Rollin' Rhumba V1
Great introduction to 3rd position but I'd like to switch the jam track up a bit by singing two choruses, playing accompaniment for three choruses as if another instrument was soloing, plus taking two of the choruses in the middle and making them my solo. The problem is the solo is in 3rd position but I only know how to accompany a rhumba in 2nd position. Is there somewhere on the site I can learn an easy 3rd position accompaniment so I don't have to switch harmonicas during the song?
So I can play the I chord root at 4, the IV chord root at 6+ and the V chord root at 6. In a Charleston Rhythm I would use root notes in octaves more often than not and that'll work except the V chord might be a bit shrill. The other chord qualities are also possible just like in 2nd position except I can see the F# is not available in the middle of the harp and the C# isn't available anywhere so I'll just pass on them. Thanks!
PS: It's a lot easier working this out on a C harp in the key of D than triyng to figure out the notes on a G harp in A.
Well done, you got it! Play the 5+ octave for the V7 Chord, it's the most common choice in 3rd Position.
If I wanted to play a basic rhumba pattern while using a harp being played in 3rd position I'd be okay for the I chord (with a bend to the F# third) and the IV chord but not the V chord? The C# in the V chord (A) is a problem. Would you just hold the root or play the 5+ octave which is the fifth of the A chord?
Both are good options, but you can play the C#... it's the same note as Db. So the arpeggio is 3" 4' 5+. This is not too common, so this is why holding the 5+ or 2+ (or both for the octave) is most common. The 3" held doesn't sound to great, so we tend to avoid it.
Db is C#. Not sure how I missed that one! So yes, I can get the 3rd position V chord triad on the lower end with the two bends. I think I also missed the bend to the A on the 3rd position I chord as to get the F# I need to be on the low end which means I need to bend the 3 a whole step to get the A. So like this:
D: D F# A from 1 2' 3"
G: G B D from 2 3 4 or possibly 6+ 7 8
A: A C# E from 3" 4' 5+
Glad to hear the 3" not sounding so great isn't just my problem!
I can't tell you how beneficial is to to be able to bounce this off you. It's so easy to make a mistake and not know it. I watch other students questions, and while they vary greatly, there's often something I hadn't thought of. Hopefully others get something out of my questions. For you though there must be a lot of repetetion. I guess that's just part of the job!
You got it, well done.
To simply answer your question, no, there is no material on that. When someone starts to improvising (including accompaniment) in 3rd Position they're an advanced player, generally have completed the Tongue Blocking and Bending Lesson, as we all as the Music Theory and Accompaniment. They then use the skills they've developed in 2nd Position and translate them to other positions. With this said, you don't have to wait for this, you'll just apply the same logic you're apply down the road, with a more simple line, like you requested...
Here's how you do it...
Analyze what you play in a simple accompaniment in 2nd Position. For example, if you play the Charleston Rhythm on the 2 draw for the I7 Chord, then you're playing the root of the chord (G of the G B D F Chord). Translating this to 3rd Position you're now in the Key of D, so the I Chord is D F# A C. Play the D (the root note... apples for apples), so this would give you an option of 1, 4 or 8 draw. Do this for the rest of the progression. To help out here are the chords in 2nd Position and 3rd Position.
2nd Position
I7 = G B D F
IV7 = C E G Bb
V7 = D F# A C
3rd Position
I7 = D F# A C
IV7 = G B D F
V7 = A C# E G