Theory study 2. Ex 6.3
Dear teacher
theory study 2 ex 6.3
I would like to understand why we dont lower 7 scale degre to 7b when I convert the song to the second position. Im not sure but I think I have to dissociate second position and myxolidian.
thank you
should I understand that I can play in major mode in second position?
All blues is assumed to be in the major mode. We add minor elements to make it sound bluesy. That flat-7 is a treatment... something we change... to make it sound bluesy. The more bluesy treatments we use (flat-3, flat 5 and flat 7) the darker it sounds. The less treatments we use, the lighter it sounds. Some blues is very dark, and some very light, it's up to us to train ourselves over time to discern this and play appropriately.
In my examen LOA5 pdf sheet ex6.3, I see a # in the key signature because you whant me to convert the song in G major. So I need to keep my F# right? If I whant to turn the song more bluesy (myxolidian), I just need to add a natural sign to my 7th and he will become my 7b. It is correct ?
Yes, keep the F#. And yes, you got it, "If I whant to turn the song more bluesy (myxolidian), I just need to add a natural sign to my 7th and he will become my 7b"
Hello Mr Bourgeois. You are correct that we should lower the 7th scale degree when converting to 2nd Position. G Major (C Harmonica in 2nd Position) has an F# (the 7th), but the C Harmonica does not have the F# inherently available to it (we can bend to achieve it, but we're speaking of everything being unaltered right now). With this in mind, you don't see an F# in the key signature... this is why you don't see a natural sign before each F# (turning the F# to F). Knowing that the flat-7th is inherent to the position, we don't even bother having the raised 7th (which puts us in major) in the key signature.
IN THIS CASE we're not playing blues... we WANT the major 7th in this major melody. So, in this case, DO USE F# (the 7th) where called upon in the melody.