Blues In E for the Chromatic
I'd like to introduce an exploration of the Blues in the key of E for the Chromatic. It works well over the I, IV, V chords, but will go beyond the blues in jazz and other styles. Have a friend play the chord refrain on guitar, piano or keyboard, or play the chord phrase yourself and record it if a fellow musician isn't handy. Sometimes it is better to record and practice (woodshed) privately and then "sit in" with a friend. Just doing arpeggios, solo Harmonica, works well also.
The notes for the E pentatonic (Blues Scale) are: E, G, A, B, D. This makes up the pentatonic (5 tone) scale. Another way to understand it is using the 1, 3, 4, 5 & 7 tones of the minor scale. Of course here we'll throw in some extra tones, but the pentatonic will be the foundation. Bb, the flatted 5th in E pentatonic is a popular passing tone. Practice this scale and get a feel for it. Begin in the middle of the Chromatic and then extend to the lower and upper octaves.
Once you have the scale worked out, begin to play it over the chords: I- Em7, IV- A9, V- B9. (Basic Blues)...This can be a really fun chord progression and can be arranged many ways. Once you get a feel for playing the pentatonic over this you can begin to add the chord tones outside the pentatonic.
Em7=E, G, B, D. These tones are all in the pentatonic. A9 & B9 however, contain tones that are not in the E pentatonic scale. Playing the pentatonic over these chords is safe and will sound good. You can expand your solo expression however, by using the chord tones not found in the pentatonic but in the individual chords.
A9=A, B, C#, E, G. The C# while not in the E pentatonic will add some interesting color to you solo improvisation when played over the A9 measures.
B9=B, C#, D#, F#, A. Here we have C#, D# & F# as our chord tones outside the E pentatonic. Again using these tones over the B9 measures will give you a greater expanse for improvisation.
Here is my sight-reading chart for the E pentatonic scale on the Chromatic harmonica:
|
***** |
E |
G |
***** |
***** |
E |
G |
***** |
***** |
E |
G |
***** |
|
D |
***** |
A/A# |
B |
D |
***** |
A/A# |
B |
D |
***** |
A/A# |
B |
Any note with a flat "#" sign means the chromatic's slide is pushed in.
**** means this note is not in the scale.
Normal note location on the C tuned Chromatic:
|
C |
E |
G |
C |
C |
E |
G |
C |
C |
E |
G |
C |
|
D |
F |
A |
B |
D |
F |
A |
B |
D |
F |
A |
B |
The example below is only one example of the different chord progressions that can be created. From 12 bar blues to a slow ballad, be creative. It is a great chord progression for improvising.
You can increase the range of this chording and available soloing notes by adding the passing chord of Bb9 between B9 and A9. Also, try adding an D9 at the end of your phrasing (see chord progression below). These chords will add an even greater number of notes available for your solo work.
Em7 / / / A9 / / / (repeat x4) B9 Bb9 A9 / (repeat x3) D9 / / /
Play this at a moderate to brisk tempo with "funk."
Bb9=Bb, C, D, F. Ab all but D are outside the Eb pentatonic.
D9=D, E, F#, A, C. Here, F# and C are outside the Eb pentatonic.
These chord tones outside the E pentatonic scale can be found on the normal note location chart for the chromatic. To sharp a note, simply push the slide in.
Work on employing the chord tones outside the E pentatonic over the appropriate chords. This should provide an excellent basis for your improvisation skills.
I hope this helps in your never-ending quest for Chromatic mastery!
Musically,
Bill