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Harmonica Lessons: Bending in Tune: "Manhã de Carnival" on B Flat Harp

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All right now we are going to
deal with some bending in tune issues.
I'm going to play "Manhã de
Carnaval" in A minor on the F,
on the B flat harmonica because
we performed it that way.
With Chris and Cindy so [SOUND].
I'll slow it down for you and
show you how it works.
This is one of those
examples where the structure
of the harmonica intersects
in a very surprising way.
With a very standard tune.
so this is A minor on a B flat harmonica.
[SOUND] This is where you have
to start thinking a little bit
the first note which is E is the second
whole draw bend.
[SOUND] And then the next one,
it's that minor sixth.
Love story.
We're very strongly
in A minor here.
B flat harmonica.
Get your B flat harmonica's out,
try to play along.
Sixth position.
Harmonic minor scale.
melodic minor.
Aeolian mode.
and unbend
Same thing on the blow.
It goes down to
it within a half step
of the bottom of the harmonica.
That's why I said this melody
intersects so well with the harmonica.
Cause if it went down all
the way to low A [SOUND],
I'd be out of luck because the lowest
note I have is [SOUND] B flat.
So, as a happy accident this melody
intersects some of the juiciest,
richest parts of the C,
of the B flat harmonica.
In the sixth position,
which is naturally the Locrian mode,
which I said in the beginning
is not very useful.
But this particular tune
Second part of the tune.
That's the B-flat.
That's the fourth hole blowed.
That's the A,
which is the third hole draw.
So you don't have to do any bends for
these notes that are usually have to be
bent notes if you're doing
it on a C harmonica.
Or a G harmonica which are the simplest
keys to play in A minor on that would
be third or fourth position.
And you can slide down.
it's a lot more technical more
technical on the top
part of the harmonica.
But if you get good at soloing on the top
part of the harmonica, great, but
the melody is what I'm talking about here.
That the melody
sounds absolutely
if you noticed,
I was arpeggiating
the melody.
I was outlining the chords that time.
I'm going to do that more and
more as I play these jazz tunes.
So, as I play the melody,
because if you know the arpeggio,
if you know the chords,
part of soloing over
jazz tunes is playing
the arpeggios of the chords,
and part of it is playing
the scales that mesh,
that interlock with those
arpeggiated chords.
So, if you know both things,
you could fill in all of the spaces,
like coloring in a design
in a coloring book.
If you know the arpeggio,
you have choices that go along with that
A minor arpeggio there's several
different A minor scales so
you outline it play the melody,
outline the arpeggio, fill in the scales.
So that has to do with playing Monday
at the Carnival in sixth position,
bending those notes in tune,
playing in a position that you
wouldn't normally think of playing in.
Outlining the changes,
filling in the scales that go
between those arpeggiated chords.