blues harmonica lessons | blues harmonica - intervals, chords & … · 2013. 10. 12. · 3 section...

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Section 1 – Intervals & Triads

Ex. 1.1 – An Interval is the distance from one note to another. Below are the intervals found in the Major Scale from the Root (1) to the Octave (8).

Interval Interval Name Abbreviation 1 to 1 Unison U 1 to 2 Major 2nd M2 1 to 3 Major 3rd M3 1 to 4 Perfect 4th P4 1 to 5 Perfect 5th P5 1 to 6 Major 6th M6 1 to 7 Major 7th M7 1 to 8 Octave Oct

Ex. 1.2 – Below are all of the possible intervals from the Root (1) to the Octave (8).

Interval Interval Name Abbreviation Also Known As 1 & 1 Unison U -

1 to ♭2 Minor 2nd m2 ♭2nd, Half Step 1 to 2 Major 2nd M2 2nd,Whole Step 1 to ♭3 Minor 3rd m3 ♭3rd 1 to 3 Major 3rd M3 3rd 1 to 4 Perfect 4th P4 4th 1 to ♭5 Minor 5th m5 ♭5th, Diminished 5th, Augmented 4th, Tritone (TT) 1 to 5 Perfect 5th P5 5th 1 to ♭6 Minor 6th m6 ♭6th 1 to 6 Major 6th M6 6th 1 to ♭7 Minor 7th m7 ♭7th 1 to 7 Major 7th M7 7th 1 to 8 Octave Oct -

© 2012 David Barrett & The Harmonica Masterclass Co. for BluesHarmonica.com, All Rights Reserved

Music Theory Study 3 Intervals, Chords & 12 Bar Blues

BluesHarmonica.com Support Material Written by David Barrett

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Ex. 1.3 – If you play the 1st note of the C Major Scale (C)… then skip the 2nd note… play the 3rd note (E)… then skip the 4th note… and finally play the 5th note (G) you create a Chord... C E G. In other words, three notes built in thirds. C to E is an interval of a 3rd and E to G is an interval of a 3rd—This creates what’s known as a Triad.

Ex. 1.4 – There are four types of chord qualities that can be built from a triad: Major, Minor, Diminished and Augmented. Reminder: 3 half steps equals a Minor 3rd (m) interval and 4 half steps equals a Major 3rd (M) interval. Chord Quality Root 3rd 5th Interval Roman Other Forms Major♭ C♭ E♭ G♭ M + m♭ I♭ C (CM, CΔ, Cmaj or Cma) ♭ Minor♭ C♭ E♭ G♭ m + M♭ i♭ Cm, c (Cmin, Cmi or C-)♭ Diminished♭ C♭ E♭ G♭ m + m♭ io♭ Cdim (Cº or Cm(♭5)) ♭ Augmented♭ C♭ E♭ G♯ M + M♭ I+♭ Caug (C+ or C(♯5)) ♭

Ex. 1.5 – Exercise: Notate all of the chords built from the C Major Scale. Write the note names below each chord and above each chord write the chord quality in standard and Roman Numeral form. The first two chords have been completed for you.

Section 1 Questions

1) What is the root note of the IV Chord?

2) What is the 3rd of the Dm Chord?

3) What is the 5th of the V Chord?

4) What three chord qualities are found from the chords built on the Major Scale?

For More Information 1) Intervals, Wikipedia http://en.wikipedia.org/wiki/Intervals_(music) 2) Chord, Wikipedia http://en.wikipedia.org/wiki/Chord_(music)

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Section 2 – 12 Bar Blues Progression & Triads

Ex. 2.1 – Here is the same information you filled out for Example 1.5. Notice how the three major chords are the I, IV and V Chords—these are the chords used for 12 Bar Blues.

Ex. 2.2 – Notated below is the 12 Bar Blues Progression. This progression repeats until the song ends. Note that the terms Bar and Measure are used interchangeably (both equal the time of four beats). Also note that for the first four bars you only see the I chord shown in bar 1—you’ll stay on a given chord until you see another chord notated (in this case bar 5, the IV chord).

