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

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Bend and
unbend for
Same thing on the blow.
It goes down to
within a half step of
the bottom of the harmonica.
That's why I said this
melody intersects so
well with the harmonica.
Because if it went down all the way to low
I'd be out of luck,
because the lowest note I have is
B flat so is a happy accident
this melody intersects some of the
juiciest richest part 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 blow.
That's the A,
which is the third hole draw.
So you don't have to do any bends for
these notes that 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 and fourth position.
And you
can slide
it's a lot 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 beautiful
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.
if you know the
arpeggio's if
you know
the chords.
Part of soloing over jazz tunes is
playing the arpeggios of the chords.
Part of it is playing
the scales that mesh,
that interlock with those
arpeggiated chords.
If you know both things,
you could fill in all of the spaces.
Like coloring in the design in a coloring
book, if you know the arpeggio.
You have choices to go
along with that A minor arpeggio.
There are 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
Manhue de Carnivale in six position,
bending those notes in tune.
Playing in a position that you normally
wouldn't think of playing in, outlining
the chord changes, filling in the scales
that go between those arpeggiated chords.
And, if any of you wanna try Manha de
Carnaval in the sixth position,
especially if you get one
of the CDs from Jazz Aids,
which is Jamey Aebersold company or
Band in a Box,
have yourself playing Manha de
Carnaval in any of the keys,
any of the positions third,
fourth or sixth.
I'd really love to hear that and
also if any of you working on
the eastern European end of things,
playing the melody of Hava Nagila
in second position or
fifth position,
please send that in as well.
Especially, if you have a backing track
on those it'll make it easier for you and
more fun for me to listen to, okay.