[Harp-L] RE: Harp-L Digest, Vol 16, Issue 12



  Regarding Elizabeth.  I sent a message to you directly.  I am pleased to
see that there is another woman here.  Perhaps there are a lot that I don't
know about.  I have not yet received my SPAH members list .  Where I live,
it seems like all players are men....no offense to any men.  I have a
husband and 2 sons who I am quite fond of....GA 

-----Original Message-----
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Of harp-l-request@xxxxxxxxxx
Sent: Sunday, December 05, 2004 6:30 PM
To: harp-l@xxxxxxxxxx
Subject: Harp-L Digest, Vol 16, Issue 12

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Today's Topics:

   1. RE: harmonica stands (Chris Hammond)
   2. American in Czech (Clayton Goldstein)
   3. Harmonica Challenge (jazmaan@xxxxxxxxxxxxxx)
   4. Re: Minor Kill - Minor Kill challenge (Richard Hunter)
   5. Re: Dave Fertig response to EGS1217/What else do you do?-	New
      here (tom ball)
   6. Suzuki Promaster 350v: Impressed with reservations (Ansel Barnum)
   7. Re: Minor Kill - Minor Kill challenge (Pierre)
   8. Re: Re: Dave Fertig response to EGS1217/What else do you do?-
      New here (Pierre)
   9. Re: what else do you do? (Mojo Red)
  10. Re: Re: Dave Fertig response to EGS1217/What else do	you do?-
      New here (David R. Fertig)
  11. Re: Harmonica Challenge (Jonathan Hill)


----------------------------------------------------------------------

Message: 1
Date: Sun, 05 Dec 2004 19:59:48 +0000
From: "Chris Hammond" <dogtiredstudio@xxxxxxxxxxx>
Subject: RE: [Harp-L] harmonica stands
To: mfugazzi67@xxxxxxxxx, harp-l@xxxxxxxxxx
Message-ID: <BAY2-F308C391AC560904E53B4BEDDB30@xxxxxxx>
Content-Type: text/plain; format=flowed

I created a very nice and cheap harp holder setup.  It consists of a folding
synth/keyboard stand (about $20) and an old briefcase.  I tore out the guts
of the breaf case and pieced some foam cutouts to hold various harps, mics,
etc.  This setup is very safe and solid.  I gig with it on a regular basis
and it works great.  The brief case holds 3 mics, 2 chromatics, and about 30
harps.

>From: Michael Fugazzi <mfugazzi67@xxxxxxxxx>
>To: harp-l@xxxxxxxxxx
>Subject: [Harp-L] harmonica stands
>Date: Wed, 1 Dec 2004 06:44:52 -0800 (PST)
>
>Does anybody know where I can find a harmonica stand?
>I know hamonicamasterclass.com has one, but are there any others out 
>there?  I'd like something that can stand at about waist level and hold 
>a mic as well as at least 12 diatonics.
>
>Thanks,
>
>Mike
>
>=====
>Mike Fugazzi
>Vocals/Harmonica
>2nd EXIT Band
>"The Crossroads of Rock'n'Blues"
>http://www.2ndexit.com
>
>Don't forget to sign the Guestbook!!!
>
>
>
>__________________________________
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>Read only the mail you want - Yahoo! Mail SpamGuard.
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>_______________________________________________
>Harp-L is sponsored by SPAH, http://www.spah.org Harp-L@xxxxxxxxxx 
>http://harp-l.org/mailman/listinfo/harp-l

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------------------------------

Message: 2
Date: Sun,  5 Dec 2004 12:05:32 -0800
From: Clayton Goldstein <clay@xxxxxxxxxxxxxxxxx>
Subject: [Harp-L] American in Czech
To: harp-l@xxxxxxxxxx
Message-ID: <1102277132.41b36a0c7a13d@xxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1

I am an American Harmonica player headed to the Czech Republic (Austria,
Germany?) for the first time.  I'll be going with my Guitarist, sort of a
Rock-a-Billy/Roots/Songwriter/ Duo type of thing this time around.  This
will be my first time in Czech so if anyone has any tips, suggestions,
ideas, I'm all ears.  I have good friends native to the area arranging our
shows and places to stay.  Got some nice words from Mark (M.N.) off Harp-l
too.

