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Being able to play positions, playing in other keys on the same harmonica, is a fairly standard requirement for the blues harp player. Most players use just 1st, 2nd and 3rd posiion. I have created some unusal study songs that focus on rarer positions, like 5th and 6th, which are seldom heard in traditional blues, but have a value for minor blues. 3rd position is often thought of as minor, but here I do have one for minor blues and another for standard blues. The 1st position study song, 1-P Blues, is great study of the entire 10-hole range of the harmonica which is unusual because of how seldom the middle range is ever used in this position.

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1 P Blues Download

This song is a study of 1st position, or straight harp blues, in the straight eighth note rumba groove. The very first known recording of blues harp was actually played in 1st position on January 31, 1924, and until John Lee Williamson and Sonny Terry started recording in 1937, the percentage of 1st and 2nd position recordings was almost the same. Players generally have avoided the middle range of the harp in 1st and play either on the low or high range. This 1-P Blues arrangement actually utilizes the full range of the harp . . .

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12th-P Blues

This is a study piece for playing in “12th” position, (also sometimes called “1st flat”). Johnny Watson, recording under the name Daddy Stovepipe, first used this in his 1924 recording of the song, "Stovepipe Blues" . . .

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3 P Blues Download

This song is a study of what harp players call "third position." It is playing with holes 1, 4 & 8 inhale, becoming your new "home" or "root note." Third position was first recorded by Little Walter in December 1951 and has become a part of nearly every professional’s sound and style, being used somewhere from 10% to 25% of the time. It can become very helpful when navigating through minor key songs, but as this piece shows, does not necessarily have to be used exclusively as minor. It works with most all blues.

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3pm Rumba Download

This is a study of the blues rumba played in a minor key, similar to Howlin’ Wolf’s song, “Who’s Been Talking,” and executed in third position, Bm on an “A” harp. . . .

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4-P Blues Download

This is a study of 4th position and how it relates to the minor key sequenced riff used in “Green Onions” and “Help Me.” Minor keys are more challenging on the harp than standard blues keys. 4th position is a good option, especially if you have some skills bending the high exhale notes . . .

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5-P Blues Download

This song will help you to play in what is know to most harp players as 5th position. Instead of having the 2 hole inhale as your root, it is now your 2 hole exhale. This "position" is great for minor keys as the flat 3rd, flat 6th and flat 7th are readily available. . .

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5-P Blues JR Download

This song is a study in both minor blues and fifth position. This 5-P Blues Jr is a little shorter and easier version of another study song called “5-P Blues.” It’s similar to playing the major pentatonic scale in cross harp, but instead of the home root note resolving on the 2-inhale, this position resolves on the 2-exhale. . . .

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6-P Blues Download

This song is a study of 6th position with a nod to Rice Miller’s “Help Me” and Booker T’s “Green Onions.” Please note that “Help Me” was NOT played in 6th position nor am I implying that it should be. . . .

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First Straight Shuffle Download

This is a study of how to start to incorporate the skill of first position or, straight harp ,blues playing. Up until 1937, about half of the blues playing was in second position and the other half in first. Currently, blues harp styles are taught starting off with second position. This is a beginning approach to playing straight harp blues while using all 10 holes. .

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Minor Third Shuffle Download

This is a study of minor-key blues and third position. Minor keys are more challenging on the harp than standard blues keys. Third position is one option worthy of study for minor keys. It was first recorded by Little Walter on the Muddy Waters song Lonesome Day in 1951. . .

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Skip to My Lou Download

This is a great song to help comprehend many aspects of the intricate playing styles of DeFord Bailey, Kyle Woote,n and other solo players. All the notes are easily available in two octaves and the chords fit and support the melody perfectly in the low octave. This will touch on some of the most obvious ways to ornament what happens underneath and around the melody. . .