[Harp-L] RE: Problem when playing harps not in C

[Robert Coble <robertpcoble@xxxxxxxxxxx>]

Eliza,

Given that you are using diatonic harps, Phil and I gave you a way to approach playing 
them, presuming that you want to switch harps whenever a key change is required. Dale 
gave an alternative approach (using a single chromatic harmonica), presuming that you 
want to change keys but do not want to switch harps. 

Another alternative is to learn to bend and overbend (think Howard Levy and a host of 
other very talented players on Harp-L who can play in several different keys on a 
given diatonic harp). IMHO, this last alternative is not for those who are unwilling 
to invest considerable time and effort toward developing the required expertise. 
(Anecdotal evidence is that it took Howard about 10 years to develop the fluidity and 
skill he is capable of demonstrating. Because of his pioneering efforts, his outstanding 
musicianship, and his willingness to share how he was able to accomplish this, others 
have been able to acquire skills in less time. However, it is still considered an 
advanced skill (both in setting up a diatonic harp to more easily allow overbending 
and in the description of the technique itself). For the cognoscenti, I ain't knocking
the technique; I just don't think it is worth MY time (at age 66) to learn it. 

Phil suggested thinking as if every song is in a specific key (C). Learn the relative 
hole patterns for a song, and then play that sequence of patterns on a different key 
harp when a key change is required. 

I suggested approaching the knowledge of which hole and which breath direction is 
associated with a particular scale degree in conjunction with paying lots of attention 
to the intervallic relationships. It is fairly easy to map the 20 natural notes to the 
scale degrees of the underlying diatonic scale. (In my case, it is even easier because 
of the Spiral (Zirkular or Circular) Tuning: there are no missing notes in the range 
of notes available.) I know the relationships between all of the notes on the harp.

One of the simplest exercises that I used to gain this facility is to play the tonic
note (scale degree 1), alternated with every other scale degree, in both ascending 
and descending sequences. As I played, I mentally made a note of each interval 
relationship. 1-to-1, 1-to-2, 1-to-3, 1-to-4, 1-to-5, 1-to-6, 1-to-7, and 1-to-8, 
followed by reversing the sequence back down to the tonic. Then I added the next octave
to the exercise, going two octaves up, followed by two octaves down, again repeating
the scale degrees. I then started playing every other note (thirds), again mentally
noting the scale degrees while simultaneously identifying the underlying chord and
the quality of that chord. I (major) = scale degrees 1-3-5; ii (minor) = 2-4-6; etc.
Combined with the music theory knowledge that the I, IV, and V chords are very 
important for major key songs and the vi, ii and iii chords are very important for
minor key songs gives additional information on where to expect the song's melody and
chord progression to go. Surprisingly, it doesn't take very long to firmly fix the 
relationships in mind as "muscle memory."

I'll note in passing that the Nashville Numbering System is based on numerical values 
for chords. It seems to work very nicely for studio musicians who have to get up to
speed very quickly for a session, but who don't have necessarily have access to the 
sheet music.

In any event, perhaps this gives you some additional things to try.

Good luck!
Crazy Bob