[Harp-L] Reading Music, Different Key Harps (was "Re: A couple questions from a beginner")

[Elizabeth Hess <TinLizzie2009@xxxxxxxxxxxx>]

Okay, here is a question that I have been trying to articulate ever 
since I got harps in keys other than C.  I will try again.

When you read a note of printed music, it corresponds to a particular 
pitch (ignoring different tempered tunings for the moment), and a 
particular key on the piano keyboard.  When I play the piano in the key 
of C, or in the key of G, a G is a G, and an F# is an F#, etc.  When I 
play the piano in the key of A, a printed G still corresponds to the 
"G" key on the piano keyboard.  One emphasizes a different subset of 
all the notes when playing pieces on the piano in different keys, but 
there is always a one-to-one correspondence between the printed note 
and the key on the keyboard.

On a C harmonica, a printed G is 2-draw (or 3-blow, 6-blow, or 9-blow, 
depending on the octave).  On a G harp, a printed G is 1-blow (or 
4-blow, etc., depending on the octave).  On an B-flat harp, a printed G 
is 3-draw-double-bend.   So depending on what key harp I'm using, 
printed notes are in entirely different locations on the harp.  They 
move all over the place!  How does anybody do these translations at 
speed!?!

So what I want to know is, what is the "correct" way to think about 
reading printed music when playing a harps in various keys?

At first blush, changing keys is easy!  If I learn a song on one harp, 
but want to change it to a higher or lower key to better fit my vocal 
range (or someone else's, or the key called out at a jam), I just 
switch harps but play the same chambers!  But that works only  *after*  
I've learned the song on a particular harp.

Tab works for me, except that it has no way to convey rhythm, which is 
a huge drawback.

I can do I-IV-V in 2nd position and in 3rd.  On any harp I've got.  I 
have a clue about other positions, though I'm not in the least facile 
with them (yet).  But correlating printed notes to the harp-in-hand 
just seems insurmountable.

So, how do all you professionals think about this?  What's going on in 
your brain when you read music in one key and play it on different-key 
harps?  And are you still thinking about letter-names of notes and 
sharps and flats when you play in different positions on a harp?  
Inquiring minds want to know!

Elizabeth


On Nov 18, 2009, at 10:32 AM, Richard Hunter wrote:

> Nate Finch wrote:
> <Second question - how important is it to be able to sight-read music? 
>  I can
> <read music enough to tell a 16th note b flat from a 1/4 note C, but 
> can't
> <read it well enough or fast enough to play from it.  How much should 
> I be
> <working on reading and playing from music?   I do want to learn to
> <sight-read music, but it seems like it's less important for harmonica
> <players than most musicians, or am I just rationalizing?
>
> It's important if your plans include any one of several things:
>
> <several things>
>
> There are plenty of great players who don't read, and a very few 
> musicians have such extraordinary ears that they can learn material 
> almost at first hearing.  That said, if any of the circumstances above 
> apply to you, you should learn to read.
>
> Many community colleges and private teachers offer courses and lessons 
> in sight reading.  There are also many books available on the topic.
>
> Regards, Richard Hunter