Re: [Harp-L] Questions re: blue notes and micro-tonality

[Mark Russillo <jruss433@xxxxxxxxxxxxx>]

That's exactly my point - those things that we do are different for everybody.  Technique, level of advancement, background of knowledge, styles of play, and stage experience.
I'm sure that re-evaluation is the key; the amount that one re-evaluates as opposed to working from their own position of percieved strength has been the the dilemma for me.  
At this point, I may just be carrying around too many words and not enough sound.  Perhaps its time for another adjustment...
Thanks, I'll consider that.
Mark Russillo
a.k.a. The Rhode Island Kid


----- Original Message ----
From: "IcemanLE@xxxxxxx" <IcemanLE@xxxxxxx>
To: jruss433@xxxxxxxxxxxxx
Cc: harp-l@xxxxxxxxxx
Sent: Friday, September 5, 2008 7:24:48 AM
Subject: Re: [Harp-L] Questions re: blue notes and micro-tonality

In a message dated 9/5/2008 7:27:21 A.M. Eastern Daylight Time, jruss433@xxxxxxxxxxxxx writes:
I think you got it, Larry.  I grapple with this everytime I practice and every time I take to the stage (when maybe I should be practicing).  Should I do what I do and add to it; or should I backtrack and figure out what I've been doing for the last 30 years?  I ask myself the same questions about singing and haven't resolved them there either.
 
Not knowing what you do, it's hard to answer your question. I found that personal reevaluation of everything done and where it came from was a process of "re-inventing" my approach. Every year or two I began to consciously inject this reworking into my own evolution.
 
 
 
 
 
 
Since I started trying reconstruct while playing, I have slowed my development.  I remain greedy to reach the next step, yet I have gigs and the thrill of performance calls.  There are only so many hours in a day.
 
There comes a point where you may decide to turn off your analytical brain and start to follow the sound - you've put in enough time that your muscle memory response should be approaching the speed of your thoughts. Substitute sound for your words in your head. Chris talks about channeling the music of the universe through you by opening up to it. This works when you learn to quiet the words that spin through your brain as you talk to yourself in your head - analysis is a lot of talking. It gets so loud that you can't hear the music of the universe that is all around you. Some learn to quiet the mind through studying/practicing meditation. Once the chatter in your head stops, you'd be amazed at what you'll hear. It is wonderfully linear - one note that leads to the next one that leads to the next one that leads to the next one that leads........
 
 
 
 
 
The lady or the tiger...
 
Mark Russillo
a.k.a. The Rhode Island Kid



----- Original Message ----
From: "IcemanLE@xxxxxxx" <IcemanLE@xxxxxxx>
To: rick.dempster@xxxxxxxxxxx
Cc: harp-l@xxxxxxxxxx
Sent: Thursday, September 4, 2008 9:07:57 PM
Subject: Re: [Harp-L] Questions re: blue notes and micro-tonality

Right on, Rick. 

First came the music. Then came the academics to try to explain the music.  
To approach it from the opposite direction can be a frustration, as the mind  
tries to ask for more and more analysis details to try to reconstruct what was  
natural music in the first place.


In a message dated 9/4/2008 8:21:01 P.M. Eastern Daylight Time,  
rick.dempster@xxxxxxxxxxxxxxxxx:

I would  say that trying to define the 'blue third' or blue anything else for 
that  matter is the equivalent of sending the blues to college; 
not a great idea  in my opinion (I don't like what that's done to jazz either)
It's a vernacular form, like all folk music. The best way  to 'define' it is 
to work out what sounds good to you at any given time, and  go for that; the 
flatter, the darker, the  dirtier.




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