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Today's Topics:
1. Fireball (Damien Masterson)
2. RE: Fireball (Smith, Richard)
3. Subject: Thank you..........but (EGS1217@xxxxxxx)
4. a question for all you toungue blockers out there...
(camposs@xxxxxxxxx)
5. RE: a question for all you toungue blockers out there...
(Bill Hines)
6. Re: a question for all you toungue blockers out there...
(Paul Routledge)
7. Dry mouth on fast tunes - remedies? (Winslow Yerxa)
8. RE: a question for all you toungue blockers out there...
(backbender1)
9. RE: Dry mouth on fast tunes - remedies? (Chris Michalek)
10. RE: Dry mouth on fast tunes - remedies? (Eric Neumann)
11. DOUG TATE'S perfectly normal procedure (randysinger)
12. Re: Cappuccino anyone ? (long) (Rob Paparozzi)
----------------------------------------------------------------------
Message: 1
Date: Tue, 05 Apr 2005 19:13:57 +0000
From: "Damien Masterson" <damienzm@xxxxxxxxxxx>
Subject: [Harp-L] Fireball
To: harp-l@xxxxxxxxxx
Message-ID: <BAY20-F165B47517F084622E0753FD23C0@xxxxxxx>
Content-Type: text/plain; charset=iso-8859-1; format=flowed
Hey All,
I've had a Fireball sent to me by Audix for testing and an
endorsement deal. I've been playing it for a while now, about 12 hours of
live gig time. I've played it through a variety of amps, and recently went
to Guitar Center and demo'd a couple of keyboard and acoustic guitar amps.
I'm not going to give it a full review until I confirm my deal with
Audix,
but I will say it blows away my Sure Beta 58. It's quiet, soooo quiet. I
play right in front of the speaker with no feedback. I'm still not sure
about the design - it's not a bullet mic, but I'm so used to having the
whole mic shaft in my hands that playing with just a little ball and stem
is
taking some getting used to.
I am a chromatic harp player who plays in all styles (minus classical,
that's all you, Mr. Bon-feee-lio!)
and I also play distorted. I have not hooked this baby up to my vintage
Fender yet, as I'm on the road gigging right now. (BTW, I'll be playing in
Eugene, OR. next weekend, for you PN Harp-l'ers!)
So, up to this point, I'm very excited about this harmonica microphone.
I am not surprised that the Sonny Boy tone desciples might not like it,
because it is not designed to mask, mute, distort or bury one's tone in
the
fashion a 1940's taxi dispatcher's mic through a tube amp might do, it is
designed for pure tone, which if you don't posess, all the gear in the
world
won't help you.
Stay tuned
Damien Masterson http://www.goodomen.net respond to:
damienzm@xxxxxxxxxxxx
------------------------------
Message: 2
Date: Tue, 5 Apr 2005 15:42:09 -0400
From: "Smith, Richard" <rismith@xxxxxxxxxxx>
Subject: RE: [Harp-L] Fireball
To: "Damien Masterson" <damienzm@xxxxxxxxxxx>, <harp-l@xxxxxxxxxx>
Message-ID: <2D3EB2C438D8184F8D4471DD54E6249519B003@xxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="iso-8859-1"
Damien is certainly welcome his opinion, but - - -
I for one object to the implication that those of us who
play "Chicago-Style" through a bullet mic, do so only to
mask our lack of real tone. It's a matter of taste. If
we all liked the same thing, there would be only one
style of music [how boring]. I may not be an accomplished
pro, as you apparently are, but I know what I like. And
when it comes to the Electric Blues, I simply happen to
"prefer" the slightly gritty sound of a hi-z bullet mic,
over the sound of a clean mic.
Richard J. Smith
Wormleysburg, PA
-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx]On
Behalf Of Damien Masterson
Sent: Tuesday, April 05, 2005 3:14 PM
To: harp-l@xxxxxxxxxx
Subject: [Harp-L] Fireball
Damien Masterson wrote:
"So, up to this point, I'm very excited about this harmonica
microphone.
I am not surprised that the Sonny Boy tone desciples might not like it,
because it is not designed to mask, mute, distort or bury one's tone in
the
fashion a 1940's taxi dispatcher's mic through a tube amp might do, it is
designed for pure tone, which if you don't posess, all the gear in the
world
won't help you."
_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l
------------------------------
Message: 3
Date: Tue, 5 Apr 2005 15:46:23 EDT
From: EGS1217@xxxxxxx
Subject: [Harp-L] Subject: Thank you..........but
To: harp-l@xxxxxxxxxx
Cc: douglas.tate@xxxxxxxxxxxxxx
Message-ID: <1f4.7057b43.2f84450f@xxxxxxx>
Content-Type: text/plain; charset="US-ASCII"
Douglas Tate writes: "I am alive and well if temporarily incapacitated.