We will arrive in Prague this Tuesday, 12/7 for about two weeks and will be
based out of Brno.  The shows I know about include:
Dec.10 - Stara Pekarna,Brno   9-11pm   www.starapekarna.cz
Dec.14 - Two Faces,Brno       9-11pm   www.twofaces.cz
Dec.16 - Ranch Texas,Brno     10pm-1am

The main purpose of the trip is to arrange a tour for the whole band later
this year.  If you live in Czech, hopefully our paths can cross.  Obviously,
we are very excited.

Thanks and thanks to those that establish and maintain Harp-l and SPAH.

Clay Goldstein


--
...I have a WEB Site:
http://www.claygoldstein.com
...and the band has fans:
http://www.chopshopfans.com
...Life's good


------------------------------

Message: 3
Date: Sun, 5 Dec 2004 12:11:16 -0800 (PST)
From: "jazmaan@xxxxxxxxxxxxxx" <dmf273@xxxxxxxxx>
Subject: [Harp-L] Harmonica Challenge
To: harp-l@xxxxxxxxxx
Message-ID: <20041205201116.81210.qmail@xxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii

Now that about a dozen of you have had a chance to hear my attempt at
"Tunisia",  I'd like to make a few comments of my own.

I started practicing this right after the subject of a challenge was
broached on the list.  In order to play it in the original key of Dm on my
Bb XB-Melody,  I had no choice other than to
learn it in "5th position".   The song is basically AABA with a famous
"break" after the last "A"
part.   It turned out that the "B" part really laid out nicely on the Bb
XB-Melody tuning with
some really sweet double stops.  I'm so used to the bridge of a song being
the "tough" part, but here it was the opposite.  That was really nice for
the overall flow of the song.

The A part however presented some real challenges.  The first note is a #1
blow bend!  And the 3rd note is a #2 blow bend!  Along with the #10 blow
bend, those are the most difficult notes on an
XB!   The inertia of those low reeds isn't easy to overcome.  And those low
blow bends are easy
prey for valve buzz and other weird artifacts.    Also when Pat Missin tuned
my harp, he brought
up the floor on all the bends so they don't have much play underneath them.
That gave them a
tendency to sound sharp in fast passages unless I really concentrated on
bending them ALL the way down to the floor.  

I considered just playing the whole song an octave higher.  But that just
didn't sound right to my
ears.   Eventually, with lots of practice,  and if the harp was sufficiently
warmed up, I was able
to tame those low end blow bends for the most part.   So if you have an
XB-40, don't give up on
the low end blow bends.  They can be mastered!

Early in my practice sessions, I found a transcription of "The Famous Alto
Break" which Bird improvised at a ridiculous 180 bpm on a failed outtake and
then lamented that he'd "never be able to make that break again."

Well I didn't quite nail it at 120 bpm, but I came close!   In fact I was
amazed at how much
progress I made in just a few weeks of practice.   Give me another 5 years
and I'll make it at 180
bpm!

My main goal in entering this Challenge was simply to demonstrate to any
remaining unbelievers that the XB-Melody tuning is not just a gimmick, but a
serious tool that deserves consideration by
anyone interested in expanding the horizons of his harmonica playing.    I
hope that between my
previous Moody's Mood for Love" example in 2nd position, "Born in Chicago"
in 6th position and now "Night in Tunisia" in 5th position, I've opened
enough ears that some of you guys will finally decide to try it for
yourselves. I'm sure that with all the great talent out there in Harp-L land
you guys could make my efforts to date seem like child's play.





------------------------------

Message: 4
Date: Sun, 05 Dec 2004 15:51:20 -0500
From: Richard Hunter <turtlehill@xxxxxxxxxxxxx>
Subject: Re: [Harp-L] Minor Kill - Minor Kill challenge
To: Pierre <slavio@xxxxxxxxxxxx>
Cc: harp-l@xxxxxxxxxx
Message-ID: <41B374C8.890929FB@xxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii

Pierre wrote:
> 
> Richard said:
> 
> "Minor Kill" was recorded with a stock Lee Oskar Natural Minor in C 
> (meaning that the key is C minor in second position).
> 
> Something seems wrong in the above sentence, did Richard mean to say a 
> Lee Oskar Natural Minor in F?

Lee Oskar Natural Minors are keyed according to SECOND position, not first
position (as is the case with standard-tuned harps).  So this is in fact a
Natural Minor in C (though if it were a standard tuning, it would be an F
harp).
 
> 
> While I'm there? could this be played on a stock Richter harp (without
> overblows) if we sacrifice the chords?

