Last month we looked at how harmonica players use bass figures for accompaniment. You learned that you can play in unison (same notes) with the bass to add weight to a hookdriven bass line. You also learned that you can play a different bass figure to add a second line of interest. This month we'll look at how the harmonica player can mimic the way a horn player or horn section approaches accompaniment in a tune.

The most important concept when using horn lines is to use repetition. Even though at times you'll be playing a very active line, the use of repetition will signal the listener that you're playing a supportive roll. If you're constantly changing, like when we solo, the listener is focused on what you're playing and where you're going. In contrast, your repetitive line will create a trance-like feel that becomes part of the groove of the song. This is a very different approach from soloing where rhythm, texture, volume, intensity and pitch range are constantly changing to foster excitement.

There are two ways to approach horn line playing:
1) playing Vertically (playing chords, like in a horn section) and
2) playing Horizontally (a line or lick commonly without harmonization). This month we'll study playing vertically.

Playing Vertically

Playing vertically means that you're playing one of the notes of a chord in a section of players (two or more). For example. You and a sax player are playing accompaniment together. From each chord of the form (commonly twelve bar blues) you pick a note that's in harmony with the sax player. Another scenario is if you are playing with another harmonica player. Sometimes it's the case that the guitar player and/or piano player is playing a horn section-type line that you choose to play one of the notes as well. Either way, we're speaking of chords here. The first step is to identify the notes of each chord.

Detailed below are the notes of the three chords commonly played in blues in the key of G
(2nd position on a C harmonica).

The next step is to find where these notes are on your harmonica. Below are all of the notes as available with standard bending on a C major diatonic harmonica.

Putting the two together you get the chart below. Also presented are the other chords of the major scale for reference. The bold hole numbers denote the root of the chord. Hole numbers in parenthesis denote a pitch that normally would be lowered or sharped, but is not available due to a bend not being available on that range of the harmonica. These notes can still be played (and commonly are), but you have to be cautious to not hold these notes. Use these notes in passing, they will sound dissonant if held for too long.

Breaking this down to just our four most common chords in blues we get the chart below.

All this assumes that you are familiar with and have memorized your 12 bar blues progression. If not, demonstrated below is the twelve bar blues progression.

Our first chord is the I7 chord. Looking at the chart you can play the 1 draw, 2 draw whole step bend, the 2 draw, etc. All of these notes are within the chord and will sound good. Take a moment and play with a jam track. When each new chord comes, go to the notes on the chart that match the chord you are playing over. You will notice that all of the notes will match.

Each note of a chord has a particular sound. The Root note of a chord is the note of most agreement and will send the strongest message of the chord. Detailed below is an example that uses all root notes.

The 3rd of a chord provides a rich harmony. When two players play together, they will commonly play thirds apart. Detailed below is an example that uses all the 3rds of each chord. On a related note… it's common to play the third slightly flatted for bluesy effect. The 3 draw (the third of the I7 chord) is commonly played a quartertone flat. It's your choice if you want a light/major sound with the 3 draw unbent or bluesy sound with the 3 draw lowered a quartertone.

The 5th of a chord has a very open, pure sound. Detailed below is an example that uses all the 5ths of each chord.

The Flat 7th of a chord is slightly dissonant and creates a very bluesy sound. Detailed below is an example that uses all the flat 7ths of each chord.

By knowing what each chord tone sounds like, you can play an active roll in shaping the texture of your horn line. Horn players will commonly focus on the 3rd and flat 7th of each chord to add a lusher harmony to the sound. Playing roots and fifths tend to have more of solidifying sounds. Demonstrated in example 10 is a Charleston rhythm played on the root of each chord in octaves. Play this with a jam track to hear how the harmonica relates to the band.

Now we'll take the same example and use 3rds and flat 7ths. Notice that the texture is much bluesier and more aggressive. I often use the line below in my accompaniment playing.

A fun way to learn where to go for each chord is to think of how you can stay on one hole and still represent a note for each of the chord changes. The example below shows on the first hole that you would use a 1 draw for the I7 chord, a 1+ for the IV7 chord and either 1 draw (the root of the V7 chord) or 1+ (the flat 7th of the V7 chord) for the V7 chord. Knowing this will help you to go to a note that matches at any given point in a solo, no matter where you are on the harmonica.

Using the same rhythm as the last exercise, try to play one hole at a time for each chorus.

An interesting bending combination that you should be aware of in second position is how the 3 draw is used over the three chords. The 3 draw (commonly played a quartertone lower for bluesy effect) is used over the I7 chord (root). The 3 draw half step bend is used over the IV7 chord (flat 7th). The 3 draw whole step bend is used over the V7 chord (5th). This is demonstrated below.

A good rule of thumb when you play a repetitive line over all the chord changes, if it includes the 3 draw in it, bend the 3 draw to match the chord tones. This is demonstrated in a line similar to the second chorus of Louis Jordan's "Caledonia."

Getting back to harmony playing… any of the notes across the range of your harmonica that match a chord you can play with a second accompaniment instrument. Don't play the same notes together unless you are looking for a strong single line. Each of you will play a different note, making a nice harmony. The most common notes to play are notes that are a third away (like a root note and the 3rd, or the 3rd and the 5th, etc.) The example below demonstrates this.

This wraps up how to play vertical (harmony) horn parts on the harmonica. Next month we'll look at examples that horizontal or line-driven.

About the Author David Barrett
http://www.harmonicamasterclass.com/david.htm