Re: [Harp-L] "A-Train" -- workarounds

Philharpn@xxxxxxx · Sun, 22 Feb 2009 13:44:41 EST

Of course, all instruments have some limitations.   But in talking about 
harmonicas. Why are there   so many tunings?   Get the right tools need.

Most of these tunings are for diatonic, but now that customizers are widely 
available and Seydel can do all kinds of things, why do it the hard way when a 
special tuned chromatic harmonica   will do the job. Bebop tuning anyone?

Get the instrument that meets the needs. To play A-Train in Ab, get a 
chromatic in G and push the button in. Need 16-hole harmonica in a key other than C, 
order one. I don't know if Seydel can make a 16-hole in other keys, but I 
would not be surprised. (Anybody know?) The firm makes all kinds of 
"factory-tuned" harmonicas that were only available from customizers until rather recently. 

The chromatic seems to have more limitations than most instruments, even 
though it is considered a "chromatic" instrument. Several keys are indeed possible 
but virtually unplayable because of complications of the range 3-4 octaves, 
layout of the notes (variations of inhale exhale button in and button out. 

(This is not to say that playing the chromatic is inherently harder than the 
diatonic. It's not. Anytime to can get any note you want any time you want   
by changing breath direction or pressing a button, you've got an easy path to 
follow. And remember, accidentally changing your embouchure is not going to 
give you a new and unexpected "bent" or "choked" note on the chrome like on the 
diatonic. If you want to bend on the chromatic you have to work at it.) 

The guitar is limited by its range (distance between high notes and low notes 
... two octaves?) -- even with the bass E string lowered to D (drop D tuning) 
it is not low enough on a standard 6-string to get the bass notes needed in 
some ragtime pieces (or jazz0 so they are all transposed into a few keys.   A 
7-string (classical nylon or solid body steel string) often meets this need. 

The last time I suggested that the chromatic harmonica is NOT as chromatic as 
a piano I was greeted with severe criticism -- how dare I blaspheme the Noble 
Chromatic. But anyone who pays even the slightest attention to what keys 
chromatic players use (discussed on the Harp-List) knows that not all keys are 
created equal. 

Some players prefer to play chromatic "positions" such as by playing a song 
on what would be F   on a C harp using the same fingering on a Bb harp, 
rendering it in Eb concert pitch (if I've got it right).   This would provide mostly 
draw notes in the F-key rendering. 

There are those who can, and have played just about anything on the chromatic 
over the years. But I do not plan to spend a thousdand hours mastering the 
chromatic. 

I want to pick it up and work my way through a song the same way I can sit 
down at the piano -- for my personal enjoyment, and maybe after 10-20 
repetitions get it right.

So what if there are limitations to other instruments? Ever heard a boogie 
bass run on an accordion? Real tough with the little-bitty buttons for the left 
hand. Lot easier for the bass on a piano/electronic keyboard. 

One of the most closely guarded secrets of the Golden Age of Harmonica is 
that those night club acts used special tuned chromatics! for particular songs. 
Now, most people being unaware of this, think those guys (mean & women) play 
standard out of the box chromatics.

Now if it takes corner switching (tongue blocking left switching to the 
tongue block on the right) to pull off a proper rendition of the A-Train, that is 
the way to do it. But -- just a hunch guess -- I would say very few chromatic 
players can corner switch who are not members of the Musicians Union. A good 
portion of chromatic players are lip pursing, not tongue blocking. Which is 
perfectly fine. Whatever works. Whatever gets the job done.

Would a special tuned harmonica make the song easier? I don't know. Perhaps 
somebody else does.

But it that would help, get a spiral tuned harp, or a Melody Maker or a Steve 
Baker Special or a Hohner Slide Harp (10 Richter tuned holes do what takes 12 
holes to do in standard solo tuned chromatic -- eliminating those double C's 
saves space).

The Jamey Aebersold playalong books/ with CD show the tune in C, according to 
Rapid Reference available on the Aebersold web site. 

And while I respect the playing of just about anyone playing A-Train who is 
mentioned on the list, I would prefer to go back to the original: original 
recording to hear what is actually being played. A lead sheet (fake book 
arrangement) that tells me what the notes are. I've never seen any comment about how 
poorly fakebooks render melody lines -- only that some of them get the chords 
wrong/oversimplified.

The last thing I want to do is learn a song based on somebody's cover version 
-- which is their interpretation. It may or may not have all the notes. But 
if I go back to the original, I have at least half a chance of getting the 
melody right rather than copying someone's arrangement that differs.

This would follow the admonition of various harmonica players over the years 
to avoid imitating others, find your own voice. And if you are playing a 
carbon copy of somebody else's performance -- you are playing THAT arrangement.

Remember the first step of learning is confusion.

Hope this helps
Phil

In a message dated 2/22/09 10:16:25 AM, solo_danswer@xxxxxxxxxxxx writes:

> 
> J Ross wrote
> 
> >
> > Not everything lies well or is really suitable to the harmonica,
> > chromatic, diatonic or other.
> >
> 
> I take it that all instruments have their inherent limitations, from the
> obvious -- e.g., you've got three octaves on a 10-hole diatonic, not four --
> to the not-so obvious, e.g., A-Train is, by all accounts, deucedly difficult
> to play well on the harmonica.
> 
> To what extent -- I'm asking anyone, not JR in particular -- are there
> limitations with other instruments? Are there tunes not particularly
> suitable to guitar, piano, clarinet, sax, accordion, trombone, etc., etc. ?
> 
> Not looking for in-depth analyses of other instruments (which would take us
> out of harp-land). But I'm curious to know.
> 
> John
> 
> 
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