Re: [Harp-L] RE: Switching Corners and mixing embouchures

[Winslow Yerxa <winslowyerxa@xxxxxxxxx>]

Eric - 

Here are two ways to negotiate that passage.

(R) = tongue block with note on the right

(L)  = tongue block with the note on the left

(R) 5D 6B 6D 5D 5B 6B

(L) 4B

(R) 5B 5D 5B 4D 4B 3D 4D

(L) 2D

(L) or (R) 3B

==OR

(R) 5D 6B 6D 5D 5B 6B

(L) 4B 5B 5D 5B 4D 4B 3D

(R) 4D

(L) 2D

(L) or (R) 3B

The first way assumes you want to stay primarily with a right side block and use the left only when necessary. The second way assumes you're comfortable playing a longer sequence out fo the left side.

i left the last note optional as to side so you can form the best connection; you might even want to revert to pucker on the last note.

Both sequences require that you be able to "hand off" the note between left and right sides in neighboring holes. This happens when you go from (L) 4B to (R) 5B in both versions. In the second version, it also happens when you go from (L) 3D to (R) 4D. A this point your left and right corners are at least two holes away from each other with your tongue in the middle. So how do you smoothly place one beside the other to play notes in holes that are side by side?

What you don't do is make any change in your embouchure. Your lip formation and tongue placement remain undisturbed. But in moving from (L) 4B to (R) 5B or from (L) 3D to (R) 4D you move your embouchure relative to the harp one hole to the left. This delivers the right side of your mouth to the neighboring hole. When I say "move your embouchure relative to the harp" this can mean moving the harp, your head, or both - whatever works for you to get there.

Winslow

Winslow Yerxa

Author, Harmonica For Dummies ISBN 978-0-470-33729-5

--- On Sun, 2/22/09, Eric Nielsen <ericbarnak@xxxxxxxxx> wrote:
From: Eric Nielsen <ericbarnak@xxxxxxxxx>
Subject: [Harp-L] RE: Switching Corners and mixing embouchures
To: harp-l@xxxxxxxxxx
Date: Sunday, February 22, 2009, 3:44 PM

<snip>

this is the sequence that started me trying to
seriously incorporate tongue-switching in a melody line: It's a section
from
the Irish tune "The Silver Spire":

5D 6B 6D 5D 5B* ***6B 4B** 5B 5D 5B 4D 4B 3D **4D 2D** 3D

I wasn't happy with the little blur of a note I would get passing over the
intervening hole when going from 6B to 4B--and from 4D to 2D.
Tongue-switching seemed to be a good way to segregate that in between hole
when playing at a fast pace, but then I've been trying to figure out where
are the good areas to switch back to lip-pursing, my more comfortable
embouchure. I've tried playing the whole passage tongue-blocked, but
I'm
left using a left corner tongue-block on the 4B after the 6B to 4B corner
switch and need to get back to a right corner tongue-block at the 4D to 2D
corner switch later on.