Re: [Harp-L] Re:1 year Beginner

[Cara Cooke <cyberharp@xxxxxxxxx>]

Learning a bit of theory (especially modes, positions) is a good move.  With
that knowledge, you can suit your playing needs to the harmonica so that
most of the notes you need right off are there in front of you.  The best
improv comes from comfort and freedom.  When you relax, you can take the
chances that you need to take.  But you will have difficulty taking those
chances and playing freely if you are pent up trying not to play the notes
that are completely out of key and "sour" or wrestling with bends that don't
"make".  If you start off with plenty of notes to work with, then wherever
you wander, you will have a comfort zone to use as a home base (if you get
lost).  In bluegrass, it is always important to have that "story-line"
available so that you can wander in improv, but never so far that you get
lost.  That story-line becomes home base -- it helps the rhythm players know
where you are and that you are in sync with them; and it helps the audience
feel like they still know what is going on because something familiar keeps
showing up.

It is also most important to continue to work with and learn from the other
musicians, regardless of what instrument they play.  Part of what makes a
good bluegrass lick is stealing a lick that works well on another
instrument, then making it work well on yours.  Sometimes the lick has to
change slightly in order to fit the instrument better, but once changed, the
lick belongs to your instrument.  There are some nice, important signiture
licks worth learning, too.  They will show up from time to time in the jam.
Listen for them and learn from them.

Above all, remember that bluegrass is primarily melody driven -- wander too
far and the story doesnt' get told -- and all the of the jammers will look
bewildered and some may even get frustrated or angry.  It is not really a
"harmonica thing" that they are flustered about, it is the break in fun of
the music.  I have seen marvelous improv guitar players, well grounded in
bluegrass, take totally incomprehensible breaks on their guitar and break up
a jam.  Fiddle, mandolin, and banjo players can do this to a jam, too, just
by playing so that everyone cannot follow.  They do too much, or don't stay
in the same time, or they lose the "story" and no one knows where they are.

One other thing, while improvising it is important that timing is not just
playing in time with everyone else.  Sometimes timing is just knowing when
to play and when to lay out -- when to jump in on the note a little early or
when to lay back and hit the note a little behind and then catch up.  Timing
and taste are the hardest things to learn.  But, since silence can be just
as important as the notes played, it should be given the same focus.  Listen
to the other musicians and get a feel for the types of timing adjustments
that work well and find some that you feel are good for you.

Cara Cooke
www.cyberharp.isonfire.com


On 1/10/06, Cathy Storey <cathy.storey@xxxxxxxxx> wrote:
>
> Hi Everyone,
> I'm really learning alot from the emails.  I have a question.  I have been
> playing for about 1 year and I am self taught from books, CD & DVD's.
> I have some Mike Stevens, David Barrett and other Mel Bay products.  I am
> learning on Special 20 and Golden Melody Hohner Diatonic harmonicas.  I
> have
> limited music theory education, but I am taking lessons. (Just for the
> theory)  I just recently started jamming the last few months with a
> Bluegrass group and I also practice with a green bullet mic.  My goal is
> to
> some day be able to improv with comtempary christian, bluegrass, country
> and
> blues.   I am looking for any imput for beginners on anything that would
> help me play well.
> Looking forward to any comments.
>
> Cathy  Cathy.Storey at gmail.com
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