Re: [Harp-L] intonation and such

[icemanle@xxxxxxx]

As they say in the Imago Couples Counseling Technique, JROSS heard most of what I said, but missed or forgot a few teeny weeny key points in his restatements.
 
So, to help him better understand, allow me to re-iterate.
 
The "Overs" have a certain - something - missing or different than the "given" notes. I don't care what the technical/logical reason is. It doesn't matter. Just LISTEN. 
 
When I have my students "expose it to the air" (meaning an "over" note - hey, even a traditional bend created note), it's another way of stating one of my basic teaching premises called "Long Tones". Sustain any problem note at great length to give yourself time to listen to it and change the variables in your technique and discover in a deeper sense how you control that sound. This is purely an exercise in learning all the very very subtle ways one can control pitch and tone.
 
I also mentioned in my posting response to George that, in real performance, I place the "overs" in a melodic line to best NOT expose their differences or weaknesses. In other words, I put a small limitation on my complete freedom to improvise, taking this extra factor into consideration. Also, I may play a tune in a different "position" depending on how I feel that moment or how "on top of the technique" I am.
 
By the way, I feel that one CAN use notes created with traditional bending techniques as seemless notes with the "givens". I first heard Howard Levy do it during the "Golden Years of Augusta Teachathons" and Paul DeLay do it live in Portland. It inspired me to do it, too. My 4 hole inhale bend is sometimes sustained, sounds great, and then full throat vibrato is added. I will use it as a NOTE, not releasing it upwards into the 4 hole inhale, which is why someone like Phil Wiggins grabbed my harmonica from me at a jam at Augusta years ago to check and see if it was a "trick" harmonica. 
 
(By the way, this is done by not holding the 4 inhale bend "to the floor" as I describe it to my students, but to let it sound by PLACING it about 20 cents above the tone created when pulling down as far as it bends).
 
Of course, the student is in the crawling phase of this understanding. They always seem to shy away from notes created through technique. THAT'S WHY I have them LEAN INTO IT, to learn NOT TO SHY AWAY FROM THEM. My hope is that one of them, especially the younger hungry ones (Like RJ) will take the ball and run with it during their youthfull passion and discover the true Holy Grail (if it exists) of true seamlessness, or at least get closer to it than I did.
 
whew
 
The Iceman
 
 
-----Original Message-----
From: jross38@xxxxxxxxxxx


 
Iceman: 
 
"I have all my students linger longer on their intonation problem notes. It starts with holding 4 hole inhale bend as a long tone. If it is used in a melodic line, I'll have them play that 'problem' note longer in the line until they stop shying away from it. It's just another note - just because you need a slightly different technique to play it is no reason to be afraid of it." 
 
No, but it's every reason to listen to it and figure out when it can and can't be used for best effect and musical results. An overblow is not just a natural note made in a different manner. The reed is doing something different, that's not just imagination and neither hard work nor concerted thought will make that little fact go away. 
 
"Same goes for OB in my more advanced students. Be proud of it. If it doesn't sound like you want it to, you have to expose it to the air more to take care of the irregularities inherent. Adjustments are made, subtleties are discovered and a more micro sense of pitch and tone develops." 
 
"Expose it to more air"? It depends on what you want for the song in question. Sometimes a created note (bends or overblows) in the right place is perfect. But in the wrong place the inherently different nature of their timbre, phrasing and the pitch-variable part (which is always there--even with good intonation, the pitch is always a bit slippery just by definition) can and will make the note stick out like a sore thumb. Think of the "Ode to Joy" challenge. Playing that piece with the bend in second position (the oft used 3draw whole-step bend) sounds nasty. Unlistenible really. Knowing not to do that (by playing in first position or on a Melody Maker if you want 2nd) is key to getting a musical result which won't scare small children and make dogs howl in a bad way. 
 
________________________________________________________________________
Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free.