If you're looking to add some serious mood to your playing, diving straight into 3rd position harmonica is arguably the most fun a person can have using a standard diatonic. The majority of us start out in 1st position (playing in the key of the harp) or even 2nd position (cross harp), that is the particular bread and butter of blues. But once you get a handle on those, you start noticing that several songs have this dark, jazzy, or minor-key vibe that you just can't quite capture with your usual second position licks. That's where 3rd position comes in.
It's the key weapon for enjoying minor blues, and honestly, it's not really nearly as overwhelming as the theory nerds make it sound. A person don't need the PhD in music to get the great sound out there of it; you simply need to know exactly where the "home" information are as well as how to lean into those draw notes.
What Makes 3rd Position Different?
When we talk about opportunities on a harmonica, we're really just talking about what key we're playing in relative to the important thing of the harmonica itself. If you've got a G harmonica, 1st position is the key of G. 2nd position (moving one step up the circle of fifths) is vital associated with G. Moving one particular more step brings us to the essential of D, which is what we should contact 3rd position harmonica .
The main reason this matters is the scale structure. In 2nd position, you're usually fighting to help make the harp sound "bluesy" simply by bending notes in order to hit those small thirds. In 3rd position, the harp naturally wants to play in the minor key. Specifically, it puts you in the Dorian mode. If that sounds like gibberish, don't sweat it. All it really means would be that the "home" note—the root—is the draw note, plus the notes encircling it naturally experience "sad" or "cool" rather than "happy" or "bright. "
Finding Your Way Throughout the Layout
The very first thing you'll notice when playing 3rd position harmonica is that the draw notes are usually your best friends. Within 2nd position, we spend a lot of period on the 2-draw and the 1, 2, 3, and 4 holes. In 3rd position, our "home base" or root note will be the 4-draw .
If you're holding a C harmonica and you play the 4-draw, you're hitting a M note. That's your anchor. If you proceed down to the particular 1-draw, that's furthermore a D, simply an octave reduced. This gives you two very different regions of the harp to try out with. The lower end (holes 1 through 4) is great regarding those chunky, rhythmic riffs, while the middle and higher registers (holes four through 8) are perfect for soulful, melodic lines.
One of the particular coolest reasons for this position is that you don't actually have to bend records to get the minor scale. When you just perform the natural records from the 4-draw up to the particular 8-draw, you're already playing a small size. However, if you would like that "stink" on it—that real bluesy grit—you're going to want to use your bends.
The Magic of the 6-Draw Bend
When there is one note that defines the audio of 3rd position harmonica , it's the particular 6-draw bend. Within this position, the particular 6-draw is your "blue note. " It's that somewhat sour, tension-filled be aware that makes people lean in when you're playing the solo.
When you're using in the middle register, sliding from that 6-draw flex to the natural 6-draw makes a classic blues resolution. It seems sophisticated. While second position often seems like a gut punch, 3rd position feels more such as a late-night conversation within a smoky jazz music club. It's softer, but it still offers that edge.
Why you need to Switch from 2nd Position
You may be wondering the reason why you'd bother learning a brand new position in case you're already comfy with cross harp. The truth is usually, some songs simply don't work within 2nd position. If the band starts playing a song in a minor key (like "The Thrill is Gone" or "St. James Infirmary"), trying in order to force 2nd position can seem like trying to fit the square peg within a round hole. You'll find yourself over-bending and struggling to stay in tune.
In 3rd position harmonica , all those minor intervals are right there waiting around for you. It allows for considerably faster runs and even more fluid phrasing since you aren't battling the natural physics of the reeds as much. As well as, it offers your ears a break. Playing within the same position all night can make your solos start to sound repetitive. Switching to 3rd position instantly changes the texture of your own playing.
Obtaining the "Little Walter" Vibe
In the event that you want to hear what 3rd position is supposed to sound like, you have got to pay attention to the masters. Little Walter was the ruler of this. Tunes like "Off the particular Wall" or "Blue Light" show away exactly how powerful this position could be. He used this to bridge the particular gap between Chicago blues and jump jazz.
Whenever you pay attention to these old records, notice how he uses the low-end draw notes. He'll hit that 1-draw plus 2-draw together to get a thick, dissonant chord that sounds massive by means of an amplified microphone. It's a very different approach than the clean, single-note melodies of 1st position. It's about texture plus atmosphere just as much as this is about the actual notes.
Tips for Practicing 3rd Position
If you're just starting to test out 3rd position harmonica , here are a few things to bear in mind so you don't get frustrated:
- Focus upon the 4-draw: Use it since your "safe" take note. Whenever you obtain lost inside a riff, come back to the 4-draw. It's your North Celebrity.
- Watch your breath: Since this position is so draw-heavy, you're going to find yourself "filling up" with air pretty quickly. You'll have to find spots within your phrasing to allow that air away through your nasal area or find the quick blow note to balance things out.
- Don't over-bend: Because the minimal scale has already been generally there, you don't need to go crazy with bends. Use them for expression rather than simply trying to find the "right" take note.
- Consider it with a backing track: Go to YouTube and search for a "Minor Blues Backing Track in D. " Grab your Chemical harmonica and just start noodling about the 4-draw. You'll be surprised exactly how quickly it begins to make sense.
Learning the Dorian Feel
I mentioned the Dorian scale earlier, and it's worth revisiting just for a second. The particular reason 3rd position harmonica seems "cool" rather than "sad" is that the Dorian range has a main 6th. In plain English, that means it's a minor scale that has a single bright note in it. This prevents the background music from sounding too depressing or "doom and gloom. "
It's the same level used in "Oye Asi como Va" or "Moondance. " It provides a lift into it. When you play this on the harmonica, it gives a person a lot of room to end up being expressive. You are able to play a really darkish, moody line and then hit that organic 6-draw to bring a little bit of light back again into the solo. It's that contrast that makes for the great performance.
Wrapping Things Up
Getting comfy with 3rd position harmonica is one of these milestones that actually separates the beginners from the more advanced players. It implies that you're thinking regarding the music and the mood, rather than just memorizing styles.
It may feel a very little weird at first—your tongue and lung area are extremely used in order to the patterns of 2nd position that will you'll probably discover yourself accidentally slipping back into your own old habits. That's totally normal. Just keep coming back again to that 4-draw and let the minor scale perform the work intended for you. Before long, you'll be adding the whole new layer of depth for your blues playing, and you'll wonder why you didn't try this particular sooner. So, grab your C harp, look for a D small track, and notice what kind associated with moods you may stir up.