Re: cross-eyed
Date sent: 8-JUN-1995 12:19:31
>Date: Thu, 08 Jun 1995 09:10:00 -0400
>From: "conrad (c.) grant" <conradg@xxxxxx>
>Subject: cross-eyed
>
>Ok just when I think I understand this, I read someone else's comment
>and I'm not sure again.
>
>Cross Harp:
>
>If song = C
>
>1. use C harp and play in G?
>2. use G harp and play in G?
>3. you're waaaay off
And the answer is 3. If song key=C then you have to figure out which key
of harp that C is the fifth scale step of...harp key=F. So you need to
pick up your F harp and play in the key of C (the song key)
>Also, why is this popular with blues playing? To get the 'blues' notes on the
>optimum blow/draw hole?
You got the idea. By whatever name..."crossharp","second position","in V"(my
own way of keeping this stuff straight in my head based on steps of a
diatonic scale) is when you are playing in the key that is a fifth step up
from the key stamped on the harp. Let's use a C harp for example. To play
crossharp on a C harp means you are playing in the key of G. So when you
draw in on holes 1-4 you get a G chord (I in the key of G) and when you
blow out on 1-4 you get a C chord (IV in the key of G). Also if you draw in
on 4-6 you get a Dmin chord (which can pass for V in the key of G) so you
see you have the basic chords you need for the common blues cadences
(a cadence is a sequence of chords). But that's not the best part...
By drawbending the 2, 3, and 4 holes you can get the "blue" notes of the G
scale. Draw2 bends down to an F (flat seventh), draw3 bends down to a Bb
(flat third), and draw4 bends down to a Db (flat fifth). In addition, the
draw3 can be bent down even further to provide an A (second step of G scale)
in the lower octave. By far these drawbends are among the easiest bends to
produce on the harp. In the upper octave there are some blowbends (on
holes 8-10) that can come in handy as well, even though they are slightly
harder to produce.
Bill Long >-- StarGazer --< N2LAG longwj@xxxxxxxxxxxxxxxxxxxxxxxxx
longwj@xxxxxxxxxxxxxxx (137.142.18.1)
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