Probably, but since the chords are a big part of what makes the piece work,
I dunno why you'd dump them.  Actually, I have played around with this piece
on a standard-tuned harp, and it sounds pretty good -- just not quite as
good as it sounds on a Natural Minor, at least to my ears.
Try it and see what you think.   
 
> BTW, this is a cool tune - why not have a challenge for the less than 
> pro harpers, Richard might be able to donate the backing track. 
> Richard would have to agree though, I'm not sure he wants us screwing 
> around with his tune.
> 
> Any takers?

Thanks for this comment, which is very flattering and much appreciated. 
But it takes a lot of time and effort to create my pieces, and they're
ultimately intended for sale or licensing.  So I must decline this offer.  I
will continue to release pieces to members of this list for their personal
(non-commercial) listening pleasure -- feel free to jam along.  

Thanks and regards, Richard Hunter
hunterharp.com



------------------------------

Message: 5
Date: Sun, 5 Dec 2004 13:29:17 -0800
From: tom ball <havaball@xxxxxxx>
Subject: [Harp-L] Re: Dave Fertig response to EGS1217/What else do you
	do?-	New here
To: harp-l@xxxxxxxxxx
Cc: EGS1217@xxxxxxx
Message-ID: <f05100302bdd92bccac7c@[68.6.102.69]>
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

With regard to steering Elizabeth towards tongue blocking, it was posted:

>Sonny Terry: The Folkways Years (all issues) You'll know the meaning of 
>Tongue Blocking. <snip>
_________
All due respect, but Sonny Terry did not tongue block - he was a pucker
player.  The CD mentioned here IS brilliant, of course -- one of the
greatest of all blues harp recordings! -- but it is not demonstrative (nor
indicative) of tongue blocking.  I would instead recommend instead either
Big Walter or Little Walter.

cheers,

Tom Ball
Santa Barbara


------------------------------

Message: 6
Date: Sun, 5 Dec 2004 16:42:14 -0500 (EST)
From: Ansel Barnum <barnum@xxxxxxxxx>
Subject: [Harp-L] Suzuki Promaster 350v: Impressed with reservations
To: harp-l@xxxxxxxxxx
Message-ID: <Pine.GSO.4.56.0412051635490.18677@matrix>
Content-Type: TEXT/PLAIN; charset=US-ASCII


Just bought my first Promaster (after a history of Marine Bands, Special
20s, and Lee Oskars). Ergonomic design, clean sound, fast response, nie
heft, good looks--on the whole, an impressive instrument. That said, I do
have some issues with it. Perhaps someone could shed some light on the
following questions:


1) Unlike the bottom cover plate, the front edge of the top cover plate does
not fit into the groove running along the edge of the reed plate. Is this
intentional or a construction flaw?

2) After playing for a few minutes, sometimes blow 7 will stick for a split
second and then pop into play. When it sticks, a faint sound is produced as
if the note is playing at half volume. The effect is especially apparent if
I blow softly.

3) I find that the valves on some notes vibrate during dynamic playing--ie,
bends or loud (high pressure) blows/draws. Is this avoidable or an
inevitable consequence of valves?

4) The extended bends offered by the valves seems quite limited. Some can
only be hit with very soft playing, some can't be hit, and some simply sound
like crap. Has anyone else had better success with them to the point where
the full chromatic scale can be implemented in playing (as oppose to just
using the valved bends for the occasional ornament).

5) If the performance issues mentioned above are not fixable or not worth
the trouble of doing so, can I simply peel off the valves, converting the
350v to a 350?

6) If I liked the Promaster, what other harps should I try?


Thanks,



Ansel



------------------------------

Message: 7
Date: Sun, 05 Dec 2004 17:31:13 -0500
From: Pierre <plavio@xxxxxxxxxxxx>
Subject: Re: [Harp-L] Minor Kill - Minor Kill challenge
To: Richard Hunter <turtlehill@xxxxxxxxxxxxx>, harp-l@xxxxxxxxxx
Message-ID: <003201c4db1a$20f498f0$153b8342@BIGDOG>
Content-Type: text/plain; format=flowed; charset=iso-8859-1;
	reply-type=original


Sorry for imposing, your response is entirely natural; in your position I
would do the same. I really should of asked offlist first.

Yeah, I tried it in second on an F harp and I can play parts of it quite
well just by ear without practicing, that's why I offered the challenge. I'm
sure it would be challenging for me to learn the harder sections. Perhaps a
Natural Minor in C harp would make it even more challenging as the harp may
not be as fast as the F harp.

> Probably, but since the chords are a big part of what makes the piece 
> work, I dunno why you'd dump them.

