[Harp-L] Neil Ashby's music?



Neil Ashby has posted on Harp-L before, and at times he raised the ire of a
number of list members by the manner in which he presented his
information.  The last time I recall when there were people upset was tied
to his apparent disdain of blues music and use of dialect.

He has since acknowledged that he prefers other more melodic tunes for his
busking.

He recently made a controversial claim about a new technique for teaching
overbending that he says he has copyrighted, and his narrative "voice"
again seems similar to that of a professor addressing freshmen. That may
just be his style of writing.  If the way he describes it works for some,
that is great!

Though I now use some overbends in my playing, I still recall the struggle
in learning to get even the easier "missing notes."  I know it could be
done, as I had heard examples. I read material online from Tinus at 10
hole, and read many suggestions posted by a variety of teachers.  I watched
video of Howard Levy.  Later, I had good help getting started provided by
Michael Peloquin.  Then at SPAH 2008 I finally got a recognizable overblow
in a group run by Chris Michalek.    I was amazed by Jason Ricci and teens
including LD Miller overblowing incredible lines at hyperspeed.  Later I
listened to Adam Gussow, Alex Paclin, and Todd Parrott. I continue to
strive to improve my technique and my harp adjustment skills in order to
use this technique in making the music I enjoy.

Recently there was a long discussion on MBH about the merits of tilting the
harp against the lower lip, using so called "lip blocking."  If someone had
copyrighted that, what would the Ashby method be?

To me the method offered by Neil Ashby does not seem significantly
distinguishable from techniques offered by others, except for the words
Neil chose to describe it.  But that is for legal minds to dispute.

All the other instructors and players made example of their use of
technique accessible to the students.  All the others had their music
available so that a student or interested party could hear music being made
by the one offering to share their knowledge.  They established their
credibility by playing.  You can discuss the mathematics of theory without
giving examples of playing (though hearing theory in use might help).  You
can share theory knowledge productively without superb technique in
playing.  But when you claim to teach technique, stand and deliver.  I
can't tell if Mr. Ashby has a winning hand or will lay down a 4 flush,
until I hear his music.

I recently asked for examples of Neil Ashby playing music using overbends.
So far, I have not seen a reply.

Previously, I asked for examples of Neil Ashby playing his harmonica music
without consideration of overbends.  No examples have been provided.

Every tree is known by its fruits.

Neil Ashby, if you are going to assume the role of teacher of technique
with the many players frequenting harmonica lists and forums, many of whom
are very experienced, PLEASE PLAY SOME MUSIC FOR US!


Doug S.



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