2 DRAW is Our Home Base
Hello Harp Techs
Most of us joining in on BluesHarmonica.com's Forum and Lessons adopted 2nd Position (aka Cross Harp) as our "happy place". This means DRAW 2 is where our licks start and end. It is the ROOT (Tonic) note of the song we are playing.
[10 second Music Theory]
The KEY signature identified on the 10-hole Diatonic harmonica can be heard on Holes 1+, 4+, 7+ and 10+ (1st Position)
The note layout is built around the RICHTER layout. Originally designed to provide the Player with wonderful rhythmic BLOW/DRAW chords (two or more notes played at the same time) from Holes 1 through Holes 6. For playing Melodies, the Major Scale is available from 6 BLOW up to 9 BLOW [6+G, 6A, 7B, 7+C, 8D, 8+E, 9+'F#, 9+G]
With the "accidental" discovery of DRAW BENDING, the pallet of notes available on Holes 1 through 6 laid perfectly within the Blues and Mixolydian Scales! The Home Base (Tonic) for these scales is the DRAW 2.
Going Deeper
On a C Diatonic harmonica, the DRAW 2G is exactly 5 semi-tones (1/2 steps) away from BLOW 4C [Ab, A, Bb, B, C]. This pattern is the same for all Richter tuned Diatonic harmonicas.
As long as we know the Song Key, we can count UP 5 semi-tones to grab the correct harmonica!
For Example, if the Song Key is:
- G = C harmonica
- A = D harmonica [Bb, B, C, Db, D]
- B = E harmonica [C, Db, D, Eb, E]
- C = F harmonica [Db, D, Eb, E, F]
- D = G harmonica [Eb, E, F, F#, G]
- E = A harmonica [F, F#, G, Ab, A]
- F = Bb harmonica [F#, G, Ab, A, Bb]
Why it Matters
Circling back ... the DRAW 2 is uber important for the 2nd Position Player.
For my Beginner Students--next to learning how to DRAW Bend--being able to play the DRAW 2 in perfect pitch, was probably the most challenging. Instinctively the tongue would hump up and confuse the reeds into a bending posture. After training their muscle memory to relax the jaw, flatten their tongue and even recite their best Santa Clause impersonation, "Ho Ho Ho"! all my students were ready to learn to DRAW bend.
How it Works
There are two DRAW bend notes that are available on Hole 2. This is possible because of the symbiotic relationship with the BLOW 2 reed. On ALL Richter tuned diatonic harmonicas, the BLOW 2 reed will be 3 semi-tones (1/2 steps) lower than the DRAW 2 reed. For example, with your C harmonica;
- BLOW 2 = E
- DRAW 2 = G
Counting UP from the E reed, the first note to uncover will be a F, followed by the F#. This means with proper bending technique, the Player can conjur up 2 important notes that are mandatory for the Bluz Harmonica Player.
Having Trouble with Your DRAW Bend 2?
Remember, it is your BLOW 2 reed doing most of the work to produce the two "hidden" notes, so try this:
For the BLOW 2, many stock harmonicas have a wide offset (GAP) of .007" ~ .008". Lower this to .006", similarly the DRAW 2 reeds also have an offset (GAP) set to .007" ~ .008". Lower this to .006"
Bonus
The BLOW reed notes on Holes 1 ~ 6 are pitched lower than the DRAW reed notes. This means you can safely experiment and decrease the DRAW 2 reed GAP to .005" (don't forget to test and make certain the reeds do not choke under excessive breath pressure!)
Refresher | How to Gap your Harmonica Reeds for Optimum Bendability
https://youtu.be/eI3aS_5HD34?si=sc9SsqeHdsFpgD-7
Your HARPSMITH, Kinya
Hello Joshua, welcome to the whacky and addictive world of harmonicas!
When learning a specific song, it is helpful to copy the method of play from the original recording artist. In the case of selecting the 3 BLOW over the 2 DRAW, it is very possible that it was the most efficient way to play the lick. Embouchure considerations, breathe In/Out?
For example, playing the opening lick to Little Walter's "JUKE" can be a tad tricky starting on the DRAW 2, because the motion to move from DRAW 2 to 3 is clumbsy for many players
- 2 3 4 5+ 6+ 6+
Instead, jumping off of BLOW 3 can be easier, because the motion to move from BLOW 3 to DRAW 3 is in the same hole. Simply change breath direction
- 3+ 3 4 5+ 6+ 6+
As your skill level increases, you may find that you simply like the way you sound playing the 2 DRAW over the 3 BLOW. Speaking for myself, I am able to incorporate my deep throated vibrato on the DRAW 2, while simultaneously bending the note down for effect. This is not possible for me on the BLOW 3. I can also DRAW on 1, 2, 3 for that rich V chord.
It is simply another texture for your song choice.
Analogy
On my computer, sometimes I will use the keyboard shortcut "Control +C" to copy the selected text, then sometimes I would use the right click function on my mouse, select COPY and accomplish the same task. Depends on my mood, I suppose.
Does that help, or confuse the situation? Let me know
Your HARPSMITH, Kinya
Kinya:
Great stuff!
Of course, a wonderful learning tool is David's transcriptions of historic recordings. Most of us just hear pitch. David hears what's actually happening in the harp. E.g., draw 2 or blow 3?
I feel sorry for harp players who eschew learning theory (whether Circle of Fifths, use of minor third of the scale over the IV chord, the difference between V-IV-I and ii-V-I turnarounds, or whatever).
Music theory is just math. If you can reconcile your checkbook, you can learn (and hear) music theory. And it will add wonderful layers to your enjoyment of playing, and listenting to, blues.
Thanks again.
Ukulelel Rob plays Hohner™ harmonicas customized by Kinya Pollard, the Harpsmith™
Thank you for responding. I believe I understand you, Kinya.
I started as a pucker player, and I'm taking the course to add to and improve my technique. Tongue blocking seems to apply easily over the upper 7, or 8 holes of the diatonic, but the bottom 2 or 3 holes are, shall we say, interesting. The ease of and accuracy bending the low holes with a pucker embouchure has always made that an expressive area of the harp for me, but it may, in some ways be limiting. Do some pros use a combination of pucker and tongue blocking in that area? I suppose one could learn to switch sides with their tongue, but that's not happening soon for me.
Thank you both Rob and Joshua for participating in this conversation!
When I was apart of David's Harmonica Masterclass Workshop Texas event (my memory is telling me 2005/6), the late great Gary Primach was addressing everyone in the big room. One of the questions he responded to was about his embouchure.
Gary explained that for him, using lip blocking (pucker) was better for his lower octave playing (1~3), and tongue blocking for the rest of the instrument (4~10). In fact, he demonstrated his unique method of tongue blocking with the tongue approaching the mouthpiece from the bottom. To my eyes, his approach appeared to be in reverse to how most tongue blockers do it.
For me, I learned to play the harmonica in 1973 as a lip blocker (pucker) and learned to tongue block when studying with David in 2000. Today I use both embouchures, so I suppose that makes me a "hybrid" player.
My recommendation for you with your studies, focus on the tongue block embouchure.
Your HARPSMITH, Kinya
It's early days for me in the course work on this site, but I've been intrigued that the songs seem to fairly often use a slapped blow 3 as the root, at least on the early songs. (Perhaps that changes further on?) It's something I'm struggling to get used to. I'm curious how that fits with what youve written and how you feel about that technique? How and when and why is that change useful? I don't mean to imply any judgement, I know I don't know enough to have an opinion.