I am having a perfectly normal procedure in a hospital.
Normal service will be resumed as possible.
Thank you for the good wishes ... but the obits will just have to wait a
little while.
Douglas Tate"
........now that's the epitome of "A Class Act".
Elizabeth
------------------------------
Message: 4
Date: Tue, 05 Apr 2005 13:40:51 -0700
From: camposs@xxxxxxxxx
Subject: [Harp-L] a question for all you toungue blockers out there...
To: harp-l@xxxxxxxxxx
Message-ID: <1caeeb1c7bcc.1c7bcc1caeeb@xxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
Ive been playing pucker style for about two years now and have
recently been turned to to the toungue blocking method by a friend.
Ive been practicing and playing with it for a while but i cant seem to
get a good tougue blocked 3 draw bend and a full four draw bend. is
this a common thing that i will eventually overcome, or do most
toungue blockers switch to a pucker for the 3 draw bend and the 4 draw
bend.
------------------------------
Message: 5
Date: Tue, 5 Apr 2005 16:42:05 -0400
From: "Bill Hines" <billhines4@xxxxxxxxxxx>
Subject: RE: [Harp-L] a question for all you toungue blockers out
there...
To: <harp-l@xxxxxxxxxx>
Message-ID: <000301c53a1f$edefcc80$1800000a@BILLHINEST40>
Content-Type: text/plain; charset="US-ASCII"
I switch up to pucker when doing bends (or anything on holes 1-3), I think
most people do. But some say that they can get the bends while using
tongue-blocking and I believe it. I just think it takes a lot more work
and
I have lots of other stuff to learn :-) I don't believe you can get the
full power/tone of a puckered bend while tongue-blocking, so I'm ok with
switching up. (but then, there are some amazing harp players on this list
who I'm sure could prove me wrong!) Don't feel bad if you have to use
multiple embochures on a piece.
Bill Hines
Hershey, PA
-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] On
Behalf
Of camposs@xxxxxxxxx
Sent: Tuesday, April 05, 2005 4:41 PM
To: harp-l@xxxxxxxxxx
Subject: [Harp-L] a question for all you toungue blockers out there...
Ive been playing pucker style for about two years now and have
recently been turned to to the toungue blocking method by a friend.
Ive been practicing and playing with it for a while but i cant seem to
get a good tougue blocked 3 draw bend and a full four draw bend. is
this a common thing that i will eventually overcome, or do most
toungue blockers switch to a pucker for the 3 draw bend and the 4 draw
bend.
_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l
------------------------------
Message: 6
Date: Tue, 5 Apr 2005 22:01:34 +0100
From: Paul Routledge <pphking@xxxxxxxxxxxxxx>
Subject: Re: [Harp-L] a question for all you toungue blockers out
there...
To: harp-l@xxxxxxxxxx
Message-ID: <1c181abdce33434f1daff1d012e5108c@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII; format=flowed
I tongue block on everything except blow bends.
It just takes practice, just keep at it and you will get there.
Hope this helps
Paul
On 5 Apr 2005, at 21:42, Bill Hines wrote:
I switch up to pucker when doing bends (or anything on holes 1-3), I
think
most people do. But some say that they can get the bends while using
tongue-blocking and I believe it. I just think it takes a lot more
work and
I have lots of other stuff to learn :-) I don't believe you can get
the
full power/tone of a puckered bend while tongue-blocking, so I'm ok
with
switching up. (but then, there are some amazing harp players on this
list
who I'm sure could prove me wrong!) Don't feel bad if you have to use
multiple embochures on a piece.
Bill Hines
Hershey, PA
-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] On
Behalf
Of camposs@xxxxxxxxx
Sent: Tuesday, April 05, 2005 4:41 PM
To: harp-l@xxxxxxxxxx
Subject: [Harp-L] a question for all you toungue blockers out there...
Ive been playing pucker style for about two years now and have
recently been turned to to the toungue blocking method by a friend.
Ive been practicing and playing with it for a while but i cant seem to
get a good tougue blocked 3 draw bend and a full four draw bend. is
this a common thing that i will eventually overcome, or do most
toungue blockers switch to a pucker for the 3 draw bend and the 4 draw
bend.
_______________________________________________
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: 7
Date: Tue, 5 Apr 2005 14:16:14 -0700 (PDT)
From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
Subject: [Harp-L] Dry mouth on fast tunes - remedies?
