the camera magically
moves up, here I am.
It did it by itself,
I don't know how that happened.
That's a jump blues, this is the style of
music that was very famous in the 40s,
Louis Jordan did had a lot
of hits with that, and
it’s like this strong off beat accident.
It’s like a boogy woogy thing,
but the chords are on the off beats.
One and two and three and four and.
So what I’m gonna do here is play
along with the jump blues on
the harmonic in that sort
of swinging jump style, but
do it to show you how to
differentiate between the third.
And the minor third,
when the four chord goes.
And then back to the regular
third with the one chord.
Because some of you, I've noticed,
don't really hear the difference with that
third hold bend, is a little bit elusive,
it is especially on the higher harps,
it's a little harder to control, that's
why I'm doing it for you on a G harp.
It's a blues in D, on a G harp.
And I'm gonna show you how some simple,
swinging blues patterns are different
when the one chord is being played, and
when the four chord is being played,
and then I'm just gonna play
some sort of simple turnaround at the end,
the five, four, one.
Okay, so here it comes.
I have a few little licks that I've
written down here, I'm gonna have to look
at a piece of paper sometimes out
of the corner of my eye for them.
Here they are.
So when I'm playing these licks.
And then you need the F.
[NOISE] So you start on the E and go up
to the F, which is the third hole draw,
bent down a whole step.
[NOISE] Let it up a half step.
[NOISE] So we're dealing with all
these licks with these three notes.
Third whole draw, bent down a half step,
and bend down a whole step.
That's a real
swing saxophone figure,
You have to bend it down a half step.
[NOISE] And then a whole step.
And the same thing
with the next figure.
Starting on five blow.
And then when the four chord comes, yeah.
And then I just played a normal
turn around going up to
the fourth hole draw, and then.
And I'm flipping a little bit.
That's the third hole draw, and
flipping up to the fourth hole draw.
So all in one breath.
And then at the second hole blow,
change your breath direction.
And I'm putting a little,
in from my cheeks.
Actually from down here where you can't
see, the diaphragm.
So just getting you used
to the sound of that third hole,
getting the right notes.
You can do a whole lot of swinging playing
just within those first few holes,
four to one,
and in future lessons I'm gonna play some
more blues based around the second hole,
some of them based around the first hole,
I mean there's a heck of a lot you can do,
when understand these separate elements,
then you can build some long blues solos,
you just do them focused around one note.
And then you kinda climb the ladder.
You can start out on one note.
Go to another one.
Focus on another one, and you can
pull people's attention toward them,
because these notes all have a vibe and
they all have a kind of a meaning.
It's like a sermon.
Like giving a really good speech.
Telling a story.