3rd of the V
So the 3rd note of the V Chord in G Major, is in fact F#....
But it's ok to play the 5 draw/9 draw, which is NOT a F# because the F# is not there? So we just "turn a blind eye", and play it wrong? Simply because the F# isn't in C scale (and that's the harmonica were playing)?
So then, if I'm doing the "masking" exercise (restricting to holes 1-3), then I should use the 2' (F#) for the V Chord and NOT 2'' (F)...? Even tho it is ok to use F at 5 draw/9 draw.... Then reserve the 2''(F) for the flat 7th of the I Chord....?
OR...
Is it because the "blues scale" uses a flat 7th (F), then I SHOULD use 2''(F) for the V Chord AND use it also for the flat 7th of the I Chord...
OR....
Are they both acceptable, depending on whether I'm using the major pentatonic scale or blues scale...
Ok. Thanks.
I've always just ignored the fact that F# was correct, and just "thought" of it as F... I guess that's because of how the harp is setup to easily play the notes of the I, IV, and V.... BDFABDFA..... :)
Which leads me to this follow up question:
Why don't we just tune the 5 and 9 to F#....?
Wouldn't that make a 45 shake sound better?
The 45 shake sounds great as is, we like that bluesy 5 draw in the shake.
They do make a harmonica with the F# for 5 and 9, and it's called Country Tuning (or for the Lee Oskar harmonica, the Melody Maker, which also has the 3+ as the 2nd Scale degree... this harmonica is built to play major melodies in 2nd Position).
The thing to keep in mind is that the harmonica was generally made to play in 1st Position... matching the harmonica to the key of the song. In 2nd Position, this flat-7 is inherent in the tuning. We like that flat-7th... there is more good than bad. The V Chord is the challenge, but it's easily fixed by just moving to another hole. The harmonica, and in fact all instruments, deals with trade-offs... no instrument does everything well. So, just an interesting thing to keep in mind while playing.
Awesome. Thanks for everything.
Also, I enjoyed that video where you had to slap Gary 4 times for going up to high on the register. I don't usually laugh at your videos (no offense), but that was funny!
My pleasure, music theory is something that is smart to discuss.
Hah, no offense taken.
Music Theory Study 2
Examples 2.1 & 2.2 - Mixolydian Scales & Finding Key for 2nd Position
In this lesson, you do state that the band will be using F#. I must have missed that.
My original question was about the Major Scale.
But what if my question was not?
Does the band/jam track ever NOT use F#? Because they are playing Mixolydian Mode or Blues Scale or Minor....? So, as an accompanist, if I use F#, I will be off? (Is this the darker blues?)
If so, can you direct me to the jam track that does? (I have purchased all 30 Ultimate Jam Tracks).
*Edit
I just used a tuner on Shuffle in G Minor, they are using the F... (But that's the I Chord...) When it gets to the V, it never plays a F#....
I thought maybe Two Feel Blues in G used F for V, but that was only once. Maybe they were playing I Chord in those last 4 bars.... Because every other time it was the #.
PS. "Watching" music is fun!!!
Hello Sarkhanmad. The one thing to understand about blues is that it is assumed major, with the addition of minor elements. The darker (more bluesy) the feel, the more minor elements there are.
The I7 Chord has the F, not F# (the F is the flat-7th). I am not aware of any blues that uses an F# (which would give you a major 7th, notated as M7) on the I Chord.
Even though 2nd Position, played on the C Harmonica gives you G Mixolydian, you must use the F# on the V7 Chord, otherwise you will not match (unless you and the band are in minor). So you're not really PLAYING in mixolydian, you are in major, with minor elements thrown in.
The V7 Chord uses F# (it's the 3rd of the chord). A musician in the rhythm section can use F if they're playing a lick-based idea over the V7. but you should generally assume F# (I am not aware of a jam that does this, so I'm sorry that I can'r provide you with an example). In minor, the band will play F on the v7, but also keep in mind that it's not uncommon to use a major V7 chord (D F# A C) instead of the minor-7th chord (D F A C).
Got it.
Blues can be VERY challenging to understand... the best we can do is observe and pull out general rules of thumb.
David wrote: "The I7 Chord has the F, not F# (the F is the flat-7th). I am not aware of any blues that uses an F# (which would give you a major 7th, notated as M7) on the I Chord."
Charlie Parker's "Blues For Alice" uses a Imaj7 chord. Granted, you're unlikely to encounter it at a blues jam, but it is a 12-bar blues.
Thanks for the note. When a jazz musician plays blues, they're using the 48-beat, 12 bar blues progression as a form, but they're not playing blues. Though they may have bluesy elements, it's jazz, so we shouldn't include that in our observations of how blues works.
Hello Sarkhanmad. 5 and 9 F are not okay on the V Chord, use F#. As an accompanist, it’s the F# that we’re looking for, since that’s what the band is playing. We want to play notes that match, not hit notes to grab attention. In the accompaniment example, Hole Changes, move down to 4 draw, the root of the V Chord, or move up to 6 draw, the fifth of the V Chord. You’re correct for the 2’ F#, that’s the perfect choice. As a soloist, it’s OK to use F, as long as you know why you’re using it. F, being the flat third of the chord, is a note to build tension. By hitting that note, even holding it for an extended period time, you’re helping to create tension, that wants to be resolved. After playing the F, then you’ll go to a more constant note of the chord. If it’s a very dark blues, the F works okay, but if it’s a lighter blues (more major), the note commonly sounds off. Simply-put, F# for accompaniment playing and when playing light blues. F is OK when soloing, but commonly in darker blues, but still use caution.