Jazz Harmonica Lesson: Why you should practice scales with a swing feel
One question I often get is: "How should I practice scales on the harmonica?" or “How can I make scale practice more fun?”
While many people practice scales with a straight time feel, my top recommendation is to practice them with the time feel you are actually going to use when you're performing. Whether you are playing in a band, at a jam session, or just with friends, you want your practice to reflect the real-world music you play. If you are going to play a blues boogie - practice the scales with swing time feel. If you are going to play a straight eight bossa nova or maybe a polka - practice your scales with straight time feel.
Experiment with playing "straight"
Since many of us play blues and jazz, we are usually dealing with a triplet or swing feel rather than a straight time feel.
When you play a scale—like the Dorian scale—with a perfectly straight feel, it sounds clear, but it isn’t very musical or nuanced. It doesn’t "swing." It sounds like an exercise or like you are reading grammar. If you know you’re going to be using that Dorian scale over a swing jazz ii−V−I chord progression later, you should start swinging it right now in your practice session.
Why it matters
By adding a groove to your scales, you are doing two things at once:
Memorizing the notes of the scale.
Internalizing the timing and expression of the genre.
If you practice the timing and the notes together, you’ll be much better prepared and relaxed when it’s time to solo.
Scales for Blues & Jazz
The Major scale is the foundation of almost all western music and music theory - I would highly recommend you to focus on this scale first. It works over major, maj7, maj9, 6th and 6/9 chords.
Scale degrees: 1 2 3 4 5 6 7 = C D E F G A B
Dorian Great scale for all type of minor seventh chords. This is a minor scale with a natural 6 for an open sound. Works on minor, m7, m6, m9, mmaj7 chords.
Scale degrees: 1 2 b3 4 5 6 b7 = C D Eb F G A Bb
Mixolydian Perfect for dominant 7th chords and blues. A major scale with a minor 7th.
Scale degrees: 1 2 3 4 5 6 b7 = C D E F G A Bb
Bebop Dorian Used for smooth, melodic jazz lines. Adds a "passing" note (usually the major 7th) to the Dorian scale. Works on minor, m7, m6, m9, mmaj7 chords.
Scale degrees: 1 2 b3 4 5 6 b7 7 = C D Eb F G A Bb B
Bebop Major Standard for swing and jazz standards. Adds a chromatic passing note between the 5th and 6th degrees. Works on major, maj7, maj9, 6th and 6/9 chords.
Scale degrees: 1 2 3 4 5 #5 6 7 = C D E F G G# A B
Bebop scale a Mixolydian scale with a twist. It adds a chromatic note (the major 7th) between the root and minor seventh make the scale sound very chromatic and jazzy. Works on major, 7th, 13th, 9th and all mixolydian chords.
Scale degrees: 1 2 3 4 5 6 b7 7 = C D E F G A Bb B
Minor pentatonic The foundation for blues and rock music. Beautiful and very useful scale, both sad and happy at the same time.
Scale degrees: 1 b3 4 5 b7 = C Eb F G Bb
Blues Scale The foundation for blues and rock. Built on the minor pentatonic and incorporates the "blue note" (the b5).
Scale degrees: 1 b3 4 b5 5 b7 = C Eb F Gb G Bb
Final Thoughts
It can be a lot for the brain to handle—switching between scale notes while trying to keep a groove and make it swing—but that’s exactly why we practice!
The takeaway: Don't just play the notes. Practice your scales with a swing time feel so that when you get on stage, you're already playing music, not just exercises.
Go play some harmonica and have a great day!
