Re: [Harp-L] Re: 7-10

["Bob Laughlin" <rlaughlin@xxxxxxxxxxxx>]

Actually, as a retired electrician, and electronics enthusiast, I like
"armature". It kind of invokes the idea of being a "motor mouth, however,,,

http://en.wikipedia.org/wiki/Armature_(electrical_engineering)

(Don't know why, but the link does not seem to work unless you go to the
trouble of copying and pasting the ending "close parenteses" onto the URL. I
can't get it to "take" when I copy and paste it here from the original. But
it's worth the trouble, when you see the picture. Just imagine THAT being in
your mouth.)

BL


----- Original Message ----- 
From: "G. E. Popenoe" <gpopenoe@xxxxxxxxx>
To: "Rupert Oysler" <orupert@xxxxxxxxxxx>
Cc: "Bob Laughlin" <rlaughlin@xxxxxxxxxxxx>; "harp-l" <harp-l@xxxxxxxxxx>
Sent: Sunday, February 10, 2008 8:43 AM
Subject: Re: [Harp-L] Re: 7-10


> Don't you love the word 'embouchure'? I've heard it since I learned to
> play brass instruments as a kid but never had to spell it . Then in
> another thread I used the term 'armature' instead. Oops!
>
> Don't I feel like the musical genius!
>
> In a way, it sort of applies because not only am I controlling air
> flow with my emboucher, I'm using the structure of my mouth as a sort
> of supporting armature.
>
> Gary Popenoe
>
> On Feb 10, 2008, at 8:09 AM, Rupert Oysler <orupert@xxxxxxxxxxx> wrote:
>
> > One suggestion: play JUST the holes 7-10 for at least some period of
> > "practice" time or just fooling around.....A lot of the problems
> > that people experience from the higher holes come from habits formed
> > playing the lower holes. Most of us got the first good sounds from
> > the low end, and learned to wail on those draw notes. There are a
> > lot of "unconscious" habits about approaching notes there,
> > especially draw notes:
> > -hitting them harder than blow notes
> > -starting them bent and bringing them up to pitch
> > -playing them always bent
> > -applying "bending vibrato"
> > -tapering off with a bend
> >
> > These habits will kill notes 7-10, since the reed relationship in
> > those holes is reversed, so draw reeds will not bend (at least not
> > like they do in 1-6). So in addition to the reeds being way smaller,
> > the entire set-up is different, and it is both tonally confusing and
> > breath/approach/attack confusing, IF you go there with the same
> > habits you have already developed in the lower end. Now the notes
> > you can really wail on are the blow notes, and to get a good solid
> > draw note is different than the low end, and the focus of your
> > embouchure needs development.
> >
> > By spending some dedicated minutes (or more) with 7-10, approaching
> > them completely fresh as a beginner, you will begin to enjoy
> > allowing them to reveal their unique secrets to you. Gradually you
> > will naturally add these to what you know and be able to make a
> > seamless transition up and down the harp.
> >
> > Rupert Oysler
> > www.seydelusa.com
> >
> >
> >
> >
> >
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