To: harp-l@xxxxxxxxxx
Message-ID: <20050405211614.72946.qmail@xxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
When playing fast fiddle tunes I get dry mouth, and I'm wondering if
anyone has proposed solutions.
These kinds of tunes tend to be wall-to-wall 8th notes that go about
400 notes per minute.
There is no time to take a drink of water or any other beverage. There
isn't even time to lick my lips.
I'm wondering if anyone knows a way to salivate at will, for instance,
perhaps through auto-suggestion.
Or perhaps there are subtle ways to do something with the mouth,
tongue, or instrument, that make wind drying less likely.
I'm sure the situation of being out front as a soloist and experiencing
a surge of fight-or-flight adrenaline doesn't help, and maybe some kind
of meditation to deal with that might also help.
All suggestions welcome, with noted exceptions.
Thanks.
Winslow
__________________________________
Do you Yahoo!?
Yahoo! Mail - Find what you need with new enhanced search.
http://info.mail.yahoo.com/mail_250
------------------------------
Message: 8
Date: Tue, 5 Apr 2005 14:16:43 -0700 (PDT)
From: backbender1 <backbender1@xxxxxxxxx>
Subject: RE: [Harp-L] a question for all you toungue blockers out
there...
To: harp-l@xxxxxxxxxx
Message-ID: <20050405211643.93599.qmail@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
Hi -
You should never feel bad about doing what it takes to
learn these techniques, especially if you didn't start
off tongue-blocking, as I believe most players in the
past several decades have not. And keep in mind, when
coming from the pucker technique, it is completely
normal to be frustrated when trying to learn
everything tongue-blocked (TB).
I almost gave up on TB when I was trying to get it
down, after realizing that I kept going back to
puckering on the gigs, since I couldn't bend as far as
I wanted/needed to, and did not have the overall
precision I wanted.
Having said that, I now tongue-block pretty much
everything I play. The occassional blow bends (10 in
particular) I will pucker, but there are guys out
there that TB those as well (Filisko & Guyger come to
mind). I also TB my overblows and overdraws, though I
don't use overdraws much.
It's been my experience as a teacher (and player) that
anyone can overcome the TB-bending obstacle with the
correct practice. I have gotten beginning and
intermediate students tongue-blocking bent notes
within one lesson, and have witnessed other advanced
teachers do this as well.
Give yourself time to get comfortable with it, it will
come easier. I recommend sticking it out when you
practice, but pucker as much as you want when you jam
or perform until you can TB comfortably....the many
benefits of TB are worth the extra practice.
All the best
-Dennis Gruenling
www.dennisgruenling.com
__________________________________
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Yahoo! Mail - 250MB free storage. Do more. Manage less.
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------------------------------
Message: 9
Date: Tue, 5 Apr 2005 16:23:22 -0500
From: "Chris Michalek" <Chris@xxxxxxxxxxxxxxxxxx>
Subject: RE: [Harp-L] Dry mouth on fast tunes - remedies?
To: winslowyerxa@xxxxxxxxx, harp-l@xxxxxxxxxx
Message-ID: <380-22005425212322859@xxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1
Are you normally hydrated? I've found that drinking large amounts of
water the day of the gig helps with this. I've also noticed I have
more dry mouth when I am nervous or have a bit of discomfort.
I have have chewed gum while I play with no ill effects. That helped
me for a longtime. Try a piece of the Altoids Apple flavour sour
chewing gum...
I'm not any where near the fastest player around so my advice may or
may not be appropriate.
---- Original Message ----
From: winslowyerxa@xxxxxxxxx
To: harp-l@xxxxxxxxxx
Subject: RE: [Harp-L] Dry mouth on fast tunes - remedies?
Date: Tue, 5 Apr 2005 14:16:14 -0700 (PDT)
When playing fast fiddle tunes I get dry mouth, and I'm wondering if
anyone has proposed solutions.
These kinds of tunes tend to be wall-to-wall 8th notes that go
about
400 notes per minute.
There is no time to take a drink of water or any other beverage.
There
isn't even time to lick my lips.
I'm wondering if anyone knows a way to salivate at will, for
instance,
perhaps through auto-suggestion.
Or perhaps there are subtle ways to do something with the mouth,
tongue, or instrument, that make wind drying less likely.
I'm sure the situation of being out front as a soloist and
experiencing
a surge of fight-or-flight adrenaline doesn't help, and maybe some
kind
of meditation to deal with that might also help.
All suggestions welcome, with noted exceptions.
Thanks.
Winslow
__________________________________
Do you Yahoo!?