Ex. 2.3 – Exercise: Fill in the chart below with pitches for the C Major Diatonic Harmonica with bends.

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Ex. 2.4 – It’s the job of the rhythm section (drums, bass, rhythm guitar, piano, etc.) to play the notes of the chord in an interesting way. By changing the rhythmic and harmonic (chord quality) presentation of the chords used in Blues, different Grooves are created (reference the lesson Performance Training: Groove). This example uses the same triad as in Example 2.2, but presents the notes in the Rhumba rhythm. Even though we’re not playing all of the notes at the same time (Simultaneity), they still construct the notes of the chord (Arpeggio). Playing the notes of a chord sequentially in time is called an Arpeggio. You can play all three notes of a chord at one time… or play two notes of the chord at one time (two notes are enough to infer a chord)… or play them one at a time sequentially (in whichever order you wish)… the end result is still the same… a chord.

Reminder: The I chord has a Root of C, 3rd of E and 5th of G. The IV chord states the Root is F. When we’re speaking of the Key of C, C is the root—or home base—of the song. When we’re speaking of chords, the bottom-most note of the chord is the Root of the chord. This is why for the IV chord it is notated with a Root of F, 3rd of A and 5th of C. In turn, the V chord it is notated with a Root of G, 3rd of B and 5th of D... the intervals we’re speaking of are all relative to the chord you’re speaking of. The best way of keeping this straight is to use the phrase “Scale Degree” for the scale (e.g., thee 1st Scale Degree or 6th Scale Degree) and use the phrase “of the chord” for a notes position in the chord (e.g., the 3rd of the Chord or 5th of the Chord). I have used these labels to this point, but wanted to make you aware of it. Question: If you’re using the C Harmonica to play Example 2.4, what position are you playing in? Ex. 2.5 – Exercise: Complete the information for this Rhumba in the Key of C. Follow the order of completion below.

1. Write the note names 2. Write the degree of the chord 3. Write the harmonica TAB for the lower octave of the harmonica (holes 1 to 4) and middle octave

(4 to 7). 4. Play the example in whichever octaves is easiest for you (the lower octave requires bending skill).

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Ex. 2.6 – Exercise: Complete the G Major Scale and Chords below. Circle the I, IV and V Chords.

Ex. 2.7 – Exercise: Complete the information for this Rhumba in 2nd Position (Key of G) on a C Harmonica. Follow the order of completion below.

1. Write the note names 2. Write the degree of the chord 3. Write the harmonica TAB 4. Play the example

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Ex. 2.8 – Exercise: Complete the D Major Scale and Chords below. Circle the I, IV and V Chords.

Ex. 2.9 – Exercise: Complete the information for this Rhumba in 3rd Position (Key of D) on a C Harmonica. Follow the order of completion below.

1. Write the note names 2. Write the degree of the chord 3. Write the harmonica TAB 4. Play the example

Section 2 Questions

1) What are the three chords commonly used in Blues (use Roman Numerals)?

2) What does the term Arpeggio mean?

3) What does the term groove mean?

4) Why did we play examples in the keys of C, G and D on our C Harmonica?

For More Information 1) Twelve-bar Blues, Wikipedia http://en.wikipedia.org/wiki/Twelve-bar_blues

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Section 3 – 12 Bar Blues Progression & 7th Chords

Ex. 3.1 – To build a triad, we started on a Scale Degree and built in 3rds (essentially using every other note from the root—the bottom most sounding note of the chord). If we add one more note to the triad we get what’s known as a Major 7th Chord (in other words, a triad with the presence of a note a 7th above the root). If we build a G chord, we get G as the Root, B as the 3rd, D as the 5th and F♯ as the (Major) 7th. Let’s look at the Key of G for this example.

Ex. 3.2 – There are four forms of the 7th chord quality that we commonly run across in a Major or Minor key. These are shown below.

