constructions away from the basic 1 IV V
ok. this gets so confusing to me still I'm not even sure I can ask it so that it makes sense, but here goes.
I'm getting closer to actually getting on the stage at church. (I'm my own biggest hinderence) but I'm constantely thinking about what / how I would approach something. I got chord sheets from last Sunday's service to study how they were playing the songs and what I could do, and of course they throw a monkey wrench into my thinking.
i.e., the way they played Leaning on the Everrlasting Arms in Eb the rythm guitarist used 1, 11, IV, V and an occassional VI (if I got this right, the II being the F and VI being the Cm tossed in)
after what I've learned in the accompanyment sections, I could actully, playing in 2nd position, use the 1,2 blow for the II and 2,3 blow for the VI. which makes use of flat 3rds.
my question: is all of that right? or has my train derailed or in there some easier way to play songs not fitting into set any of the normal blues progression?
Monty
since I run the soundbooth I was able to make a cd of the song service and get the chord sheets afterward. I've learned to zrip the cd in WNP and save ouput to mp3 so I can load into Audacity and pull each song out and save each song. so yes. I following along the same though process but I always hit stumbling blocks when faced with something new such as the appearance of the II and VI cords and what to do with them.
In major key sogs, the II and VI chord are both minor chords.
How does that help you?
The II chord and the IV chord differ by only one note, making them very nearly interchangeble.
The VI chord and the I chord, same thing, one note different, nearly interchangeable.
In second position, the I chord in Draw 1-2-3-4 can function over the VI chord. Hoevr, Draw 1 and 4 *might* clas, so if you stay with Draw and blow in 2 and 3, there's still lots you can play. The only absolute avoid note is in Draw 5 and Draw 9.
In second position, the IV chord is the blow chord all the way up and down the harp, so you can use it to substitute for the II chord, although there's a possibility that Blow 3 and 6 might clash (but there's a good chance they won't).
By the way, stick with Roman numerals (I IV, VI, etc.) when numbering chords. Arabic numerals (1, 2, 3, etc.) are for individual notes in the scale.
:) I meant to use roman numerals and upon proof reading realized i didn't and thought I might sneak one by :) glad you didn't let me and I didn't see my typo above that. I meant draw for VI and typed blow on both. that being said, I appreciate knowing more of the "why" which always helps more than just do it with no "why"
I tried it with one song. fast though" The haHlelujuh Side" it's harder'n I thought at least for my first try
Monty
OK, let me go into more detail about these chords.
Let's assume a song in C and a C harmonica played in second position.The I chord, G major: G B DThe VI chord, E minor: E G B
G and B are the notes in common, which you can find in Draw 2 and 3.Additionally, you have E and G together as blow notes, also in HOles 2 and 3 (how convenient!) as well as 5 and 6 and 8 and 9.The different note is D, in Draw 1, 4, and 8. It's only one scale note (and one hole and breath change) awaw from the D in the G chord. And sometimes the D will work over both chords. You have to try it out to know whether that's the case in any given spot in a song.The IV chord, C major: C E G
The II chord, A minor: A C E
The notes in common are C and E, found in Blow 1 and 2, in Blow 4 and 5, in 7 and 8 and in 10 (C only).
G and A are the notes that differ, G for the C chord and A for the A chord.In the middle register, they can both be found in Hole 6 (G blow, A draw).
In the low register, A is a two-semitone bend in Draw 3 whole G is either Blow 3 or Draw 2; a bit awkward to master, but it can be done.
In the high register, A is Draw 10 and G is Blow 9.Agin, one scale note away and sometimes and easy transition and sometimes not.
I stand grateful for the time everyone here spends in explaining the whys not only the "do it this way" you've introduced me to some basic minor chord stuff that promotes understanding now and down the road.
I done it last night. pulled "the Hallelujuh side" from my recorded CD and tried it. that one didn't have the VI chord in it but played with the II. I was able to use 1, 2 blow over it and 1, 2, 3 over the IV. it simplified the process with few switches but I just went through the first verse and chorus. It might get tedious ocver the entire song, but you've given me some variants to experiment with.
It did take a few tries to get the feel and hang of hte chord changes outside the progression Ive learned heree. (maybe more than a few) I sent my experient to the worship leader for a school boy grade. I'd say his returned comments ='d a B+ I hit the changes pretty good nothing clashed and oly rushed beat in a few places but was able to quickly find it again.
this about a guiy who's new wife told him, "don't clap unless somebody else does, cuz you ain't feeling it, dear." and she was right. I couldn't hear, feel or find music in me. I'd spent 50 years telling myself music was simply beyond me. and thanks to you folks, these lessons and this site, I've managed to learn so much; abeit, oft times painfully slow.
thanks again for the time ya'll take and spend and the patiences you have.
Monty
Monty:
My 2 cents:
1. Record your church group playing a song
2. Play the song at home and harp along with it
3. with Amazing Slowdowner you can record yourself playing along with the group and play the composite back to check your progress