Yahoo! Mail - Find what you need with new enhanced search.
http://info.mail.yahoo.com/mail_250
_______________________________________________
Harp-L is sponsored by SPAH, http://www.spah.org
Harp-L@xxxxxxxxxx
http://harp-l.org/mailman/listinfo/harp-l
Chris Michalek
www.michalekstrone.com
CD Available
http://www.cdbaby.com/cd/michalekstrone
------------------------------
Message: 10
Date: Tue, 5 Apr 2005 16:27:38 -0500
From: "Eric Neumann" <eneumann@xxxxxxxxxxxxxx>
Subject: RE: [Harp-L] Dry mouth on fast tunes - remedies?
To: "Chris Michalek" <Chris@xxxxxxxxxxxxxxxxxx>,
<winslowyerxa@xxxxxxxxx>, <harp-l@xxxxxxxxxx>
Message-ID:
<D24BAD7DFFF8BE43B682CCE4FC890F5704D38518@xxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"
-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx
[mailto:harp-l-bounces@xxxxxxxxxx] On Behalf Of Chris Michalek
Subject: RE: [Harp-L] Dry mouth on fast tunes - remedies?
Are you normally hydrated? I've found that drinking large
amounts of water the day of the gig helps with this. I've
also noticed I have more dry mouth when I am nervous or have a
bit of discomfort.
===========================
oh and forget about taking five with the rest of band in the alley too -
that'll really cause wicked cotton mouth. =)
------------------------------
Message: 11
Date: Tue, 5 Apr 2005 18:01:02 -0400
From: randysinger <randy@xxxxxxxxxxxxxxx>
Subject: [Harp-L] DOUG TATE'S perfectly normal procedure
To: Douglas Tate <douglas.tate@xxxxxxxxxxxxxx>
Cc: harp-l@xxxxxxxxxx
Message-ID: <b0cc49ed480b2e18b80480f86d0f8b79@xxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=US-ASCII; format=flowed
.....since when is the removal of a harmonica a normal procedure?
.just kidding.....
Hope you are feeling better, seriously!!!!!!!!
be well,
=======
Mon, 04 Apr 2005 22:11:47 +0100
From: Douglas Tate <douglas.tate@xxxxxxxxxxxxxx>
Subject: [Harp-L] Thank you ... but
To: "harp-l.org" <harp-l@xxxxxxxxxx>
Message-ID: <6.2.1.2.2.20050404220550.02c68ae0@xxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"; format=flowed
I am alive and well if temporarily incapacitated.
I am having a perfectly normal procedure in a hospital.
Normal service will be resumed as possible.
Thank you for the good wishes ... but the obits will just have to wait
a
little while.
Douglas Tate
------------------------------
Message: 12
Date: Tue, 5 Apr 2005 18:05:48 -0400
From: "Rob Paparozzi" <chromboy@xxxxxxxxxxxxx>
Subject: [Harp-L] Re: Cappuccino anyone ? (long)
To: <harp-l@xxxxxxxxxx>
Message-ID: <003d01c53a2b$a467adb0$6401a8c0@statelpyd5uy56>
Content-Type: text/plain; charset="iso-8859-1"
I sent in a write-up last week on the Levy/Sprawl CD, I wanted to share
with
y'all my experience with another NEW Howard duet CD......here
goes..............
Cappuccino (Balkan Samba Records)
Howard Levy and Fox Fehling
http://www.balkansamba.com/cappuccino.php
A title more fitting they couldn't have picked! When you sit down to
start your listen, I would highly advise doing what I did, run out to your
local gourmet coffee shop pick up a Cappuccino (or I guess a Café Latte
will
do). Either pop this CD in your car or home player and let the MUSIC take
you to that "little table" out in the Piazza (in your mind). But an even
MORE fitting reason for the title is that Howard & Fox met in 96' at at
place called Café Express in Evanston, IL....I think I know what they
ordered as a beverage that day,-))
It's a very intimate endeavor, that features two superb musicians (that
happen to be partners) making beautiful Music together in their home.
Fox is in prime form on her 1730 Gofriller Violin (formerly owned by
Jascha Heifetz). Her playing sounds effortless, which is quite impressive
when attempting to execute Sonatas by Maestro Mozart.
The first 3 cuts are Mozart's Sonatas for Violin & Piano #' 10 ( 1st
Movement), 16 ( 2nd Movement) & 17 (1st Movement). Howard mic'ed the room
for a very wide and airy "naturally reverberating concert hall sound" so
you
get a 'real' live performance quality.
Howard's classical chops are also in top form here and he appears to be
quite comfortable on his 'home ' Piano. I even heard what appears to be a
slight "bench" squeak at the top of the 2nd Sonata which really made me
think "I" was there at this performance taking it ALL in,-) It's fun to
hear
these two musically "breath" together on these classical masterpieces.