Chord Quality Root 3rd 5th 7th Interval Roman Also Known As Major 7th♭ G♭ B♭ D♭ F♯ M + m + M♭ IM7♭ GM7 (Gmaj7 OR GΔ7) Dominant 7th ♭ G♭ B♭ D♭ F♭ M + m + m♭ I7♭ G7 (Gdom7) Minor 7th♭ G♭ B♭ D♭ F♭ m + M + m♭ i7♭ Gm7 (Gmin7, g7 or G−7) Half-Diminished 7th♭ G♭ B♭ D♭ F♭ m + m + M♭ iø7♭ Gm7♭5 (Gø7 or G−7(♭5))

Ex. 3.3 – There are two forms of the 7th chord quality that we work with often for Blues harmonica. One is the Major-Minor 7th Chord (also known as a Dominant 7th Chord, or simply 7th Chord), where we use a Major Triad (the “Major” part of the name) with a Minor 3rd interval added on top (from the 5th to the ♭7th). The other is the Minor-Minor 7th Chord (Commonly known as just the Minor 7th Chord), where we use a Minor Triad (the “Minor” part of the name) with a Minor 3rd interval added on top (from the 5th to the ♭7th, just like the 7th Chord). The key element here is that the 5th to the 7th must be a Minor 7th interval—it’s what gives the chord its signature Bluesy sound.

Ex. 3.4 – We’ve already studied that the three most common chords used in Blues are the I, IV and V Chords. When we add the ♭7th to these chords we get a much more bluesy sounding versions of these chords… I7, IV7 and V7. Below are these chords for the C Harmonica played in 2nd Position, key of G.

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Ex. 3.5 – Here’s another way to look at the notes of the three chords commonly used in 12 Bar Blues. Used again is the C Harmonica played in 2nd Position, Key of G.

♭Chord♭ ♭Root♭ ♭3rd♭ ♭5th♭ ♭7th♭ I7♭(G7) ♭G♭ ♭B♭ ♭D♭ ♭F♭

IV7♭(C7) ♭C♭ ♭E♭ ♭G♭ ♭B♭ V7♭(D7) ♭D♭ ♭F♯ ♭A♭ ♭C♭

Ex. 3.6 – Exercise: Fill in the chart below for the C Major Diatonic Harmonica with bends. Start by using a colored pen or pencil and only filling in the notes of the I7 Chord (G7). Then use a different color to write in the notes of the IV7 Chord (C7). And finally with a different color, fill in the notes of the V7 Chord (D7). Some notes will overlap—this is fine.

Ex. 3.7 – Our example below is a common Blues bass line played on the harmonica. This bass line uses the root, 5th and ♭7th of the chord. The omission of the Major 3rd gives this bass line a bluesy quality. I have written out the first measure for you. Complete the rest of the chorus.

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Ex. 3.8 – Exercise: Fill in the chart below.

♭Chord♭ ♭Root♭ ♭3rd♭ ♭5th♭ ♭7th♭ I7♭(G7)

IV7♭(C7) V7♭(D7)

Ex. 3.9 – Here’s another cool line, which uses the root and ♭7th. Complete the rest of the chorus.

Fact – To figure out how to play the original presented line on the IV7 and V7 Chords, you analyzed the I7 Chord to find out what chord tones were being used. You were in essence Transposing this lick to the other chords—this is called a Sequence. Section 3 Questions

1) What are the three different names for the most common 7th Chord spelling used in Blues?

2) What has the addition of the ♭7th for each Chord done to the sound of the progression?

