The Grand Canyon which yawns between the writer’s concept of what he wants to capture in words and what comes through is a cruel abyss.
— Fannie Hurst
Welcome to the final leg of our journey into 1st position blues technique. 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 and high end 1st position signature licks.
As our versatility in 1st position grows, an inherent problem soon emerges; there’s not much on offer in the middle octave, so it’s difficult to connect holes 1 to 10 fluently using the blues scale. Consequently a common feature of 1st position blues involves jumping back and forth between the lower and upper ends of the harp.
In the middle register, the 1st position blues scale is buried in some uncomfortable overbends. For many players these are unachievable, which is why they’re left with such a meagre musical menu. Examples of licks played between holes 4B and 7B are few and far between, and the content is usually unsubstantial. Nonetheless, let’s see if we can shed some light on this time-worn enigma