Fwd: Chromatic Blues Technique

["Winslow Yerxa" <winslowyerxa@xxxxxxxxx>]

>From the harp-tipping advice, I have a pretty good idea who the 
author is. Works for him in teaching diatonic with the quasi-
pucker "lip-block" embouchure, but I see no good reason to use it 
tongue-blocking on chromatic. As to whether to use the top or bottom 
of the tip ofthe tongue - players do both; use what works for you AS 
LONG AS it doesn't hamper your mobility on the harp.

Thumb for slide seems awkward to me and is definitely unorthodox. It 
forces the right hand into a position where it is LESS able to form a 
cup with the left hand than if you use the index finger.

Cupping the whole length of a 16-hole harp for most people is simply 
not possible - maybe George Smith and Walter Horton could do it (but 
several authorities maintain Big Walter necer recorded on chromatic). 
What Joe Filisko discovered with large diatonics was that cupping the 
low-pitched end of the harp seemed to be effective even with the high 
notes. You might want to experiment to see what effect you get with 
an airtight cup on whatever portion of the instrument still allows 
you to reach the slide.

D dorian is how most blues players use the chromatic most of the 
time. Sometimes they hold the slide in and play it in Eb, and 
sometimes they put the slide into play in one or both keys. Every 
once in a great while, you'll hear a player play in C, G or even Ab. 
The author is just dishing up what most players want to do.

In HIP Nos. 1 thru 5 I covered D slideless, d with slide, Eb with 
slide, G and Ab, with blues-oriented slide ornaments in each key. 
Whenever I get HIP 6 out (don;t hold your breath), C will be added. 
No solo transcriptions; just a look at how to approach that key, with 
slide and chordal and sclae pattern resources, and a few typical 
licks.

Winslow