But hold on to your coffee cups folks, this is NOT just a lil'
Classical
CD, This couple cannot be bound by a single genre of music, therefore,
like
a good Cappuccino, it's the "Blending" of the Beans and Steamed Milk that
gi
ves us a variety of flavors when the foam hits our lips............so a
tinge of Bluegrass and Jazz will help to 'round out' our little cup of
Italian Coffee as we continue to sip and enjoy!
The 4th track is an original piece by Howard, "Spanish Serenade", the
notes tells us he was about 10 or 11 when he wrote the first 2 parts this,
but upon meeting Fox in 96' he added the rest, that's where you hear the
Violin enter. I found this to be a very catchy melody and Fox plays this
with much emotion and musicality.
Howard sprinkles into the mix, a short overdubbed Diatonic solo and the
whole piece takes on a romantic flavor that almost made me pick up the
phone
and call my local dance studio for lessons!
The 5 & 6th songs (Manic & Buzz) are very short (about a half minute
each) musical vignettes written by Howard for Fox to play SOLO. Writing
something like this is a scary enough task, but even more compelling is
how
Fox can turn the little "dots on paper" into MUSIC! Whew! #$%^&*
The difference between a 'Violin' and 'Fiddle' is tantamount, the
instrument is the same but the playing approach is what separates the two
in
a BIG way! Most, trained Violinists can't quite get a handle on the
aspects of real "Fiddle" music but Fox is one of the exceptions.
(I remember playing in the Orchestra Pit on Broadway in "The Will
Rogers
Follies", we had a string section as well as a Fiddle player that sat next
to me to play the country style stuff his name was Larry Campbell and in
the
show he played Fiddle, Pedal Steel, Guitar and 5 String Banjo. The point
being, one night he sent in a 'sub' who could play all those instruments
but
NOT the fiddle. The conductor said, we'll have one of the Violin players
do
the "Fiddle" parts. Well, to make a long story short, the "Hoe-Down" piece
became a "No-Down"...it was totally groove-less and sounded nothing like
the
Fiddle we were used to hearing every night. I realized the difference and
SO
did the conductor. No disrespect ofcourse to the Violinist who was only
trying to help us out of a pickle.-)
The song that shows off Fox's Fiddle is the Traditional "Cottonpatch
Rag", this version was arranged by one of her teachers the great Mark
O'Connor. Howard is on Bluegrass style harp as well as Mandolin and joined
by Guitarist -Chris Siebold and Bassist - Eric Hochberg. When I meet Fox,
I'll have to let her know about the career 'doubling' opportunities on the
"Great White Way"!!!!!!!!!!!!
This Rag really kicks in a nice laid back way....awesome fiddlin' Fox!
I'm glad as I started nearing the end of this recording that I still
had
some Cappuccino left, as my favorite ballad in the world was coming on!!!
I'm a Singer (that plays Harmonica) and when I hear an instrumental
performance of a great standard, my opinion is ALWAYS based on how the
player 'sings' the melody on his/her instrument. This singer was NOT
disappointed, the best version I've ever heard of this song is by Johnny
Hartman/John Coltrane period!
Howard and Fox have captured the essence of these great lyrics and
converted them in to a lasting instrumental performance...you can't help
but
sing along........
"The very thought of you makes
My heart sing
Like an April breeze
On the wings of spring
And you appear in all your splendor
My one and only love"
It starts with a beautiful Piano intro that really sets up Howard's
VERY vocal like Harmonica Melody, it sounds like he picked up his
cappuccino
mug and plays into it for a 'fuller' sound effect...but the liner notes
report that he played Harmonica and simultaneously so I'm probably wrong
here about the mug!
Fox takes over playing brilliantly on the Bridge and then the Piano
takes the Solo over the A-A sections.
Howard picks up the Harmonica and blows an amazing solo over the next
time thru the bridge with one hand!! Both, Fox and Howard embellish the
last
A section into a haunting and elegant ending chord.
The title and final cut should now bring you (if you've sipped VERY
slowly) to the end of your beverage, this was a solo piece Howard wrote
on
Piano in the 80's when he was listening to Brazilian Pianist Cesar
Camargo.
He recently wrote the Violin part obviously with Ms. Fehling in mind and
named it:."Cappuccino" ....It's a very uplifting bright tempo piece that
is
a perfect 'closer' as we now lick the last remnants of foam from our lips
and get up and on with our
lives,-)))
thanx Fox, Howard for a REAL sweet coffee break....bravo.
------------------------------
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Harp-L mailing list
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End of Harp-L Digest, Vol 20, Issue 12
**************************************