New 4th position chromatic instrumental
Per the recent queries about 4th position blues chromatic, I recently recorded an instrumental in 4th position called Blue Rant.
You can listen to it here: Blue Rant
Each verse explores a different technique, but most of what I play is based on the A minor pentatonic scale: A C D E G - but with chromatic passing tones, and sometimes notes from the D and E blues scales. I also use splits and chords that fit with A minor (and D minor and E7 and F7).
The chord progression is similar to "The Thrill is Gone): A minor and D minor I and IV chords. The turnaround, instead of going V-IV-I (E-D-A) goes bVI-V-I (F7-E7-A minor).
Thanks, Hank.
Notice that during the I (A minor) chord I was careful to play the note A by itself (or in octaves) and never combine it with other notes, because none of them fit the A minor chord.
By following that one simple rule, I was able to do all kinds of other splits and double stops - and single note lines, and still have everything sound like it fit.
The other thing I did a fair amount of was to focus on the A minor pentatonic, as described above. You could change the scale every time you change the chord (and sometimes I did that). But it's amazing how much mileage you can get out of the minor pentatonic (or blues scale if you add the flat 5).
It's a great piece, thank you for sharing. I'm just a beginner and probably quite some time away from trying the chromatic. Do you still favour the Hohner 270?
Steve
The recording was done using a Suzuki Sirius 64. I use a variety of chromatics, different brands, different models. The 270 has a nice sound but stock instruments are often leaky. I used to play them stock and complain, but when I play them now I either mount them on a stainless steel comb or refinish the wood comb - sand it flat, drill it out for screws, and seal it. I have to say that even with all the great newer models on the market, the 270 still delivers THAT SOUND for blues (and several other styles).
The 270 is a 12-hole chromatic, and at least in C, is a bit high pitched for blues chromatic, which originated on a 16-hole chromatic (at least the ittle Walter/George Smith variety). Twelve-hole chromatics have the advantage of being smaller and a little less overwhelming that 16-holers, but for range, I prefer using either a 16-holer or 12-holers in keys lower than C (and C is the highest key for 12-hole chromatics). You hear George Smith, William Clarke, and others, using A, G, Low F, and even Low D chromatics to stay in that lower, darker, growlier range when they're not using a 16-holer, which comes only in C. (There are a few examples of factory Bb and A 16-holers but these are vanishingly rare and not worth trying to find unless you're prepared to wait half a lifetime while scouring the globe).
Hi Winslow
I appreciate the response, thank you.
Steve
Brilliant Winslow...
I played along in 3rd postion on the G harp staying behind you in accompaniment as if I was playing to "The thrill is gone"
Like you described,if I played the 1,4 hole octave I was in tune and matching.
Interesting your comments on the low tuned chromatics having that "Growly" nature.
I hope to have a chromatic soon and take my playing to "that" next level but I sure do like the G Harp 3rd pos. in A minor tunes.
John aka (Johnny Harp lol)
Loved it Winslow. Thanks - gives me cause to start dabbling in 4th position on the chromatic.