Re: [Harp-L] Re: Jerome's post on Special Tuning Questions



Hi Jerome,

I started using it in the mid 1980s after reading the description in Richard Hunter's book "Jazz Harp" (thanks Richard!) and rapidly became addicted. The ability to effortlessly play major melodies in 2nd position was fascinating for me and producers loved this (I was working a lot as a studio musician at the time). There's a section on it in the Harp Handbook which first came out in 1990. At the time I called it "major 7th" tuning, as that seemed to me more descriptive of how you actually use it than "lydian". I never really liked the term "country tuning" but later adopted it because it was current usage in the USA. When teaching it I emphasize "major 7th" because CT seems to imply a much narrower range of potential uses than it actually has. To go by Tony's post, I guess whether or not you also raise 9-draw depends on what kind of music you play. I don't play fiddle tunes as a rule and wouldn't want to be without the minor 7th note, which you lose if you do this,

Steve

On 18.11.2009, at 09:18, Jérôme P. wrote:

Hi Steve.

I don't know why it is not more popular, but I remember I was myself a bit
reluctant when I first began to use this tuning (something like 10 years
ago).
I used to play a lot of blues, and I was afraid not to be as efficient on
the 7th in 2nd position.
After a while, I began to understand that not only I was at least as
efficient on it, but I could also bend this note, which gives the
possibility to sound more bluesy on other chords, like the C and D chords.


I've never raised the 9 draw neither.

I didn't know you were using this "Lydian Tuning". Interesting.
It's great to know that you will do classes on it!

Jerome
http://www.youtube.com/JersiMuse






Steve Baker www.stevebaker.de www.bluesculture.com







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