Mainly because I only have Richter tuned harps, may have to drive downtown
for one of these.

Anybody know if there are SP20s tuned this way?

Looking at the layout, this is a completely different animal from a Richter,
one step bend on the 1,  4,  5 and 6; the 2 hole has 3 bends. Can you play
by ear on this? or do you have to learn tunes by rote? I guess it would feel
sort of natural (natural minor actually) as long as you do not try any bent
notes.

Pierre.




----- Original Message -----
From: "Richard Hunter" <turtlehill@xxxxxxxxxxxxx>
To: "Pierre" <slavio@xxxxxxxxxxxx>
Cc: <harp-l@xxxxxxxxxx>
Sent: Sunday, December 05, 2004 3:51 PM
Subject: Re: [Harp-L] Minor Kill - Minor Kill challenge


> Pierre wrote:
>>
>> Richard said:
>>
>> "Minor Kill" was recorded with a stock Lee Oskar Natural Minor in C
>> (meaning that the key is C minor in second position).
>>
>> Something seems wrong in the above sentence, did Richard mean to say a 
>> Lee
>> Oskar Natural Minor in F?
>
> Lee Oskar Natural Minors are keyed according to SECOND position, not
> first position (as is the case with standard-tuned harps).  So this is
> in fact a Natural Minor in C (though if it were a standard tuning, it
> would be an F harp).
>
>>
>> While I'm there? could this be played on a stock Richter harp (without
>> overblows) if we sacrifice the chords?
>
> Probably, but since the chords are a big part of what makes the piece
> work, I dunno why you'd dump them.  Actually, I have played around with
> this piece on a standard-tuned harp, and it sounds pretty good -- just
> not quite as good as it sounds on a Natural Minor, at least to my ears.
> Try it and see what you think.
>
>> BTW, this is a cool tune - why not have a challenge for the less than pro
>> harpers, Richard might be able to donate the backing track. Richard would
>> have to agree though, I'm not sure he wants us screwing around with his
>> tune.
>>
>> Any takers?
>
> Thanks for this comment, which is very flattering and much appreciated.
> But it takes a lot of time and effort to create my pieces, and they're
> ultimately intended for sale or licensing.  So I must decline this
> offer.  I will continue to release pieces to members of this list for
> their personal (non-commercial) listening pleasure -- feel free to jam
> along.
>
> Thanks and regards, Richard Hunter
> hunterharp.com
>
> _______________________________________________
> Harp-L is sponsored by SPAH, http://www.spah.org
> Harp-L@xxxxxxxxxx
> http://harp-l.org/mailman/listinfo/harp-l
> 



------------------------------

Message: 8
Date: Sun, 05 Dec 2004 17:35:54 -0500
From: Pierre <plavio@xxxxxxxxxxxx>
Subject: Re: [Harp-L] Re: Dave Fertig response to EGS1217/What else do
	you do?-	New here
To: tom ball <havaball@xxxxxxx>, harp-l@xxxxxxxxxx
Cc: EGS1217@xxxxxxx
Message-ID: <003601c4db1a$c86f5a70$153b8342@BIGDOG>
Content-Type: text/plain; format=flowed; charset=iso-8859-1;
	reply-type=response


Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!

Here that sound in the distance, that's me gloating!

LOL!

Pierre.



----- Original Message ----- 
From: "tom ball" <havaball@xxxxxxx>
To: <harp-l@xxxxxxxxxx>
Cc: <EGS1217@xxxxxxx>
Sent: Sunday, December 05, 2004 4:29 PM
Subject: [Harp-L] Re: Dave Fertig response to EGS1217/What else do you do?- 
New here


> With regard to steering Elizabeth towards tongue blocking, it was posted:
>
>>Sonny Terry: The Folkways Years (all issues)
>>You'll know the meaning of Tongue Blocking. <snip>
> _________
> All due respect, but Sonny Terry did not tongue block - he was a pucker 
> player.  The CD mentioned here IS brilliant, of course -- one of the 
> greatest of all blues harp recordings! -- but it is not demonstrative (nor

> indicative) of tongue blocking.  I would instead recommend instead either 
> Big Walter or Little Walter.
>
> cheers,
>
> Tom Ball
> Santa Barbara
> _______________________________________________
> Harp-L is sponsored by SPAH, http://www.spah.org
> Harp-L@xxxxxxxxxx
> http://harp-l.org/mailman/listinfo/harp-l
> 



------------------------------

Message: 9
Date: Sun, 5 Dec 2004 14:55:00 -0800 (PST)
From: Mojo Red <harplicks@xxxxxxxxx>
Subject: Re: [Harp-L] what else do you do?
To: harp-l@xxxxxxxxxx
Message-ID: <20041205225501.44464.qmail@xxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii

Hi,

While not playing harmonica, thinking about
harmonica or listening to harmonicas, I'm an
executive editor for two professional trade
magazines... pretty much my full time gig.

