 inhale and you get a complete blues scale easily accessible on holes 2-6. R, b3, 4, b5, 5, b7 are found on 2, 3′, 4+, 4′, 4, 5, 6+. This means that a lot of the notes you need are there “for free”. This is one of the reasons second position is so popular, you can master the blues scale quite quickly in this position. Another good thing is that two of the chords the band plays, the C (the I-chord) and F (the IV-chord), are available on holes 1-3 inhale and exhale. This means that you can switch between playing single tones and chords and be in tune easily with the band. Playing chords give you a BIG sound which is what you are looking for.

If you dig a little deeper you will find that all inhale tones work well with the I-chord and all exhaling tones are chord tones of the IV-chord and also work OK with the I-chord. This means that almost anything you play will sound good over a standard 12-bar blues, at least it will not be out of tune. Also, since many tones are chord tones you can use a lot of two-tone combinations (partial chords) for a nice bluesy sound and texture. The 2-5 split is especially nice since it is the R-b7 combination, very bluesy.

Weakness of second position

There is one thing second position isn’t very suited for and that is playing in minor. You can do it but it puts high demand on your bending skills since the b3 located on 3′ really has to be in tune. If you play it sharp it really sounds awful, this is the reason most players don’t play minor in second position. Also, the chords you play on holes 1-3 are major chords so you cannot use them the same way. It is not true however that you cannot play minor in second position, it is just more difficult and if you play the same as for a major song you will get into trouble.

Third position

Now let’s look at third position really quickly. Probably the second most used position today for blues harmonica. Many people think this position is only for minor blues which is not true, it works very well for major blues as well but it is often used for minor blues because it is easier to play well in minor compared to second position. On holes 1-4 you find the blues scale on 1, 2”, 2, 3”’, 3”, 4+. A lot of bending in this range, Holes 4-7 is easier, 4, 5, 6+, 6′, 6, 7+. In this range you basically get all important tones “for free”.

The b3 which you need to play in key for minor is on 5 so you don’t have to worry to much about playing it sharp. Also holes 4-6 played simultansously is the i-chord (minor chord). Holes 8-10 gives you a partial scale. R, b3, 4, 5, b7 on 8, 9, 9+, 10, 10+. Again very easy to control and the i-chord is on 8-10 inhale. You also have the R-b3 partial chord on 3+-4+, 6+-7+ and 9+-10+. So from  hole 4 and above this is a very easy position even in minor, the low octave takes requires som bending skills.

Now on to another reason to select a certain position.

Tonal range

If you only play second position you will in some keys end up with a tonal range you don’t feel comfortable with. For example, if the band plays in C and you only play second position you either have to use an F-harp which is very high in pitch or a low-F-harp whcih is quite low. Maybe neither is appropriate for the song or maybe you don’t feel comfortable playing thiose harps. Choosing third position instead puts you on a Bb-harmonica instead and all of a sudden you are playing a mid-range harmonica instead.

Next reason…

The feel

Depending on how the blues scales is laid out on the harmonica in different positions and which techniques are available, the positions have different feels. For example, third position is often said to be a bit darker than second position. One of the reasons for this is that the b3 is easier to play right in pitch emphasising the minor quality. Fifth position also sounds quite dark with the root note on 2+.

Expanding your lick vocabulary

When working with other positions than second you will learn new licks that will be useful also in second position. For example when you play over the IV-chord in seconds position you can use any first position lick you have learned. When you play over the V-chord you can use any third position lick you have learned. This really expands your vocabulary and will introduce licks you otherwise may never have used.

Your harp preference

Maybe you have a favorite harmonica or don’t have the appropriate second position harmonica available. Playing in another position can save you here and offer more options.

Giving yourself a challenge

When you have been playing for a while going to a new postion is a good way to develop your skills and give you new ideas. Also it will be easier for you to tackle non-standard blues if you are used to playing over more chords than the standard I-IV-V chords in second position.

Conclusion

I hope this gives you an idea about position playing on the harmonica and takes some of the mystery out of it. If you have any thought or comments on this contact me via e-mail or post a comment below. I will help you as best I can. I have also created a a downloadable PDF for you mapping the blues scale in all positions. It also lists the connection between harmonica-keys and the keys of the different positions. Sign-up to my e-mail-list below to get it. You also get a Udemy discount code.

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