Re: Shell Voicings (theory question)

["Michael Polesky" <m.polesky@xxxxxxxxxxx>]

Hi JP,

I've been experimenting with something like this for many years now on
solo tuned chromatic by using "partial chords" in two-part harmony.
On the solo tuned chromatic there are fewer "chords" (three notes or
more) to produce, but a myriad of two-part harmonies that can be
reached.  To do this, I often block out one or two holes in the middle
of my mouth to get the harmony.  I have found this a fascinating and
time-consuming project ;-).

You might want to try using more two-part harmony on the diminished
tuning, because two voices open up more possibilities for each partial
chord.  For instance, if you have D F Ab and B, you can cover more
harmonies by using, for instance, D and B together alone than you can
with adding the F or Ab to the mix.  The D and B can be used together
to create a G major or a G7 chord. They can represent a B minor chord.
The D can be used to harmonize the B as a passing note in C major or
become a C major 9 chord (very nice for the end of tunes).  It also
can be a diminished chord, etc.  Maybe Winslow could think that one
out for us ;-).  That's the basic reason why I opted for two notes at
all times instead of three.

This is nothing "new".  I have heard the two-part harmony technique
used to great effect at various SPAH conventions by older masters on
solo tuned chromatics.  It takes some time in discovering how many
different harmonies you can achieve with your particular instrument
and, especially, how they can resolve nicely into the harmony that
follows it.

You are definitely on the right track, but I don't think there are
many examples of anyone doing this very much on diminished tuning.
Demised, whole tone and also be-bop tuning offer some interesting
chords as well as harmonies that you definitely should be exploring.
Have fun with it.

Michael
- ----- Original Message -----
From: "Jp Pagan" <jpl_pagan@xxxxxxxxx>
To: "harp-l harp-l" <harp-l@xxxxxxxxxx>; "HarpTalk"
<harptalk@xxxxxxxxxxxxxxx>
Sent: Thursday, September 25, 2003 10:07 AM
Subject: Re: Shell Voicings (theory question)


>
> hey everyone,
>
>    in another forum a discussion came up about the
> diminished chromatic, which i play. in trying to
> convey the difference between playing a Dimmie and a
> Solo tuned, i offered up this statement:
>
> >>if you are really stuck on playing Toots Thieleman's
> lines note for note, you will need to play solo
> tuning. it's the ONLY way to match the phrasing as all
> the breathing patterns will match, etc. i you want to
> play exactly like William Clarke, you will HAVE to
> play in solo tuning, cause it's the only way to get
> that 3rd pos. draw chord.>>
>
> then i sort of recanted a little. it seems to me, from
> the note layout of the Diminished vs. the Solo, that
> it's possible to 'fake' the minor 6th chord, that 3rd
> pos. draw chord Walter, Wilson, Clarke et al. love so
> much and which accounts for the "classic" 3rd position
> minor blues sound.
> the way to do this is by using what's called a "shell
> voicing" of the minor 6th chord, a shell voicing being
> a chord without the 5th. (i learned all this from the
> internet. never has a fool been so wise ;) so (in D on
> a C solo chro.), D F A B becomes D F x B, using your
> tongue to block the A note, which is the 5th. this
> same partial can be created from the D Diminished
> chord: D F Ab B, just by blocking out the Ab (the
> flatted 5th) D F x B.
> on top of all that, since a diminished chromatic has
> every diminished chord available on it, it also has
> the shell voicing available for EVERY minor 6th chord,
> meaning you could virtually play 3rd pos. style in
> every key on one harp!
> of course, this is all theory. i haven't really tried
> it successfully on my diminished chromatic, but i
> think that' a technique problem more than a problem
> with the theory.
> i was hoping for more input from you theorists out
> there, to tell me what you think. am i wrong about
> something? is it half-baked? or is someone already
> doing this?
>
> much appreciated,
>
>         --Jp
>
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