For More Information 1) Sequence, Wikipedia http://en.wikipedia.org/wiki/Sequence_(music)

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Section 4 – 12 Bar Blues Progression, One Hole at a Time




IV7♭(C7) V7♭(D7)

Ex. 4.3 – Using the information above, fill in the chart below with each note option for the given chord and hole. Hole 1 has been completed for you. The I7 Chord is G B D F. On hole 1 of the harmonica the notes are D (1 draw), D♭ (1 draw bend) and C (1 blow) are available. 1 draw is D, the 5th of the I7 Chord, so I placed “1” for 1 draw in the I7 Chord column. The IV7 Chord is C E G B♭. 1 blow is C, the Root of the IV7 Chord, so I placed “1+” for 1 blow in the IV7 Chord column. The V7 Chord is D F♯ A C. 1 draw is D, the Root of the V7 Chord, and 1 blow is C, the ♭7th of the V7 Chord, so I placed “1” for 1 draw and “1+” for the 1 blow in the V7 Chord column. Complete the rest of the chart, making sure to double-check your work.

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) 1

IV7♭(C7) 1+ V7♭(D7) 1+ / 1

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Ex. 4.4 – Exercise: Hole 1 This is your opportunity to REALY get to know your harmonica in the most common position played, 2nd Position. This is REAL WORLD knowledge that you can apply—now that you’ve taken your medicine to understand the basics of scales and chord construction. Let’s learn the harmonica one hole at a time. Look carefully at the chart I have filled in for you below.

The key to understanding music on the harmonica is in knowing which hole you’re playing, what the pitch is and how it relates to the chord you’re playing over.

The chart below shows those three pieces of information for the first hole of the harmonica.

♭Hole 1 TAB Pitch Degree I7♭(G7) 1 D 5th

IV7♭(C7) 1+ C Root (R) V7♭(D7) 1+ / 1 C / D ♭7th / R

Ex. 4.5 – Exercise: Let’s apply your knowledge of where you’re playing on the harmonica, what pitches they are and how they relate to the chords you’re playing over. Play the example below in the following ways, making sure to get enough reps in before moving on to the next exercise to master the concept.

1. Play to the provided jam track and enjoy the sound quality that each note produces as you play over the chords in the 12 Bar Blues Progression. Add tremolo/vibrato, dynamics and any other techniques to present these notes as musically as possible.

2. Close your eyes now and play the example from memory. As you play, say in your mind the hole number you’re playing (Ex., 1 draw, 1 blow, etc.).

3. Still playing from memory, say in your mind the pitch you’re playing (Ex., D). 4. Still playing from memory, say in your mind the Scale Degree that you’re playing (Ex., 5th, Root,

3rd). 5. Say items 2 through 4 as you play (Ex., 1 draw… D… is the 5th of the I chord / 1 blow… C… is

the Root note of the IV chord).

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Ex. 4.6 – Exercise: Hole 2 - Let's now do the same for the second hole on the harmonica. Fill in the chart below.

♭Hole 2 TAB Pitch Scale Degree I7♭(G7)

IV7♭(C7) V7♭(D7)

Now play your second hole on the harmonica in the same rhythm as you played for Example 4.5 in the following ways. Play each exercise as many times as it takes to master it before moving to the next item on the list. Some holes have more than one option—experiment with the options. Say in your mind…

1. The hole numbers as you play 2. The pitches as you play 3. The scale degrees as you play 4. All of above

Ex. 4.7 – Exercise: Hole 3


IV7♭(C7) V7♭(D7)

1. Say hole numbers as you play 2. Say pitches as you play 3. Say scale degrees as you play 4. Say all of above



IV7♭(C7) V7♭(D7)

1. Hole numbers 2. Pitches 3. Scale degrees 4. All of above

Ex. 4.9 – Exercise: Hole 5 (you’ll find no options for the V7—substitute another hole)


IV7♭(C7) V7♭(D7)


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IV7♭(C7) V7♭(D7)




IV7♭(C7) V7♭(D7)




IV7♭(C7) V7♭(D7)




IV7♭(C7) V7♭(D7)




IV7♭(C7) V7♭(D7)


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IV7♭(C7) V7♭(D7)

Ex. 4.17 – Exercise: Fill in the chart below with HOLE NUMBERS.

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) 1

IV7♭(C7) 1+ V7♭(D7) 1+ / 1

Ex. 4.18 – Exercise: Fill in the chart below with PITCHES.

