The Pervasive Pentatonic

 

 

The Pentatonic scale is a 5 (penta), note (tonic) scale, consisting, in reference to the Major scale, of a 1st, 3b, 4th, 5th, b7.;  or for C:   C,  Eb,  F,  G,  Bb.  This scale is most popularly known as the "Blues Scale".  It's simple, has feeling, and can be given some extra color with a few passing tones: such as the natural 3rd (E) and 5b (Gb) & natural 7^th (B).  *The 5b is most common.

 

How does 2nd position on the harmonica sound so bluesy then, not using the Pentatonic scale, but employing the Mixolydian    ( G, A, B, C, D, E, F.)  scale?  Let's look:  Moving from a C Pentatonic (above), now look at the G Pentatonic: 

G,  Bb,  C,  D,  F.    Notice the overlap of the Pentatonic and Mixolydian scales: --------      

G,  A,  B,  C,  D,  E,  F.   The B in the Mixolydian is a natural 3rd, one of the passing tones of the pentatonic blues scale noted above!  Bend draw hole #3 (B) down 1/2 step to Bb and you can have all the notes of the G Pentatonic.  I may be going out on a limb here, but I believe, that when playing 2nd position, the mind is hearing the Pentatonic blues scale.  The Mixolydian scale as a whole just doesn't have that same feel.                          

 

In 2nd Position all the notes of the Pentatonic scale including the 5b (1/2 step bend on chamber #4: (Db) are possible.  It helps to hear the scale on a guitar or piano first and then attempt to mimic the passage on the harmonica.

 

                                                   

                        G Pentatonic (2nd Position)

 

C    E    G    C    E    G    C    E    G    C

D    G    B    D    F    A    B    D    F    A

              Bb      Gb

 

 

The Pentatonic scale is also at the center of 3rd position which employs the Dorian scale:  D,  E,  F,  G,  A,  B,  C. 

For the key of D, the Pentatonic scale is:  D,  F,  G,  A,  C. *The 5b, (Ab) is also possible here with a 1/2 step bend

in draw chamber #6.    

                                   

 

                        D Pentatonic (3rd position)

 

C    E    G    C    E    G    C    E    G    C

D    G    B    D    F    A    B    D    F    A

                                 Ab

 

 

 

 

 

4th position on the Diatonic engages the Aeolian/Natural Minor scale:  A,  B,  C,  D,  E,  F,  G.  Here too, when applied to the blues, the Pentatonic scale lies at the focus of the tonal structure, .  For the key of A, the Pentatonic scale is:  A,  C,  D,  E,  G.  Here again the 5b passing tone (Eb) can be done with an overblow on chamber #8

                       

 

                        A Pentatonic (4th position)

 

                                                Eb

C    E    G    C    E    G    C    E    G    C

D    G    B    D    F    A    B     D    F     A

 

 

 

Phrygian,  also known as 5th position:  E,  F,  G,  A,  B,  C,  D.  In like manner, the Pentatonic scale is here and the 5b passing tone can be achieved with a 1/2 step draw bend in chambers #3 & #7 (bending chamber #7 may take some work, as does bringing chamber #3 down a full step for and extra low A.). E Pentatonic:  E,   G,   A,   B,  D.

 

E Pentatonic  (5^th position)

 

C    E    G     C    E    G    C    E    G    C

D    G    B    D    F    A     B    D    F    A

              Bb                       Bb

               A

 

 

So, on one Diatonic harp there are 4 keys available for playing the blues.  Here, on the C harp:  G; 2nd position,  D; 3rd position, A; 4th position & E; 5th position.  Go over these scales individually against the appropriate key of 12 bar blues and get a feel for them, the nuances you can create with passing tones and bends (even overblows!).

 

Once you have a feel for these individually, begin to play each pentatonic scale over its associated chord.  Using the C harp for example again, play some blues solo improvisation over a 12 bar blues in A.  Instead of only using the A Pentatonic (4th position), use the A Pentatonic over the A chords, the D Pentatonic (2nd position) over the D chords and the

E Pentatonic (5th position) over the E Cords.  This will bring your blues solo improvisation to a new level and perhaps open up new ways to play the blues.  

 

It could be argued that this is simply playing an A Minor scale over the 12 bar blues in A, however, by changing the tonal center over each chord and keeping within the Pentatonic scale structure, you'll find that this approach will lend different colors than simply using A Minor, with A as the tonal center throughout.

 

For any Diatonic Harp, starting form it's Major key root as 1, you have, for the blues:

 

    Position/Scale                                               Tonic Note

1. 2nd position/Mixolydian;                               5th scale tone

2. 3rd position/Dorian;                                      2nd scale tone

3.  4th position/Aeolian/Natural Minor;              6th scale tone

4.  5th position/Phrygian;                                   3rd scale tone.

 

The Pentatonic/blues scale is at the center of scales 2-4.   Scale  #1, (2nd position) missing it only by that 1/2 step passing tone (3rd Pentatonic scale tone).  2nd position would be favored for chord and solo work, while the other three lend themselves to solo expression.  In the later 3 scales, the Pentatonic uses scale tones:  1,  2,  3,  4,  5,  6,  7.  In the Mixolydian scale, it is found similarly, but using a natural 3rd (passing tone) which gives the feel that the 3b was there anyway!  (Remember 3b in reference to Major.)