adler profile, learn to play, 3 hole draw
------------adler profile--------------------
(Janet) <LIEBERMANJ@xxxxxxxxxxxxxx> wrote:
>How To Get NPR Transcripts On-Line
>For $10, they will e-mail you the segment you requested.
Looks like Newt got a hold of them already (sorry, couldn't resist).
Seriously, if anyone has it, I'll take a copy (thanks for the few snippets,
Ken F).
BTW, I'll be sending out cleaned up guitar amp faqs (to those who asked)
shortly.
--------how to learn to play harp-----------
J Patrick Hester -- NY <ph@xxxxxxxxxx> wrote:
>Get a job about 60 miles from where you live. One where you have to drive
>like an hour if there's no traffic.
I'm another like practitioner, but I did what someone on the list suggested
quite a while ago. Get a bunch of your favorite harp cuts, all in one key,
and play to the tape while you commute (or whenever you can allot practice
time). Work on the spots giving you trouble. I made some 1/2 speed tapes of
these. Hitting the rewind/stop can be a problem, but hasn't caused me an
accident yet. Then there's the off pitch thing if one of the decks is off,
but that's another subject. The folks with CD 6-packs (or more) can
program the ~like key~ cuts in, which makes it even easier.
------------3 hole draw--------------------
Charlie Sawyer <sawyer@xxxxxxx> wrote:
>How about you? Can you do it? How? Block or pucker? Where's
>the meat? Which harps are easier and which are more difficult?
I second this commotion (some of it anyway) :-) Hope some of this helps.
If it's partly wrong, I'm sure someone will tell me (feel free :-).
I've been working on this for more than a few months (tongue blocked bend
control) and am (1) having a few problems (2) am particularly bewildered by
why it is easier for me out of the left side, as opposed to the right
(opposite to most others?).
Pucker bending single notes is much easier. Agree with Rkt that 1/2 step
bends are not particularly difficult, either puckered or tongue-blocked --
brute force practice got me there -- suffice to say, as per Rkt, get a good
single note and don't think about it. Maybe it's the intonation part. Get
a keyboard, from friend if you don't have one, and try matching pitches.
Or get a tuner that generates pitches (mine's finally coming tomorrow).
Bigger and lower bends that pose a problem in my tongue blocking technique
and any alternative practice techniques would be appreciated (hitting a
brick wall). I have made some progress with Jack Ely's recommendations a
few weeks back (side-switching, etc.). Look at his primer on the gopher
again (or the new web page, good going Chris P !!).
When you go to the lower harps even more movement is needed, so as we all
know, it gets more difficult, eg. on the 14 hole marine bands in low/tenor
C you need to just about swallow your esophagus to get the 1 draw bend
(reminds me of that pepsi kid -- maybe I *will* end up trapped between the
two one-hole reeds.... oh no, he did it again..... :-) I am slowly getting
more control of the back of my throat and tongue, but man, where are those
magic spots when you need them?
Steve Baker, fwiw, says in the ~handbook~ that he likes to block only one
hole at a time since the holes on either side are easier to bend (p.37,
last sentence in octave splitting section).
The octaved / draw 5 plus whole step bend draw 2 / looks particularly
useful for the cross/2nd pos. blues since if gives you the flatted 7th that
help define ~bluz~, (although a slide into a natural 6 is what you really
want). Previous posts which I can't find right now have indicated perhaps
only a few can nail this consistently (Filisko for one, right Chris M?)
Maybe Winslow and others on the list care to comment some more.
Draw holes 1 and 4 can used for another blue note, between the 5 and b5.
The last blue note, the natural-to-flatted 3rd, remains only available in
single note form in cross and most bluz harpers know the idioms surrounding
this note. Various other cool-looking diads/double-stops can be made with
this TB technique, which is why I'm so interested (notice I said ~looking~,
if I *had* them, they would be ~cool-sounding~). Another call for help.
For reference to the above (fwiw), here is (yet another?) ascii 10 hole
Richter-tuning harp map (have 11 others for those interested) written out
in relative pitch style for cross harp (2nd position), holes 1-10, OB# =
overblow, OD#= overdraw, D = draw, Db = 1/2 step bend, etc, B = blow, Bb=
blow bend, etc. Used HIP's ~upside-green~ convention for holes 1-7
(opposite of Hohner, Oskar et al tuning charts) to show pitches ascending
in the up direction for most (70%) of the harp. Only certain OB have been
included to complete the 12 note chromatic scale. 12 positions are
available for any intersted in spreadsheet form (with outlined boxes). I
find these maps useful when used with a scale or chord syllabus.
2nd 1 2 3 4 5 6 7 8 9 10
--- --- --- --- --- --- --- --- --- ---
OB# #5/b6 #5/b6 7 #2/b3
D 5 1 3 5 #6/b7 2 3 5 #6/b7 2
Db #4/b5 7 #2/b3 #4/b5 #1/b2
Dbb #6/b7 2
Dbbb #1/b2
OD# #4/b5 #5/b6
B 4 6 1 4 6 1 4 6 1 4
Bb #5/b6 7 3
Bbb #2/b3
Here's some relative scales and extensions (chords) vs. the key of C; again
all twelve keys are available in a spreadsheet also. The asterisks show the
blues scale, more asterisks, more bluz-i-ness (or the root).
1 1 C C ****
#1 b2 Db C#
9 2 2 D D **
#9 #2 b3 Eb D# ***
10 3 3 E E **
11 4 4 F F **
#11 #4 b5 Gb F# ***
12 5 5 G G **
#12 #5 b6 Ab G#
13 6 6 A A **
#13 #6 b7 Bb A# ***
7 7 B B
1 1 C C ****
Harv <HAAndruss@xxxxxxx> -- opinions my own
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