Re: [Harp-L] 5th Position - Alone Together
Can't think about another tuning at this point. I'm using over blows
on these. Nothing moves along too fast to be a problem. I admire those
who seem to be able to pick up 4 or 5 different tuning + a chromatic,
but my brain is pretty consumed in just one configuration which I
usually think of in C harp set up and make adjustments as needed.
I'm not really proficient at reading music. I'm seeing the Dmaj7, the
Gm and back to the Dm. I'm not seeing the Fm in my sheet music. It
might be my understanding. On the other hand I'm sure there are a
bunch of versions. What book are you using?
Peter
On Apr 17, 2010, at 4:49 PM, Bill wrote:
Nice one Peter!
The tricky bit really is just one bar of Dmaj7 on the penultimate
bar of the 1st A and two before the bridge - I guess the issue is
partly about being able to play the E natural accurately but also
the bends for the F#. The bridge actually goes to Fm from the Gm
before going back to Dm.
I overblow but looking at the chart, it looks great for a country
tuned harp
Bill
----- Original Message ----- From: "peter lind" <pjazz_peter@xxxxxxxxxxx
>
To: "Bill" <bill.eborn@xxxxxxxxxxxxxx>
Cc: <harp-l@xxxxxxxxxx>
Sent: Friday, April 16, 2010 11:16 PM
Subject: Re: [Harp-L] 5th Position
I've been playing those same Dm tunes in Bb as well. Alone Together
is a great song. And I was wondering about that tricky bit.
Probably help if I looked at the sheet music again. Kenny Dorham
does a beautiful version of this song. Lot's of great sustained
notes. No place to improvise really, but a good one to listen to a
lot.
Peter
On Apr 16, 2010, at 3:02 PM, Bill wrote:
I use 5th for St James Infirmary in my blues set at the moment
(Dm on a Bb) and i've used it for Summertime now and again. I've
used it for jazz tunes more though, I've done Alone Together a
fair bit, again in Dm on a Bb which is nice as it goes to Gm or
4th position in the bridge. The tricky bit is when it goes to D
major for the last couple of bars of the A section which took a
bit of work
I guess one way of thinking about position playing, would be to
look at what i think of as the default modal scale on the harp
and work out how many changes you need to play a different scale
with a common root. So to turn your 5th position phrygian mode
into a dorian you need to sharpen the 2nd and the 6th, to make
it mixolydian, the 2nd, the 3rd and the 6th for Ionian or the
major scale, the 2nd, the 3rd, the 6th and the 7th etc.
There's some good exercises you can do moving between them, which
is one of those bits of practice i should do more of i think - it
needs OBs or valving or whatever though. What doesn't is the
fifth mode of harmonic minor or Spanish Phrygian, play G harmonic
minor on a Bb over a D7 chord and you'll get my drift
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