And we can also now wail
away in fourth position.
This tune sort of vacillates between
being in that Spanish Phrygian
with that being the tonic but
it ends up on the fourth in the minor.
It's hard to know with these tunes what
key to really say that they're in.
They're in D, Spanish phrygian and
G minor both and now that we
can play overblows we can really wail
on a fourth position bluesy lick.
We have that flatted fifth.
And we can bend up to the flatted
seventh using the fifth hole overblow.
So we can incorporate all these
different kinds of bluesinesses now
into these keys that previously were
a little bit sterile and straight laced.
They were things that were limited to
playing pretty much just the scale in
Okay, so that's some bending and
tune using bends and over blows and
now I'd like to show you, now that we
know how to over blow some blues in F,
twelfth position, using blues licks.
How to get those standard blues licks
because now that we have the overblows,
we can get the flatted sevens and
all sorts of notes that I was doing
the stepping stones thing around earlier.
Avoiding them and just using the things
that I could get without overblowing.
So now that we're playing in F.
First flat position, twelfth position.
That pentatonic thing.
Doesn't need any overblows,
but to play the actual blues licks
The flat seventh in twelfth
position is an E flat.
And that E flat
is four overblow.
Four, four overblow.
Four blow, four overblow.
So you can practice going back and
forth between four blow and four overblow,
the same way that you go between four
draw and five draw in cross harp.
In 12th position.
then going up.
You can stretch out that
fourth to be a sharp fourth.
Which is something you really
can't do too easily in cross harp.
So you can get bends that that
you can get on saxophones and
guitars and stuff like that, that you
couldn't get before just playing in
cross in these positions on the harmonica.
and what i'm doing is i'm
taking the sixth hole over blow
Which is the B flat which
is the fourth note of F.
And bending it up to the sharp fourth,
which is also the flatted fifth.
And the flat
seventh in that
up is the eighth
hole blow bend.
So it's nine draw [SOUND] eight
blow bend [SOUND] seven blow [SOUND] Sixth
hole overblown, bent up the half step.
And then back down for
that flat fifth and the fourth.
[SOUND] Sixth hole draw bend for
the flat third and then five draw.
It's a great
sounding key to
play blues in.
And now that you can
play all the blues notes,
you can really lay it on people,
and they'll be really stunned.
So, that's about it for this section.
And if any of you are working hard on
those playing blues in F on a C harp,
I'd really love to hear it and
offer any kind of constructive
criticism to you if you send in videos.