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) D

IV7♭(C7) C V7♭(D7) C / D

Ex. 4.19 – Exercise: Fill in the chart below with SCALE DEGREES.

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) 5th

IV7♭(C7) R V7♭(D7) ♭7th / R

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Section 4 Questions

1) What’s a general statement you could say to a new harmonica player to help them match when

playing over the I7?

2) What’s a general statement you could say to a new harmonica player to help them match when

playing over the IV7?

3) What advice would you give a new player about how to play over the V7?

4) Why are we only using a C Harmonica in this example?

5) Would the note names if we change positions? ___

Explain:

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Section 5 – Minor Blues Chords




IV7♭(C7) V7♭(D7)

In Theory Study 2 you learned that the Minor Scale uses a ♭3rd, ♭6th and ♭7th. In this study you learned that to turn a Major chord into a Minor chord all you had to do was lower the 3rd (C E G B♭ turns into C E♭ G B♭ for example)—this needs to be done for the I7 and IV7 chords. In Minor Blues it’s common to have the V7 remain Major, so you’ll want to notate both versions. Fill in the chart below reflecting the chords used in Minor Blues. Ex. 5.3 – Exercise: Fill in the chart below.

♭Chord♭ ♭Root♭ ♭ (♭)3rd♭ ♭5th♭ ♭7th♭ i7♭(Gm7) iv7♭(Cm7)

V7♭(D7) or v7♭(Dm7)

Ex. 5.4 – Exercise: Fill in the chart below with HOLE NUMBERS for playing in minor.

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 i7♭(Gm7) 1 iv7♭(Cm7) 1+ V7♭(D7) 1+ / 1

Ex. 5.5 – Exercise: Play example 5.4 above one note at a time to the provided Minor Jam Track, just like you did for examples 4.5 through 4.14.

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Section 6 – Extended Chord Tones

Ex. 6.1 – To build a triad, we started on a Scale Degree and built in 3rds (essentially using every other note from the root—the bottom most sounding note of the chord). We then added one more note to the triad for the 7th Chord (in other words, a triad with the presence of a note a 7th above the root). If we add another note a third above the 7th, we get the 9th—a note with a jazzy quality. The 9th Chord is most commonly presented with a ♭7th (a 9th added to a Major-Minor 7th Chord in a Major key or a 9th added to a Minor-Minor 7th Chord in a Minor key—in both spellings the 9th is the interval of a major third above the ♭7th).

Ex. 6.2 – Here are our three chords with the addition of the 9th.

Ex. 6.3 – Here are our three 9th Chords tabbed out on the harmonica. Note that when we play the notes of the chord one after another it’s called an Arpeggio.

You can add the chord by continuing in thirds to create 11th Chords (the addition of the note “C” in this case) and 13th Chords (the addition of “E” in this case, after the 11th), with the 15th not existing due to the fact that the 15th is the Root. Though these chords present interesting voicing options for chordal instruments (piano and guitar for example), where the color of a chord carries importance, we tend not to benefit from the study of these chords in the Blues. For players wishing to become well verse in Jazz, further studies into these chords is justified. An interesting chord often used in the Blues is the Major 6th Chord. The Major 6th Chord is built from a major triad (G B D for example) with the addition of a 6th from the Root (a whole step from the 5th). The 6th has a Major quality to it, and is therefore most appropriately used in lighter Blues contexts, such as Jump & Swing Blues, Shuffles, Rhumbas, and other non-dark grooves. Note that the 6th can also be though of as a 13th Chord, with the 13th voiced above the 5th.

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Ex. 6.4 – Here are our three 6th Chords.

Ex. 6.5 – Here are our three 6th Chords tabbed out on the harmonica.

Ex. 6.6 – Here’s our Major 6th Chords played as a common bass line

Ex. 6.7 – Here’s the same bass line presented the way a professional player would play it—with slaps and pulls.

