Fwd: [Harp-L] A question for sight readers

["Winslow Yerxa" <winslowyerxa@xxxxxxxxx>]

I first encountered this playing in the pit orchestra for the 
musical "Big River." Everything is written at actual pitch and, as I 
quickly discovered, it's almost all second position diatonic, 
transcribed from the playing of Don Brooks.

What I found was that whatever note on the staff was Hole 2 draw was 
the home note. Once I had that, everything flowed.

Thinking about it now, I can quickly see a system that can be 
centered around Draw 2:

If Draw 2 is on a space, the three spaces above are Draw 3, 4, 5, and 
6. The notes on the lines in between are either blow notes or Draw 3 
bend. If draw 2 is on a line, swap lines and spaces.

Below Draw 2, switch your reference point to Blow 3, which is the 
same note on the staff. If Draw 2/Blow 3 is on a space, the two 
spaces below are Blow 2 and Blow 1. The notes on the lines between 
are Draw 2 bend and Draw 1. If Blow 3 is on a line, swap lines and 
spaces.

This approach can probably be made position neutral and can be 
extended into the upper octave (don't have time to think about that 
right now).

Winslow

--- In harp-l-archives@xxxxxxxxxxxxxxx, "Dave Murray" <dlmurray@...> 
wrote:

When I was a boy, my aunt taught me to play the piano from sheet 
music. The 
dot on the page that represented A above middle C could be played in 
one 
spot on the keyboard. If you always play one harp, let's say the key 
of C, 
same situation. It doesn't matter what key the music is in, the 
relationship 
between dots and instrument stays the same. Not so for the harp if I 
put the 
C harp down and pick up a Bb harp, the relationship moves. How to you 
deal 
with that?

Peace and music,
Dave



_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@...
http://harp-l.org/mailman/listinfo/harp-l

--- End forwarded message ---