re: [Harp-L] re: why do you want to play blues (very long)/Chris

[Buddha <groovygypsy@xxxxxxxxx>]

Hi Christelle,

Normally, I'd answer this privately but since it was public and my
thoughts pertain to anyone who is willing to try what you are about to
endeavor, I'll answer here.

Practicing everything in all 12/24 keys is one of the best things an
instrumentalist can do to improving.  It certainly isn't easy playing
any thing in any key on one diatonic harp. There is only one person
that can play in all twelve keys and sound moderately good.  I don't
play in all 12 keys and I believe it to be an exercise in arrogance
more than anything else UNLESS you're working on it privately. This is
not to say I don't advocate making changes through any key but most
things will always sound better in one position or another so why play
something to an audience that doesn't sound as good as it could?

To me, the OB/OD are not fantastic sounding notes. I don't avoid them
but I don't tend to lean on them either. One thing to consider is your
style or original voice. In the upper octave of the harp I like to
lean on blow 7-9-10. These notes would otherwise be slightly
compromised if I set my harps up for ODs. On most harps (except really
low keys) the ODs sound horrible to my ears so I don't use them. I
would rather "limit" my options in an effort to sounds more musical. I
can hit these ODs IF I have to but will always try to move down an
octave to a note that is more stable and musical.

I would recommend, working on what I consider to be more useful
positions for the music you are playing. For me, that is 11th, 12th,
3rd and in listening to your choice of music on youtube I think you
would benefit from those positions as well. They are very melodic,
very stable and wonderfully expressive. All of the ii-Vs and other
related turnarounds just pop out and are easy to play and if its easy
that means is generally going to sound good!

You can "fast track" your efforts by working on the modes of Bb and F
on a C harp.  Also work on the modes of the melodic minor scale in
those positions. If you do that, most of the other stuff will fall
into place. I would also recommend that you spend time working on Eb
and Ab.  For now, I would stay away from playing tunes in 2nd position
unless you want to sound bluesy or countryish, in otherwords,
"harmonica-eeee"  Just about everybody on this list has blues based
patterns and licks that will come out in that position that to me,
will disrupt the flow of melody and music.

I hope this helps.




Christelle wrote:
>Hi Chris
>
>I missed this post of yours, and this is Elisabeth who said that you were talking about me.
>
>and when I read that " would love to see Christelle jump away from cross harp. She maybe able to play blues but I have a feeling her deep rooted tastes are elsewhere. She plays very >beautiful and very non- traditional stuff that to me could be greatly improved by playing in other positions. She definitely has the ability and the ear to do it. I love what she does and I >find her to be a rare gem in the crazy world of "What key harp you got?"
>
>I felt so embarassed by these words, coming from a guy like you I don't know what to say exept thank you very much.
>
>To answer that I may be can say that I've began yesterday something that will be very long to acheive: playing all the 24 scales (minor a major) on a diatonic C. I already know that I >often play harp i second position, but this is mainly because I didn't worked the technical aspect of the harmonica, I need now to extend to my limits the way I can play. I've got a >challenge to help me to do that, this is to play the 3rd movement of the oboe concerto in D minor by J.S Bach. And to reach that goal I need to master the harmonica and to play a B >major scale just as easier as a G major or a C major.
>
>We'll see what will happens in 2 or 3 months from now, but it'll be a painfull job to reach that, spending 3 to 5 hours a day doing scales only (in 3rd, 4th, and 5th too)
>
>kisses
>
>Christelle