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Ex. 6.8 – The Rhumba rhythm uses the Major 6th Chord to very nice affect.

Ex. 6.9 – Notice how the most famous Blues harmonica lick of all time uses the Major 6th Arpeggio (opening lick to Little Walter’s “Juke”).

For More Information 1) Extended Chords, Wikipedia http://en.wikipedia.org/wiki/Chord_extension 2) 6th Chord, Wikipedia http://en.wikipedia.org/wiki/Sixth_chord

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Section 7 – Another Look at Harmonica Construction

Ex. 7.1 – In example 2.4 of Music Theory Study 1 you filled in the notes of the C Major Harmonica with the notes of the C Major Scale. Do this again for example 7.1 below.

Ex. 7.2 – In example 3.2 of Music Theory Study 1 you found out another way of looking at the notes of the Major Scale was to number them—known as Scale Degrees.

Ex. 7.3 – You then replaced notes of the C Harmonica with Scale Degrees. Do that again here.

Ex. 7.4 – Exercise: Let’s now use another way of looking at the harmonica—how it’s built with chords. Fill in the harmonica again with pitch names and analyze it relative to the Key of C.

Ex. 7.5 – You saw that the notes “C E G” were found on the blow notes, creating a Root Position I Chord (Root Position means that the lowest sounding note of the chord is the Root). You found that the draw side, from holes 2 through 9, were the notes “G B D F A,” which is a V9 Chord. Hole 1 draw is the 5th of the chord and holes 7 through 10 repeat the pitches of holes 3 through 7.

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Ex. 7.6 – Another way to analyze the draw chord is to think of holes 1 through 3 as the V Chord (D G B = 5th R 3rd) and from 4 draw as the ii Chord (D F A = R ♭3rd 5th), with the 7 draw being thought of as the 6th of a ii6 Chord (D F A B = R ♭3rd 5th 6th) or as the 3rd of the V Chord.

Ex. 7.7 – It’s more accurate to look at the harmonica from the perspective of both the C Major Scale and Chords. Holes 1 through 3 blow construct the I Chord (C E G = R 3rd 5th) and draw construct the V Chord (D G B = 5th R 3rd). Holes 4 and above create a complete C Major Scale, minus the B at the top, in this case to preserve the chord blocks. In the tuning of the harmonica—in all its varied systems—it’s a tradeoff between chord and scale availability.

Ex. 7.8 – Since we do most of our playing in 2nd Position it’s a good idea to look at the chords relative to 2nd Position as well.


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Section 8 – Completed Exercises

Ex. 1.5

Ex. 2.3

Ex. 2.5

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Ex. 2.6

Ex. 2.7

Ex. 2.8

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Ex. 2.9

Ex. 3.6

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Ex. 3.7

Ex. 3.8

♭Chord♭ ♭Root♭ ♭3rd♭ ♭5th♭ ♭7th♭ I7♭(G7) G B D F

IV7♭(C7) C E G B♭ V7♭(D7) D F♯ A C

Ex. 3.9

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Ex. 4.1

Ex. 4.2 ♭Chord♭ ♭Root♭ ♭3rd♭ ♭5th♭ ♭7th♭ I7♭(G7) G B D F

IV7♭(C7) C E G B♭ V7♭(D7) D F♯ A C

Ex. 4.3

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) 1 2” / 2 3+ / 3 4 5 6+ 7 8 9 / 9+ 10’+

