Considering positions while improvising 

[@Harmonica123]

My live stream suddenly cut out, but I was pretty much done anyway. The advice I was giving today is geared towards beginners and beginner intermediates to help avoid analysis paralysis while improvising. Have a great day everybody.

[@AdamWestUS]

I enjoyed this conversation and I think you did a very good job addressing the Root of the question and speaking to the folks that may not know everything that's going on. Some of the things this brought to my mind is harp switching. Often I will switch between a low tuned harmonica and a standard for tonality fun or to change between my job being a rhythm player or playing lead. Less often I will use the first position harmonica during the IV change. Mostly this is for show but I also enjoy throwing in some upper register items keep the crowd engaged. Cool stuff Ronnie😎🎶

[@MarcosBluesharp]

This was great advice Ronnie🤜❤️appreciate the post hope you feel better soon

[@danwilliams8695]

So to summarize. Sounds like less thinking while improvising is the root of all discord ❤

[@robinscott8936]

Wow, I’m flattered that my email got a video response! I think your advice is great, and I will certainly take it on board, but let me address your question: what won’t work? You’re right, it’s a short list. My answer is: the blue note, 4 draw bend. That’s a semitone above the root note on the 4 chord. Wouldn’t that sound bad?

[@Harmonica123]

The four draw bend will work just fine over the IV chord. I can think of multiple ways to use that as a starting note choice over the IV.

[@henrykrinkle3609]

The 3 draw half step is great for the 4 chord as is the 4 draw bend!

[@robinscott8936]

I’m trying it, and you’re right, but I feel the 4 draw bend sounds more sour against the 4 chord compared to the 1 chord. Is it just my ear? Of course, blues is a mix of sweet and sour, and you might want to make the mix more sour than sweet as an artistic choice.

[@Harmonica123]

@@henrykrinkle3609 yes!

[@Harmonica123]

@@robinscott8936 well, just holding -4 bend creates tons of tension (on any chord)..try using it as stepping stone to the next note, such as -4 which releases that tension. -4 works on all chords nicely.

[@AdvancedLawn]

Jason made a video about this years ago but breezes over it. Good stuff ronnie

[@Harmonica123]

I'm sure it's widely discussed out there on the Internet. I think it's wise and interesting to get different perspectives. I don't think theory when learning music, but it is interesting to me to understand some of the theory that backs up musical sounding ideas.

[@ralphditchburn1456]

Well I follow the 2 draw. 4 blow. 4 draw for 1 45 if I don't know tune. If know I will incorporate some riffs I learned. . I will adhere to chord tones of each by aiming to include. Eg key of e/a harp. I will include playing e# over the one. Never on 4. On 4 include the e note concentrating on it for the 4 chord

[@ralphditchburn1456]

Because g# is in an e chord and g is 7th of a chord

[@ralphditchburn1456]

This is guitar strategy

[@ralphditchburn1456]

Screwed up

[@robinscott8936]

I get this but g# is in the A major scale, so I can imagine it might work over an A chord.

[@ralphditchburn1456]

Shoots over e chord play e note. Over 4. The a chord. Play a. And c#. On b7 play b note and a f?