I also am a full time dad and hubby.

I'm an avid reader and have an astonishing
collection of science fiction books.

I used to be in a cool blues-type band, but we
broke up recently and now my stage time is
relegated to open mics and sit-ins which I'm
enjoying very much.

Harpin' in Colorado,
--Ken


		
__________________________________ 
Do you Yahoo!? 
Take Yahoo! Mail with you! Get it on your mobile phone. 
http://mobile.yahoo.com/maildemo 


------------------------------

Message: 10
Date: Sun, 05 Dec 2004 15:02:57 -0800
From: "David R. Fertig" <dfertig@xxxxxxxxxxxxx>
Subject: Re: [Harp-L] Re: Dave Fertig response to EGS1217/What else do
	you do?- New here
To: harp-l@xxxxxxxxxx
Cc: EGS1217@xxxxxxx
Message-ID: <6.1.1.1.2.20041205145205.01cfe110@xxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"; format=flowed

Well, if Butterfield didn't tongue-block, it certainly ain't necessary, nor 
is overblowing, nor is vindication.  Nor is playing different positions, or 
chromatic, or . . . .  What is necessary, for blues harp anyway, is 
soul.  And at least one good ear, I suppose.

As for Sonny Terry:  Tom Ball is absolutely one of my favorite players, and 
he's also a scholar on the subject,  so I would not second guess him on 
anything harpmonica-related, however I will note when I saw Sonny Terry 
play live (loong ago at Hermosa Beach), I could have sworn I saw him 
throwin' a few octaves and chords, a la tongue-blocking, altho he didn't do 
much o dat stuff, I thought he did do some.   And Froggy says Sonny did it, 
too, so I am at a loss, perhaps Sonny did it just a little bit?  Maybe 
not.   But Sonny's chief thing for me was his beautiful sound-wave shaping 
with his hand, acute mic control and his amazing rhythmic work involving 
his voice and breathe.   Sonny Terry is royalty, I treasure his work.

Anyway, I still say the late William Clark was a monster blocker.    Also, 
Dennis Gruenling, wisely recommended by Froggy, is indeed an amazing player 
too!

So pucker on, or tongue block, or do 5th position overblows with oddly 
tuned semi-valved 12-hole whatsisdealiebobs, whatever, just blow with soul!

-Dave



At 02:35 PM 12/5/2004, Pierre wrote:

>Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
>Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
>Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
>Yesssss, we puckerers are vindicated !!!!!!!!!!!!!!!!!!!!!!!!!!!!
>
>Here that sound in the distance, that's me gloating!
>
>LOL!
>
>Pierre.
>
>
>
>----- Original Message ----- From: "tom ball" <havaball@xxxxxxx>
>To: <harp-l@xxxxxxxxxx>
>Cc: <EGS1217@xxxxxxx>
>Sent: Sunday, December 05, 2004 4:29 PM
>Subject: [Harp-L] Re: Dave Fertig response to EGS1217/What else do you 
>do?- New here
>
>
>>With regard to steering Elizabeth towards tongue blocking, it was posted:
>>
>>>Sonny Terry: The Folkways Years (all issues)
>>>You'll know the meaning of Tongue Blocking. <snip>
>>_________
>>All due respect, but Sonny Terry did not tongue block - he was a pucker 
>>player.  The CD mentioned here IS brilliant, of course -- one of the 
>>greatest of all blues harp recordings! -- but it is not demonstrative 
>>(nor indicative) of tongue blocking.  I would instead recommend instead 
>>either Big Walter or Little Walter.
>>
>>cheers,
>>
>>Tom Ball
>>Santa Barbara
>>_______________________________________________
>>Harp-L is sponsored by SPAH, http://www.spah.org
>>Harp-L@xxxxxxxxxx
>>http://harp-l.org/mailman/listinfo/harp-l
>
>_______________________________________________
>Harp-L is sponsored by SPAH, http://www.spah.org
>Harp-L@xxxxxxxxxx
>http://harp-l.org/mailman/listinfo/harp-l



