blues scale notes?
I am trying to understand the note progressions in the blues scales. When the notes in the different octaves don't match - for example in the C blues scale when the 3rd is not flated in the lower octave, but is flated in the upper octave - is it just a mattter of availability. If a person had the overblows mastered would you in fact use the exact same progression in all of the blues scales in different octaves?
In communicating with a bass player (trying to explain how the harp relates) would you simply say (if playing a song in G) I am playing the G scale in the pitch of C. If so, then how would you relate the fact that when you moved from one octave to the next the harp would not be playing the same note for the 3rd in the C blues scale, or that the second note in the lower octave in the G blues scale is a flated 3rd (Bb) , but the second note in the middle octave is a flated 2nd (Ab).
My guess is that it doesn't matter because the notes are in harmony, but I would like to be able to communicate better than just saying, "that note is not available to me" when the band is looking for a specific note to used. I have found that if we get past that point and I just play no one seems to notice that I may not be playing the same note they are, but since (esp in 2nd position) there is so much harmony it works. Now, am I just rationalizing, or in fact is that what is happening? I hate it when I have to think.
David, the interaction with the bass player in my question was not in a playing situation, but in response to his curiosity about the harp relationship to what he might be doing. I never ask anything but, "what key is the song in", when playing - learned that early on. I didn't know how to address the situation where he might wonder why I just wouldn't be playing the same note he is - therefore my question about the varying notes in the different octaves. I suppose the simple response is, ' since I don't do overbends this is how I can still play durng this passage and make it work." That make sense?
The bass player uses different notes for every song. In order of commonality: Root... 5th... 3rd + commonly 6th... Flat-7th... flat-3rd... and of course more, depending on the "hook." Their job is chordal, so the blues scale would not be something that would be in the discussion. In regards to not having the notes, sure... just say, "we don't have them in every octave."
To your first question.... yes, if you knew how to overbend you would play the blues scale consistent across the range of the harmonica.
For your second questions... A) never tell another musician what key harmonica you're using... only tell them the key you're playing "in," you're just inviting confusion. B) the blues scale is a solo scale... a scale that can help a new player in their first steps to improvising where an instructor can say, "if you want to sound bluesy, use these notes." And it is a great scale. So... a blues scale essentially is a concept, not something you would talk about with other musicians. From our perspective, we use a blues scale when a groove/song has a really bluesy feel (great for minor as well). So... if you want to practice using the blues scale, tell the musicians, "give me something really bluesy" and then give them an idea of the tempo you want.
For your third statement. Again, since we're "soloing" when using the blues scale, and the blues scale is just a choice-selection of bluesy-sounding notes, the other musicians will notice whether you're playing licks or scale.
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