1st Position Blues Harp An Introduction (Part 3)

A guide to straight blues harping

In previous posts we considered why 1st position blues can sometimes be left
in the shadows. We also touched on building a general awareness of positional
playing, how some positions are interchangeable, the Ionian Mode, the low
end 1st position blues scale and some low end 1st position signature riffs .
One thing is certain; played well, the top register of the blues harp packs
a mighty punch and its a crowd pleaser. Any blues harp player who likes to
showboat will agree. John Popper of Blues Traveler rips it up with his
quickfire high end licks. Sugar Blue blows us away in high altitude 3rd
position, while Magic Dick blows the roof off with some soaring cross harp
blow bends. A long list of stars knock us down every time with their death
defying high wire antics. But its not only the fast stuff that delivers.
To the toppermost of the poppermost!
For the cross harp blues player, a few comfort zones are threatened when
venturing into holes 7 to 10, leaving them apparently inhospitable. Firstly, all
those neat blues patterns in the lower register are rendered useless
simply because the reed layout in the upper octave is different. Then theres
the technique necessary to play accurate and controlled blow bends. And
ultimately there appears to be no bluesy way of connecting the two opposing
ends of the harp, just a big old gap in the middle.
On todays menu
We wont dwell on blow bending technique in this post, as you can investigate
this for yourself in our Harp Skills section. If you are not yet proficient, take
some time out, master it, then come back and see how it can be applied. It will
be a very good investment. Meanwhile in this, part 3 of our guide to 1st
positon blues harping, we will be exploring:

The high end blues scale

Some high end signature riffs

Technical note
As you are well aware, blues harps come in a variety of different keys. Most top
end blow bending, regardless of the position adopted, is played using a lower
harp key. This is simply because the top reeds in lower key harps are
marginally longer than in higher keys. Consequently theyre easier to control
and more responsive to the level of air pressure we can supply most
comfortably.
This is not to say that blow bends are completely impossible in the higher key
harps, but the upper reeds are significantly more resistant and require an

inordinate amount of work. Furthermore they become so shrill, they lend little
or no musical benefit to our playing. On the other hand they can double-up
as a great dog whistle. So our recommendation is to hone your blow bend
skills on regular low harps such as G, Ab, A, Bb and perhaps B, or investigate
customised harps such as a Low D, E and F.
Mapping it all out
Heres the 1st position high end blues scale tab. The sound clip is played on an
A major harp.
7B 8B 9D 9B 9B 10B 10B
10B 10B 9B 9B 9D 8B 7B
Now lets look at a graphic of whats going on. Click the image below to enlarge
it or print yourself a copy here. All the safe notes have been highlighted in
red. The great news is that, unlike the lower octave with its blues wannabe
notes, we have a complete blues scale up top. You just need to master three
important blow bends (8B, 9B and 10B) to crack it.

Honey knock your self out

Now weve nailed the scale, lets learn some high end signature blues riffs
together. Well start with Jimmy Reed and Bright Lights Big City. Youll
need your A major harp.
Jimmy played almost exclusively through a rack mounted harp. Furthermore
he played acoustically. To replicate his style, while the rack is not essential,
you will need to adopt a laid-back, acoustic feel. Importantly, no hand effects
are required.
Portamento, the movement up from a blow bent note (indicated by
parenthesis in the tab) into a clean note, is the essence of Jimmy Reeds
delivery. In this number he also drops in an un-bluesy 6D and 8D to mimic
the vocal line.
(8B)..8B (8B)..8B

Spit technique to trigger the 8B

(8B)..8B 8B..7B..8B..7B
(8B)..8B (8B)..8B
8B..7B 6D 8D 7B

Echo the vocal line

(8B)..8B..8B..7B

Over the IV chord now, so heavier on the 8B

(9B)..9B..10B
(8B)..8B (8B)..8B
8B..7B 6D 8D 7B
8B..8B..8B
(9B)..9B 10B (10B)..10B
(9B)..9B..gliss..7B..7B

Echo the vocal line

Over the V chord now dig into the heavier 8B
Keep that spit trigger going
Catch a few crabs for that authentic touch

Now youve tried this one out, investigate some more songs by Jimmy Reed.
Honest I Do and Down in Virginia are two more classics. Be sure to nail
his rolling, laid back feel. You might also want to check out the album On The
Jimmy Reed Highway by Omar Kent Dykes and Jimmie Vaughan.

