BILL'S THEORY-questions

[WYKS@xxxxxxxxxxxxxxxxx]

Subject: Reply to Bill; his questions in brackets.


[[Like why don't you harp players use conventional music theory notation when
discussing what keys you can play on various harps?  Like to me, on a
regular 10-hole hohner type harp you can play in I,II,III,V, and VI.  For
my D golden melody that would be the keys of D major, E minor, F# minor, A
minor (with bending), and B minor (the true relative minor of d major).]]

I'm new at this networking Bill; but here goes.  Umm, how do you see
conventional music theory notation as ADDRESSING (I can't underline) the
question of harmonica "positions."  Are there other instruments that the
term "positions" is used for, and how are positions there defined?  (I
think I heard a sax player once refer to positions; but I'm not sure)
You're question presupposes this:  I'm from Missouri.  At any rate,
the conventional labeling does not ignore music theory; it is based on the
circle of fifths, as Dick explained in todays missive.

[[in III the second step of the scale is a half step lower than it should be
(I just avoid playing that note).]]

Reply:  Well, On your D-harp example, in your "III", isn't the second step
G#?  Why isthat a half step lower than it should be?  Can't you just bend 2-
draw (A) a half-step, to G#?  Or am I misunderstanding you?

[[Am I missing something.....is there a way to make notes blow sharper?  I
can imagine being able to play in most keys by bending notes flatter, but
to play in all some of the notes have to go up, don't they? When you talk
about overblowing is that when you bend the blow notes in the
upper part of the range flatter?]]

Answer:  No, bending blow notes is not "overblowing".  Overblowing is when
you blow, say, a C-harp's 4th hole (C) to raise it to Eb.  Similar for 5 and
6 blow.  Howard Levy, I believe, pioneered it; it ain't easy.  My
understanding is that you are actually blowing so as to lock up the blow-
reed, and causing the DRAW reed in hole 4 (or whatever) to pop to a harmonic.
 Golden Mels work best, and you can adjust the reed to make it easier if
you're a harp mechanic.  Farrell Company sold (are they still in business)
reed replacement kits, and lots of people tune their harps by reed filing to
special tunings.  (I don't...yet), by the way.


[[Oh, and I'm playing my new GM (key of D) and when I bend the draw#6 no
problem but trying to bend the draw#7 and I lose the note]]

ANSWER: forget it, I say (correct me out there if I'm wrong), unless you
just want some microtonal effects.  6draw is the highest draw bend to get a
full half-step out of.)

I'm glad to have found people who want to discuss harp theory, and relate it
to music theory.  Four years ago I talked with Junior Wells about an hour
between sets.  I was just beginning, and asked for tips.  He blew a lick,
handed it back, and asked me to repeat it.  He listened to me try, and said:
"You just know second position.  You gotta learn third, and then fourth, and
then fifth."

Steve Wykstra, Calvin College.