standard

In Gary Smith's 54th submission for BluesHarmonica.com we continue our series on blues bridges... this time with the standard bridge (IV I IV I IV I ii V) in different groove types http://www.bluesharmonica.com/contributor/gary_smith

Here's what I like to play. Reminder, Bar 9 is four beats on the V7 and then two beats for the bVI7 and then two beats back down to the V7.

#1 - 3" 3' 3"

#2 - 4+ 4' 4+

#3 - You can also play an arpeggio (notes of the chord played one after another). The V7 Chord being 1 2' 3" and then 4' for the bVI7 and back down to the 4+ for the V7.

As always, the key practice point is to loop that part of the song and play it hundreds of times until you come up with two to three combinations that you like and then memorize them so that they'll be waiting for you when you play this song.

In the Bobby Bland version the V7 is followed by a bVI7, which is simply the same as the V7 with all of the notes up a half step. The V7 is D F# A C, so this up a half step is Eb G Bb Db. If you think in sharps better, then you get D# F## A# C#. The F## is the same note as G, so it may be easier for you to think D# G A# C#.

The V7 Chord is D F# A C and is found here: 1+ 1 2' 3" 4+ 4 6
The bVI7 chord is Eb G Bb Db and is found here: 1' 2 3' 4' 6+ continue reading...

The chord progression for Bars 7 and 8 went (two beats each): Root (G), 2nd (A), 3rd (B), flat-3rd (Bb). The B and Bb are moving downwards chromatically to A for Bar 9. What chord would you choose that has A in it? Think about this for tomorrow's tip.

Using the information below...

G7 = G B D F = 1 2" 2 3 4 5 6+ 7 8 9 9+
Am = A C E = 1+ 2+ 3" 4+ 5+ 6 7+ 8+ 10 10+
Bm = B D F# = 1 2' 3 4 7 8 9'+ 10'+
Bbm = Bb Db F = 1' 2" 3' 4' 5 9 10"+

These are the lines I like to play (one note per chord... two beats each)

Example #1 = 1 2+ 2' 2" (leads to 2+ in Bar 9)
Example #2 = 2 3" 3 3' (leads to 3" in Bar 9)
Example #3 = 3 4+ 4 4' (leads to 4+ in Bar 9)
Example #4 = 5 5+ 4 4' (leads to 4+ in Bar 9)
Example #5 = 6+ 6 7 9 (leads to 4+ in Bar 10) continue reading...

The three most common versions of this song (T-Bone Walker, Bobby "Blue" Band and The Allman Brothers) all have different chord progressions. The T-Bone Walker version is pretty straight forward and most players can play this by ear without study. The Bobby "Blue" Band and Allman Brothers versions have more defined alterations to the 12 Bar Blues progression and study is needed to play them well.

Bars 7 and 8 are the same in both the Bobby "Blue" Band and Allman Brothers versions, so let's focus on those bars first.

Here's the chord progression, each chord lasting two beats... continue reading...

The first eight bars follow the standard 12 Bar Blues progression. In bars 9 and 10 where we expect a V7 to iv chord (it's common for a minor blues to have a major V chord), in this song it's a bVI (flat six chord) to V7. In 2nd Position (E Harmonica) this chromatically descending chord progression (by half step) works out well as 2 to 2', 3' to 3" or 3' to 4+. In 3rd Position (A Harmonica) 3' to 3", 4 to 4', 5 to 5+ (and its octave equivalent 2" to 2+) or 2" 2 (and 5 6+) works well. Experiment with these to see which sounds best to you.

The next tune on our standards list is Junior Wells' "Messin’ with the Kid." This is another rock beat with a strong guitar hook and thematic hook in the opening (played once) and ending (played three times). Here's the opening thematic lick played on the harp (assuming the band is in the key of C)...

2nd Position (F Harmonica)
6+ 5 4 4+ 3' 3" 2 2" 2 - Be careful to play the 3' in tune, it's a challenging note in this passage and it sounds bad if you don't play it in pitch.

3rd Position
4 4+ 3" 3+ 2" 2+ 1 1+ 1 or 8 7+ 6 6+ 5 5+ 4 4+ 4

Another tune with a strong hook by the Paul Butterfield Blues Band. The hook is presented below, but harp players don't commonly play the entire hook, just the last two notes (same pattern as the common Charleston rhythm, but with straight eighths for this rock beat).

I7 = 1 2" 2' 2 2

IV7 = 2 3' 3 4+ 4+

V7 = 3" 4+ 4' 4 4

It's always a good idea to include a Jr. Parker tune in a set... he was the man, both on vocals and harp. This song was chosen due to its hook-driven nature, which is the main reason why a song is chosen in a set. Hook-driven songs are unique, helping your set to not get old. The hook of this song is also very playable on the harmonica. Below is the hook on your G Harmonica in 2nd Position.

I7 = 2 2 3 4 5+ 5 5 5+ 4

IV7 = 1+ 1+ 2+ 2 3" 3' 3' 3" 2

V7 = 1 1 2' 3" 3 4+ 4+ 3 3" continue reading...