IV7♭(C7) 1+ 2+ / 2 3+ / 3’ 4+ 5+ 6+ 7+ 8+ 9+ 10”+ / 10+ V7♭(D7) 1+ / 1 2’ 3” 4+ / 4 - 6 7+ 8 9’+ 10+ / 10


♭Hole 2 TAB Pitch Scale Degree I7♭(G7) 2” / 2 F / G ♭7th / R

IV7♭(C7) 2+ / 2 E / G 3rd / 5th V7♭(D7) 2’ F♯ 3rd

Ex. 4.7

♭Hole 3 TAB Pitch Scale Degree I7♭(G7) 3+ / 3 G / B R / 3rd

IV7♭(C7) 3+ / 3’ G / B♭ 5th / ♭7th V7♭(D7) 3” A 5th

Ex. 4.8

♭Hole 4 TAB Pitch Scale Degree I7♭(G7) 4 D 5th

IV7♭(C7) 4+ C R V7♭(D7) 4+ / 4 C / D ♭7th / R

Ex. 4.9

♭Hole 5 TAB Pitch Scale Degree I7♭(G7) 5 F

♭7th IV7♭(C7) 5+ E 3rd

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Ex. 4.10 ♭Hole 6 TAB Pitch Scale Degree I7♭(G7) 6+ G R

IV7♭(C7) 6+ G 5th V7♭(D7) 6 A 5th

Ex. 4.11

♭Hole 7 TAB Pitch Scale Degree I7♭(G7) 7 B 3rd

IV7♭(C7) 7+ C R V7♭(D7) 7+ C ♭7th

Ex. 4.12

♭Hole 8 TAB Pitch Scale Degree I7♭(G7) 8 D 5th

IV7♭(C7) 8+ E 3rd V7♭(D7) 8 D R

Ex. 4.13 ♭Hole 9 TAB Pitch Scale Degree I7♭(G7) 9 / 9+ F / G ♭7th / R

IV7♭(C7) 9+ G 5th V7♭(D7) 9’+ F♯ 3rd


♭Hole 10 TAB Pitch Scale Degree I7♭(G7) 10’+ B 3rd

IV7♭(C7) 10”+ / 10+ B♭ / C ♭7th / R V7♭(D7) 10 / 10+ A / C 5th / ♭7th

Ex. 4.15

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IV7♭(C7) C E G B♭ V7♭(D7) D F♯ A C

Ex. 4.17

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) 1 2” / 2 3+ / 3 4 5 6+ 7 8 9 / 9+ 10’+

IV7♭(C7) 1+ 2+ / 2 3+ / 3’ 4+ 5+ 6+ 7+ 8+ 9+ 10”+ / 10+ V7♭(D7) 1+ / 1 2’ 3” 4+ / 4 - 6 7+ 8 9’+ 10 / 10+

Ex. 4.18

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) D F / G G / B D F G B D F / G B

IV7♭(C7) C E / G G / B♭ C E G C E G B♭ / C V7♭(D7) C / D F♯ A C / D - A C D F♯ A / C

Ex. 4.19

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 I7♭(G7) 5th ♭7th / R R / 3rd 5th ♭7th R 3rd 5th ♭7th / R 3rd

IV7♭(C7) R 3rd / 5th 5th / ♭7th R 3rd 5th R 3rd 5th ♭7th / R V7♭(D7) ♭7th / R 3rd 5th ♭7th / R - 5th ♭7th R 3rd 5th / ♭7th

Ex. 5.1


IV7♭(C7) C E G B♭ V7♭(D7) D F♯ A C

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Ex. 5.3 ♭Chord♭ ♭Root♭ ♭(♭)3rd♭ ♭5th♭ ♭7th♭ i7♭(Gm7) G B♭ D F iv7♭(Cm7) C E♭ G B♭

V7♭(D7) or v7♭(Dm7) D F♯ / F A C Ex. 5.4

♭Hole =♭ 1 2 3 4 5 6 7 8 9 10 i7♭(Gm7) 1 2” / 2 3+ / 3’ 4 5 6+ - 8 9 / 9+ 10”+ iv7♭(Cm7) 1+ 2 3+ / 3’ 4+ - 6+ 7+ 8’+ 9+ 10”+ / 10+ V7♭(D7) 1+ / 1 2’ 3” 4+ / 4 - 6 7+ 8 9’+ 10 / 10+

Ex. 7.1

Ex. 7.3


blues harmonica lessons | blues harmonica - intervals, chords & … · 2013. 10. 12. · 3 section...

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