------------------------------

Message: 11
Date: Sun, 5 Dec 2004 16:28:57 -0700
From: Jonathan Hill <jonathan.f.hill@xxxxxxxxx>
Subject: Re: [Harp-L] Harmonica Challenge
To: harp-l <harp-l@xxxxxxxxxx>
Message-ID: <f081bf6f0412051528f8b312d@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII

Wow. That's pretty great. That's the first time I've knowingly heard
an XB. Question: Do they all sound like that? I'm not sure I'm crazy
about the tone of the instrument. It seems kind of thin. I'm not in
any way criticizing your playing. You did an admirable job. But as a
personal assessment of the *instrument*, the jury's still out for me.


On Sun, 5 Dec 2004 12:27:42 -0800 (PST), jazmaan@xxxxxxxxxxxxxx
<dmf273@xxxxxxxxx> wrote:
> Here it is!
> 
> 
> 
> 
> --- Jonathan Hill <jonathan.f.hill@xxxxxxxxx> wrote:
> 
> > I'd like to hear the clip if I could. :-)
> >
> >
> > On Sun, 5 Dec 2004 12:11:16 -0800 (PST), jazmaan@xxxxxxxxxxxxxx
> > <dmf273@xxxxxxxxx> wrote:
> > > Now that about a dozen of you have had a chance to hear my attempt at
"Tunisia",  I'd like to
> > make
> > > a few comments of my own.
> > >
> > > I started practicing this right after the subject of a challenge was
broached on the list.  In
> > > order to play it in the original key of Dm on my Bb XB-Melody,  I had
no choice other than to
> > > learn it in "5th position".   The song is basically AABA with a famous
"break" after the last
> > "A"
> > > part.   It turned out that the "B" part really laid out nicely on the
Bb XB-Melody tuning with
> > > some really sweet double stops.  I'm so used to the bridge of a song
being the "tough" part,
> > but
> > > here it was the opposite.  That was really nice for the overall flow
of the song.
> > >
> > > The A part however presented some real challenges.  The first note is
a #1 blow bend!  And the
> > 3rd
> > > note is a #2 blow bend!  Along with the #10 blow bend, those are the
most difficult notes on
> > an
> > > XB!   The inertia of those low reeds isn't easy to overcome.  And
those low blow bends are
> > easy
> > > prey for valve buzz and other weird artifacts.    Also when Pat Missin
tuned my harp, he
> > brought
> > > up the floor on all the bends so they don't have much play underneath
them.   That gave them a
> > > tendency to sound sharp in fast passages unless I really concentrated
on bending them ALL the
> > way
> > > down to the floor.
> > >
> > > I considered just playing the whole song an octave higher.  But that
just didn't sound right
> > to my
> > > ears.   Eventually, with lots of practice,  and if the harp was
sufficiently warmed up, I was
> > able
> > > to tame those low end blow bends for the most part.   So if you have
an XB-40, don't give up
> > on
> > > the low end blow bends.  They can be mastered!
> > >
> > > Early in my practice sessions, I found a transcription of "The Famous
Alto Break" which Bird
> > > improvised at a ridiculous 180 bpm on a failed outtake and then
lamented that he'd "never be
> > able
> > > to make that break again."
> > >
> > > Well I didn't quite nail it at 120 bpm, but I came close!   In fact I
was amazed at how much
> > > progress I made in just a few weeks of practice.   Give me another 5
years and I'll make it at
> > 180
> > > bpm!
> > >
> > > My main goal in entering this Challenge was simply to demonstrate to
any remaining unbelievers
> > > that the XB-Melody tuning is not just a gimmick, but a serious tool
that deserves
> > consideration by
> > > anyone interested in expanding the horizons of his harmonica playing.
I hope that between
> > my
> > > previous Moody's Mood for Love" example in 2nd position, "Born in
Chicago" in 6th position and
> > now
> > > "Night in Tunisia" in 5th position, I've opened enough ears that some
of you guys will finally
> > > decide to try it for yourselves. I'm sure that with all the great
talent out there in Harp-L
> > land
> > > you guys could make my efforts to date seem like child's play.
> > >
> > > _______________________________________________
> > > Harp-L is sponsored by SPAH, http://www.spah.org
> > > Harp-L@xxxxxxxxxx
> > > http://harp-l.org/mailman/listinfo/harp-l
> > >
> >
> 
> 
>


------------------------------

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End of Harp-L Digest, Vol 16, Issue 12
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