[Harp-L] Fast vs Slow Playing

["John F. Potts" <hvyj@xxxxxxx>]

GREAT POST, Joe.

Personally, I admire Sugar Blue and I admire Junior Wells. Each a  
great creative artist.  Each a master of the diatonic harmonica, with  
GREAT TONE and great phrasing.

 Fully realized aesthetic statements from each are reproduced at the  
links provided by Joe.

I listen to both of these master musicians regularly, and enjoy both.  
I’m inspired by both and take from both. So much to learn from each.

Too many notes?  Too few notes?  Too fast?  Too Slow?  Too bad I  
can't play as well as either of them. Take your pick.  Wish I could.

JP

Joe K writes:

Into the fray I shall jump.? If I sound like a pompous jackass, it's  
only because I am one.?

Accomplished musicians strive for mastery of their chosen instrument  
knowing that mastery is virtually impossible.? One of the most  
compelling aspects of musicianship is that there is always a new  
challenge on the next horizon.? Already one of the great pianists of  
his age, Ignace Paderewski went into seclusion for three years,  
studying daily with his mentor Leschetizsky and transformed his great  
talent into living legend.? After all that,?Paderewski reluctantly? 
admitted he could "play a bit".?

Offering two brilliant harp players as examples -?Sugar Blue (as fast  
as anybody) and Junior Wells (gets more music out of?fewer notes than  
any player alive) - they approach the same conclusion from different  
directions: damn great music.? Evidence offered to support thesis:?

http://www.youtube.com/watch?v=1nuOWuhWNmI

http://www.youtube.com/watch?v=_iPKBEUEnJ8


My problem with fast playing (ala Blues Travailers) is that speed is  
sometimes seen as the end result itself.? 16th notes which become  
64th notes can sound like a semi-melodic fax machine.? Worse yet, an  
audience is distracted/dazzled by a display of tricks rather than  
immersed in the music itself.? The doubled-triplets in the climax of  
Free Bird can sound wonderful but Skynnyrd doesn't play them in every  
damn song.?

Speed is useful when it's necessary to the musical moment - but not  
as a sheer display of talent.? There are faster guitarists than  
Clapton (the original Slowhand) but few who match his musicianship  
and plain old brilliance.? I forget the musician but the quote goes  
something like "You never want to give them everything because then  
you've got nothing left."? Speed should be cultivated and nurtured  
but used sparingly, like spices in a good meal.?

I've run out of pontificating metaphors.?

My two cents worth.?

Joe K