C Major Scale and Modes
Hi, Dave:
Probably the first scale you taught me was the C major scale, across the range of the harmonica.
1+ 1 2+ 2" 2 3" 3 4+ and so on...
You mentioned how, if you start from different places on that scale, you play in different modes. So, if you go from 1+ to 4+ (or 4+ to 7+) that's first position in C. From 4 to 8 is 3rd position in D, etc...
I recently realized two things and want to confirm that I'm correct:
1) So I can use my C harmonica to play in any key by using that C major scale and starting in different spots. For example, the band wants to play in E and all I have is a C harmonica.
When I'm comping, I'll think... 2+ is E, skip a note (the 2"), 2 is the next chord tone, skip 3", 3 is the next chord tone. I'll comp using 2+, 2, and 3 (at least on the I chord). When I solo, I use the 2+ and the 5+ as my focus notes and I play the other notes from the C major scale. Technically, I would be playing in a different mode than them (in this case, Phrygian), but this approach should be mostly okay, right?
2)Looking at it from the opposite angle: if the band wants to something in, for instance the Locrian mode (which would be 3 to 7 from the above scale, or B to B). They want to do it in G#. I can look at my "All Keys Harmonica Chart" and find which harmonica would have a G# on the 3. I see it's an A harmonica, and I play my A harmonica, hitting the notes from that C major scale from 3" to 7. I'll just be playing the scale, so it won't sound bluesy, but it'll be all the "correct notes".
With good phrasing and the ability to improvise with that C major scale, it seems that a guy could play any key or position and not hit any wrong notes.
What did I get wrong or misunderstand here?
It's a bit more complicated than that.
in your 1) example, 2 draw (G) is a chord tone in E minor, but not in E major and 5 draw (F) doesn't belong in either E major or E minor. If you avoid all the Fs and Cs your C harp gives you a nice E minor pentatonic scale which will work in an E major blues or bluesy-rock tune but not in more straight-up E major tunes. You *can* play E major in fifth position on a C harp, but you need careful bends and overbends to get all the notes.
Your 2) example about playing G# Locrian on an A harp is correct. I can't, however, think of any tunes written in the Locrian mode. I did hear Joe Filisko play a solo on "Help Me" (a minor blues) in seventh position once, but he had to be careful to avoid all the bad notes.
Bottom line is that you can't just arbitrarily substitute one mode for another. You want to play a mode that works with the chords the band is playing.
Thank you.
Hello Marc. Comments below...
"When I'm comping, I'll think... 2+ is E, skip a note (the 2"), 2 is the next chord tone, skip 3", 3 is the next chord tone. I'll comp using 2+, 2, and 3 (at least on the I chord). When I solo, I use the 2+ and the 5+ as my focus notes and I play the other notes from the C major scale. Technically, I would be playing in a different mode than them (in this case, Phrygian), but this approach should be mostly okay, right?"
You are correct. Are you mixing modes, as you've stated, so there will be some notes that will not work (per case basis), so just use your ears to tell you what to stay away from.
"Looking at it from the opposite angle: if the band wants to something in, for instance the Locrian mode (which would be 3 to 7 from the above scale, or B to B)."
Not going to happen in blues, but I'm following you...
"They want to do it in G#. I can look at my "All Keys Harmonica Chart" and find which harmonica would have a G# on the 3. I see it's an A harmonica, and I play my A harmonica, hitting the notes from that C major scale from 3 to 7. I'll just be playing the scale, so it won't sound bluesy, but it'll be all the "correct notes"."
Well done, you have it exactly!