Pentatonic I-II

When the band changes from the G chord/scenario and goes to C we’ll want to change also, i.e. begin playing the C minor pentatonic/blues scale so things sound congruent/musical/logical. Let’s look at the C blues scale starting on the draw 2 with the G, this is the 5 below our tonic (C). Again, the five below our tonic is useful. I also use the flat five frequently. The 4 not as often and not having a tonic note below the 3b (Eb) I won’t use this 3b very much. Which brings to mind, this tuning like Pentatonic I-IV, Pentatonic I-VI, and Melodic Bend make great 12 hole harmonicas (14 hole too). If we added another two holes of the pattern on the bottom then we would have a full C blues scale in the lower  octave with the 7b present. Moving on, the 5 is also on the blow 3, the 7b (Bb) is on the draw 3 and draw 4 whole step bend. The same fine configuration we saw on the G blues scale. The tonic C is on draw 4 and blow 5. Again, the C and G notes on the blows are situated between two whole step bends. The blows afford us the opportunity to catch our breath so we can continuously dig into these juicy bends on either side. It works really well. We’ve come full circle, but let’s take a look at the 6 & 7 draw configuration. It’s easy to transition between the Eb on the whole step bend and the F on the whole step bend as these are pulled all the way to the bottom, their stopping points. You just execute the bend and move the harp. It’s that simple and they pop out on pitch. You can trill between these notes. This maneuver yields some really cool licks. Further, we can bend from the 5 down to the 5b and then down to the 4 which is a silky move or we can go 5, bend to 5b then grab the 4 on the draw 6. It’s good to have options. Six whole step bends here, four half step bends, four notes doubled on the blow reeds, eight trills, two four hole glissando sections. This is a rich configuration. Compare with Richter C blues scale which isn’t even a blues scale as it doesn’t have a 3b. Of course there is a full C blues scale in the top octave of Richter but as you know, it being located where it is makes it pretty much useless. 

When the band changes to D, we begin playing the D minor pentatonic/blues scale. The tonic is on the 1 blow. The 3b is on the draw 2 and the draw 3 whole step bend so if we want to do the bend great, if not it’s not obligatory. The 4 is on the draw 2 and blow 3. Our 5 (A) is on the draw 3 half step bend and blow 4. The half step bend is on a whole step bend hole. This isn’t as difficult to execute on pitch as half step bend on a one & a half step bend hole, but it’s still challenging. The good news is it isn’t compulsory as we have the A on blow 4 also. We’ll primarily use the A on draw 3 when we are bending to or from Ab (the 5b). Then we have our 7b (C) on the 4 draw and the 5 blow. Holes 5-7 are a “jam box”, “lick factory” that you can dance around in. Between the direction changes, trills and glissando there is much improvisational fodder. This scale configuration has four notes of the pentatonic scale per octave doubled. G blues has 3, C blues has two. D blues has two whole step bends, G blues has four, and C blues has six. I find it interesting how systematic these features are. More glissando and doubled notes, less whole step bends and vice versa and it automatically runs the gamut from bendy to linear giving us configurations with different personalities for variety in our expressions. This is a model of efficiency, it does exactly what we want with no holes wasted. What we have here is a well balanced tuning with an abundance of desirable qualities; many repeated notes of the pentatonic/blues scales and many bends, trills and glissandos. It’s a creamy sounding dream come true. 

G Blues Scale Downloadable PDF for Learning

C Blues Scale Downloadable PDF for Learning

D Blues Scale Downloadable PDF for Learning

Chart for Buying

The A on draw 2 is the same as the draw 2 on a D Richter. This is for playing the blues in key of A primarily.