[Harp-L] Path of Least Resistance (was Position Perception)

[Mojo Red <harplicks@xxxxxxxxx>]

--- "jazmaan@xxxxxxxxxxxxxx" <dmf273@xxxxxxxxx>
wrote:
> I'm sure there are some accomplished overblowers
> who have no trouble playing "Desafinado" in 12th
> position.  But I like to take the path of least
> resistance.  For me that's the XB-Melody.

Hi,

Although I doubt whether I could ever actually sit
down and play "Desafinado" in 12th or any other
position, you bring up an excellent point. 

When I sit down to learn a new song, especially if
it's something that doesn't already have a strong
harmonica lineage, I tend to spend a lot of time
trying to figure out what harp type (chromatic,
diatonic, solo tuned, XB-40, etc.) and what
position/harp key will best fit that tune. 

I generally end up using the harp/position/key that
offers the strongest/easiest layout that aligns
with my curent abilities. 

As an example, I recently learned to strum my way
through Gershwin's "Summertime" on guitar and
wanted to sing it and play harp over it in a rack.
Well, I generally had done that tune with a
chromatic, playing in Am on a C chromatic, or, if
we were doing an edgier, faster version, 3rd
position on a G diatonic. 

Well, I found the chromatic limited without use of
the button and couldn't play much outside the
straight melody on my solo break, so I tried 3rd on
my G XB-40, but found I couldn't control my bends
as nicely with the harp in the rack. 

I ended up transposing the guitar part to Dm and
playing the harp parts with my solo tuned C harp in
3rd. The song laid out nicely, I could throw in
some bends for more bluesy feel, but didn't have to
hit those bends dead-on to pull off the melody. On
Sunday afternoon I was able to atually perform this
"solo act" for my harmonica club and I thought it
went very well.

In essesnce, my solution was the "path of least
resistance."  

I wonder how many others out there go through
similar shenanigans when tackling a new song. It
took me quite a while to find what worked for me. I
went throught the same process when learning
"Nobody Knows You" (with help, finally, from Peter
Ruth), "Willin'" (the Little Feat song), and other
non-blues type tunes.

Do others go through this process? If so, is there
more of a method to your madness than the blind
trial-and-error I use? 

Harpin' in Colorado,
--Ken M.


	
		
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