Re: [Harp-L] Ninth?

[michael rubin <michaelrubinharmonica@xxxxxxxxx>]

Ken,
Thanks for the kind words.  I tend to agree with your comments.  Focus
on 1st, 2nd and 3rd position and get strong musically.  Then the other
positions are extensions of that.
Michael Rubin
Michaelrubinharmonica.com

On 4/5/10, Ken Deifik <kenneth.d@xxxxxxxxxxxxxx> wrote:
> Michael Rubin wrote:
> I continue to believe that with enough practice and all of the growth
> in our knowledge base will lead to all positions becoming viable.
> I agree, but I have some thoughts to add.  I feel it's important to address
> younger players who are no longer beginners, and maybe have even entered
> into the world of advanced diatonic - on the subject of positions and keys.
>
> I think that alot of us who when first having broken through to an advanced
> or professional level of playing feel this tremendous momentum to keep
> exploring, and the next step very often seems to be either playing in all
> keys on a single harp and/or getting the chromatic scale on the mighty
> diatonic.  Some people have taken this dream farther than I have, by alot.
> (It has not been in any way my dream in more than 30 years.)
>
> I have heard alot of players who went into the diatonic-expansion business
> on this rush of creativity and energy, and though I would be the last guy to
> advise a young player to do anything but follow their interests, I honestly
> haven't heard very much real musicianship in that field.  I'm deeply
> impressed by the best explorers, but that's because their ability to make
> real music is highly developed.  Howard Levy, for one,  has made great
> technical advancements, but he plays real music with those developments.
>
> I recall seeing A Family Thing with Robert Duvall and James Earl Jones, and
> hearing this terrific diatonic playing on the soundtrack and thinking "Damn,
> that's someone who really knows how to make music on the little harp."  And
> that was Howard Levy playing mainly very simply.
>
> On the other side of the coin, I have heard some demonstrations by players
> who became intrigued with tuning harps, and got very good and creative at it
> --- long before they could play two convincing licks.
>
> My first real interest in a new position was sparked by a post by Pat Missin
> here in the late 90's, when he talked about 12th.  I had never even thought
> of it before, but I tried it out and I love it.  I had been playing more
> than 30 years at that point.  I've also learned to love the mind-expanding
> possibilities of first by learning some Irish Fiddle tunes.  Fifth and now
> ninth are grabbing my attention, as they both give us really fine and useful
> colors.
>
> Perhaps before I'm through I'll have finally explored all the keys.  For me
> it's about cutting new paths in my brain, and being able to bring some fresh
> colors to jobs, and that excites me.
>
> Like I say, I can only encourage young diatonic players who have broken
> through to follow their interests, but I feel that I must advise you to work
> your butts off on second position, developing your creativity and
> musicianship in that position even while you explore the other positions (if
> other positions interest you).  Dive deeply into the subject of second
> position, and apply an ever-improving handling of dynamics, phrasing, time,
> color, swing, speed and slowness within its limitless limits.
>
> It's not like you have to earn the right to explore the positions, but that
> exploration is of much greater value to players like Michael Rubin, who
> really plays music when he plays harp.
>