I have a right to trust my baby

Lets move on to another classic now, featuring Jimmie Vaughans old
Fabulous Thunderbirds buddy, Kim Wilson. This example demands the
highest standard of control on your blow bends. Its that Sonny Boy II
number Trust My Baby again, covered by Kim Wilson on his Tiger Man
album. In Part 2, we tabbed out the low end intro lick to this number. Now
grab your G major harp again and lets look at that killer top end break.
By using a low harp key, the blow bends are more co-operative and relatively
easier to hold. Neverthless you will need to apply a large amount of air
pressure to control and direct the reed movement.
The solo features a sustained 10B vibrato, that famous glissando, a
weeping harp and finally the standard jump to 2nd position over the V chord
before returning to the lower register for end of the solo. There is another
example of a sustained 10B in the opening mix to this post; its played by
Lester Butler of the Red Devils.
For the opening vibrato, youre moving from a 10B into a clean 10B,
then easing back to the 10B by maintaining plenty of air pressure. The vibrato
is created by rapidly repeating this sequence. Control comes from a gentle
movement of the upper-mid area of your tongue. Youre effectively applying
and releasing a squeeze on the reed while pushing from your diaphragm. The
repeated lick in the second line needs a punch at the start of each cycle. We
call this a spit trigger.

(9B)..9B (1oB)..10B..10B~(10B)..10B
9B..9B..9B..8B..7B

portamento
a rapid repeat lick

9B..9B..10B 9B..9B..9B
to the max

weeping harp milk it

9B..9B..9B..8B..7B 8B~9B..8B~9B..8B~9B

dipped trill

Bad boy barking at the moon!

Heres a fine examples of 1st position top end Soul style harping. Gary
Primichs Dog House track from his 2002 Dog House Music album. Check
out how Gary locks into the main melody, developing it in the same way a Sax
player might. The phrasing that results is rhythmic and imaginative. Also, note
how he hits those squawk notes, signaling in no uncertain terms that this is a
harmonica break, not a horn break.
As an aside, consider how the harp break is somehow reminiscent of Junior
Walker. In another series we will be exploring the harmonicas role in Soul
and Motown music. Borrowing from the great horn parts, as Gary Primich
does here, and steering them into harmonica territory is an important part
of this subject. But more of this another time. For now, grab your Bb harp and
lets get to work on Gary Primichs solo.
(9B)..9B (10B)..10B..
10B 9B..9B 8B
10B 9B 8B..7B
(7B 8B8B 9B 8B..8B 7B 8B..8B)
7B (8B)..7B-8B (8B)..7B-8B
effect
7B (8B)..7B-8B (8B)..7B-8B
(8B)..7B-8B (8B)..7B-8B 7B
(8B)..7B-8B (8B)..7B-8B 8D
10B 9B..9B..9B
10B 9B..9B..9B
8B..9B 8B..8B..7B

a hint of 7B for that squawk

(8B)..8B (8B)..8B
8B..7B (8B)..8B
9B (10B)..10B 10B 9B..9B..8B
(8B)..8B..9B (8B)..8B..7B
10D..9B (8B)..8B..7B
10D..9B (8B)..8B..7B
(8B)..8B..9B (8B)..8B..7B
8B..8B 7B
8B..7B (8B)..8B (8B)..8B..7B
Note how Gary goes that extra mile to follow the chord changes. He tucks in
two real gems an unorthodox 8D and 10D. By including these two
notes, the solo becomes more melodic than a standard blues. Its more soulful
and very pleasing to the ear. Now source the full track and see if you can figure
out the songs intro which uses similar licks.
.. And I can hit em all night long
Finally, check out the high end break on this Harp Surgery house favourite by
Jerry Portnoy, Home Run Hitter. Grab an A major harp and start work. As
far as standard shuffles go, this ones an absolute dandy. And as ever its down
to Jerrys tone, accuracy and attention to detail.
Now that youve mastered the art of blow bending and already tackled some
examples above, this one should be within your bailiwick, as Jerry might
say. Note how his cute roll down 10B..10B..9B..8B..7B is actually very similar
to our series theme tune by Nine Below Zero (see below)
I cant do my homework any more
To close, we recommend you buy a copy of Dave Barretts book on Exploring
1st Position. It has a heap of practice riffs to work through that will develop
your bending muscles! Dave also has books which cover 2nd and 3rd position.
We also recommend Winslow Yerxas book Harmonica For Dummies as a
neat way of exploring this feature of the diatonic harp. Check out our Music
Store page for both these books.
In the fourth and final part of our guide to 1st position harping, we
will investigate the missing link that big gap in the middle we keep referring
to. We might even throw in a couple of extra 1st position tips along the
way. Meantime back to Nine Below Zero to play us out.