How to use Blues Scale

Theory
1

This is related to a previous question (which has some useful answers):

I understand what the blues scale is, and that it involves using 2nd position. To set the scene, supposing the band is playing in G, so I must use a C harmonica if I am playing in 2nd position, ie using (-2(G) -3’ 4 -4 -4’ -5 6).

It looks as if I would have to restrict myself to playing only notes from the blues scale (-2 -3’ 4 -4 -4’ -5 6). Here is my question: How am I supposed to NOT play any other notes by accident? Or is this just a question of brute force memorisation, so I always know when I am playing notes from the blues scale?

BTW I realise that playing notes not the blues scale is allowed occasionally.

with thanks,

Jim

1 Like
2

We can play a scale in multiple places and positions on the harp. You are playing it in the key of G on a C harp in 2nd position. It’s cool if you are sloppy with it. It will get tighter. You will eventually learn the muscle memory and tonal memory to just nail those notes. Be patient. Great question! Hope this helps.

4 Likes
3

Thanks, I’m the OP of the original thread you mentioned. Some obvious things that I learnt that might not be so obvious:
“Using” the blues scale means for improvisation (which, is indeed what you were implying above - using ‘just those notes’)
Otherwise, you can’t just get a random tab and play it “on the fly” in the blues scale unless 1)it’s already written that way OR 2) you rewrite it yourself somehow

  • the above may seem obvious, but you wouldn’t believe the amount of hours I spent on wild goose chases trying to understand how to play a tab in second position/blues scale/etc only to realize that, well, you can’t unless you rewrite/convert the tab first somehow
2 Likes
4

Thanks, as you have noticed, it is the application of the blues scale to improvisation that is bothering me. It sounds like the answer is (more or less) brute force memorisation (ie practice). Then again, using any scale (eg C major on a C harp), I suppose it would be easy to hit a wrong note unless you know exactly which note you want to hit next (and manage to hit it); so the general problem remains the same for any scale, and the solution is the same in all cases: practice hitting the notes you want to hit. I think.

4 Likes
5

@JamesVStone - welcome to the forum my friend. YES, you are CORRECT!! Taking time to memorize the scale will pay rich dividends in your playing.

Once you can “see” the pattern of blows and draws in your mind, you will begin to see how different blues licks and songs fit with that context going forward, and it will help you both to learn and memorize things more quickly.

There’s no shortcut here. It’s just playing that scale 1000 times. This should never become a chore or drudgery. There’s all different ways to spice it up and keep it fun and fresh.

I hope this helps answer your question?

5 Likes
6

Luke, Thanks - got it, no shortcuts. Your videos are excellent, by the way.
You recommended this online tool for checking bends etc, which is very useful, so I 'll put a link here for others to use: Bend It Better™ – The Tool That Helps You Bend Harmonica in Tune!

2 Likes
7

Harp ninja is unsurpassed in quality and user friendliness, go to the iOS or google store and type HarpNinja.

1 Like
8

Rather than start a new thread, I thought I’d revive this one, since my question has to do with the Blues Scale.

I wrote a very simple song based on the Blues Scale, which I call ON OUR WAY. I use it to practice on the harmonica and the piano

I have tried many different combinations of Major and Minor chords on the piano, coming to the conclusion that I like it best when I alternate them:

Gm - Bb - Cm - Db - Em - C - Gm

Playing the chords all in Major just doesn’t seem quite right.

For the Blues Scale, what are the typical chord progressions?

Major, minor, or mixed?

1 Like
9

Major or minor blues. To be clear though, “major” is Dominant 7th cords though (not just major triads.) Makes a big difference!!
So G7 (GBDF) C7 (CEGBb) and D7 (DF#AC)

Typical minor blues would be Gm7, Cm7, Dm7 and sometimes EbMaj7.

Blues scale also sound great over the classic rock progression G - F - C (like Can’t You See, Drift Away, Sweet Home Alabama.)

It’ also sounds great over progressions with a bIII chord, like G Bb F G.

There’s a million more to be sure, but that’s what pops into my head!

2 Likes
11

I decided to make a video for my nephew with On Our Way…

Thanks so much for your feedback @Luke. After reading what you wrote to me and listening to my recording of how I usually play it, I can definitely see how adding the 7ths can make a difference! I’m just not quite coordinated enough to do it yet. :see_no_evil:

I thought I’d share the video, and though it’s on the piano :musical_keyboard:

IT WAS BORN ON THE HARP! :sunglasses:

And it seems apropos to this thread. :thread:

Still working :hammer_and_pick: on putting the harp and piano together.

As I listen now to the way I have been playing it on the piano, the second progression up the scale I go:

Gm to Em and then invert the Em.

I was taking your comments for a test drive, and rather than an inverted Em, I tried F, and it HITS the spot!

Then coming down the Em inverted seems to still work better.

I love how the dynamics of that 7th note changes the feeling.

I believe we always talk of minor and major 7ths.

Is that right?

It seems to me that F is the Minor 7th in the G scale, but I’m not sure if my terminology is right. :point_right:

I like the sound of F in there better.

Mmm, that didn’t quite sound right. :joy:

Thanks again Luke!

Oh by the way, the CC lyrics are close in the beginning of the video but deteriorate as the song goes on. :face_with_peeking_eye:

I put the lyrics in English and Spanish in the description. :call_me_hand:

1 Like
12

In blues, The only time you have to carefully avoid non-blues scale notes is in a minor blues.

Otherwise, you can alternate between blues and major pentatonic and not encounter any issues.

3 Likes
13

Amen and amen. That’s where a lot of the sweetness comes in on standard blues. Specifically the 6th scale degree - blow 2 and blow 5 add so much soulful sweetness. And going from the flat 3rd to major 2nd as in -3’ -3" -2. Rock on! :sunglasses:

2 Likes