Re: [Harp-L] Learning, Grammar and Theory

["Vern Smith" <jevern@xxxxxxx>]

----- Original Message ----- 
From: "Arthur Jennings" <timeistight@xxxxxxxxx>
To: "h-l" <harp-l@xxxxxxxxxx>
Sent: Sunday, March 15, 2009 10:27 AM
Subject: Re: [Harp-L] Learning, Grammar and Theory


> I hope you folks don't mind a slight derail.
>
> This fascinating topic prompted a question in me for the 
> readers on hapr-l:
> how do you negotiate all the different keys of harmonicas 
> you play when
> working from a written score?

There are various ways of dealing with the problem.

1. Transcribe the music into your computer music processor 
(such as Allegro) and transpose it to a key that will 
produce the desired concert pitch on the chosen harp. 
Example: Printed notation in G, Key of harp is G, Player 
plays as though he were playing a C harp, concert pitch is 
D.   One sharp on the harp plus one sharp in the notation 
equals two sharps in concert pitch.  In your example, two 
flats on the Bb harp minus one sharp in the G notation 
equals one flat in F concert pitch.
2. Learn to read intervals as a vocal musician does.  Most 
singers do not have absolute pitch but after they find "do" 
in any key, they can read intervals.  Solfeggio is training 
for this skill.
3. Memorize the piece reading it as written, then play it by 
ear in another key.  I'll bet that those who can play by ear 
in any key do it this way.
4. Use only key of C harps.

My reading and by-ear skills are very limited.  I use #4 
mostly and #1 rarely.

Vern