[Harp-L] Re: positions etc.



Mark Wilson wrote: 
Message: 12
Date: Wed, 28 Sep 2005 11:53:24 -0700
From: "Mark Wilson" 


I know that Dennis Gruenling thinks in terms of scale degrees, Jon Gindick in terms of melody, David Barrett thinks in terms of riffs and and their placement within the twelve bar format (verse forms), and Larry thinks in terms of notes. I've spent a lot of time around all four of these guys and all four approaches are definitely working for them. 

I think in terms of (a) the "base" of the song (some would call this "key", and I usually do as well, but sometimes a piece of music will not hold onto any one solid key throughout -- but there is usually still some kind of tonal reference point) and (b) what scale type or (more often) types will work best within that piece.  Because of this, I will rarely play an entire song with just one harmonica, because I can almost always find more to express using two or more harps.  The primary exception to this would be a straight-up 12-bar blues, but even then I might switch between 2nd and 1st, or 2nd and 3rd, or 3rd and 4th and 5th or whatever.
 
In terms of Mark's post, the closest framework for me compared to the others listed for me would probably be Dennis Gruenling's scale degrees or Jon Gindick's melody.  I agree that ultimately, "you think, you stink" and you have to let go of the left-brain thinking process... but for me, it is important to think at a given moment, "which position or harp will allow me to express, at this time, the idea that I want to express?"  This happens lightning-quick, to the extent that I will even sometimes switch harps right in the middle of a phrase... but it nonetheless does involve rational thought and some knowledge of theory.
 
Having said all this... whatever works for someone, works for them.  Wherever you go, there you are.  There is more than one way to skin a cat.  Ultimately it all comes down to the music and being in tune with it.  In short, there is no wrong answer as long as one is striving for that.
 
Scott





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