Re: [Harp-L] Re: Modes, keys and positions (John F. Potts) (John Kerkhoven)
- To: geoff atkins <geoffatkins@xxxxxxxxxxxxxx>
- Subject: Re: [Harp-L] Re: Modes, keys and positions (John F. Potts) (John Kerkhoven)
- From: michael rubin <michaelrubinharmonica@xxxxxxxxx>
- Date: Thu, 14 Jan 2010 11:39:14 -0600
- Cc: harp-l@xxxxxxxxxx
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- References: <201001140000.o0E008fp014695@harp-l.com> <FFD100C5D6A7418E97BBD8E4320DD392@Geoff1> <7a6803881001140835s7ceda844ldf342dcd072f1846@mail.gmail.com>
Correction:
I wrote:
Because it is possible to play any key on any harp, within the
limitations of the low and high range of the harp, it is possible to
play any scale on any harp.
I meant:
Because it is possible to play any NOTE on any harp, within the
limitations of the low and high range of the harp, it is possible to
play any scale on any harp.
On 1/14/10, michael rubin <michaelrubinharmonica@xxxxxxxxx> wrote:
> Someone said earlier the positions are the modes. I disagree. Modes
> are scales that use the same notes as a scale you already know but
> start and finish on a different scale tone. For example the modes of
> C major scale are:
> C D E F G A B C
> D E F G A B C D
> E F G A B C D E
> F G A B C D E F
> G A B C D E F G
> A B C D E F G A
> B C D E F G A B
>
> On a C harmonica, it would be easy to play these modes, especially if
> you could play the F in 2 draw double bend, the A in 3 double and the
> B in 10 blow single bend. It would be easy because until you bend and
> overblow, every note on the C harmonica is a note in these modes. If
> you played the D mode, you would be playing in third position, the E
> mode would be playing in 5th position. Each of these modes would be
> playing in a different position. However, the idea of a position is
> much greater than playing these modes. The modes are a subset of the
> greater umbrella of position playing.
>
> The positions are keys designated by the placement of the key's root
> note on the harmonica in relationship to the distance to the
> harmonica's stamped key as measured by the circle of fifths.
>
> The circle of fifths is a method of thinking about music where keys
> are sequenced by a starting key followed by the next key whose root
> note is the fifth note in the major scale (do re mi fa so la ti do)
> of the starting key, the so note, followed by the next key whose root
> note is the fifth note in the previous key's major scale and so on
> until one returns to the original starting key.
>
> For example if the circle of fifths started with C, the fifth note in
> the C major scale (C D E F G A B C) is G. The next key is G. The
> fifth note is G's major scale (G A B C D E F# G) is D. The next key
> is D. The complete circle starting on C is:
> C G D A E B F# C# Ab Eb Bb F and returning to C.
>
> If you had a C harp, playing in C would be first position. Playing in
> G would be second position. Playing in D, third, etc.
>
> If you had a G harp, playing in G would be first position, playing in
> D would be second position.
>
> Start on your harp's key note in the circle of fifths. That is that
> harp's first position. Move to the next key in the circle, the the
> next key is second position and so on.
>
> Howard Levy added to the confusion by calling the key of F first flat.
> If you moved backwards from C in the circle of fifths (Often
> considered counterclockwise since the circle of fifths order is
> normally drawn as a circle with the C as the midnight spot, the G in
> the one o'clock spot, the D in 2 O'clock) you would get F. Since C
> has zero flats and F has one flat, he named it First Flat position.
> Move one key backwards from F and you get Bb, called 2nd flat
> position. If you had a G harp, C would be first flat, F would be
> 2nd flat. I do not like this method, but it is worth talking about
> because you want to be able to communicate with people who use this
> dialect.
>
> Because it is possible to play any key on any harp, within the
> limitations of the low and high range of the harp, it is possible to
> play any scale on any harp.
>
> The G mode of C is G A B C D E F G. If you were to play that, you
> would be playing in 2nd position and playing a mode.
>
> The G major scale is G A B C D E F# G. With bends and overblows or
> valves you could play that scale on a C harp. You would be playing in
> second position, the key of G on a C harp, but you would NOT be
> playing the fifth mode of the C major scale, G A B C D E F G.
>
> To repeat, modes are a subset of position playing. Playing any scale
> in a key designated by the placement of the key's root note on the
> harmonica in relationship to the distance to the harmonica's stamped
> key as measured by the circle of fifths is a position.
>
> As you go from one standard richter tuned harp key to another, the
> hole placement of any position's scale degree tones remains the same.
> What changes are the actual notes, but the relationship between the
> notes as measured by half steps (one half step in distance is one note
> to the very next note in the western chromatic scale) remains the
> same. This means if you learn to play in a position on one harp, you
> can physically play the same way on another harp and get the same
> musical phrase transposed into another key. Learn one harp, learn
> them all.
>
> This can be confusing in an email. Working one on one with an
> instructor can really help because at every point in the discussion,
> the instructor can assess your mastery of the concept and slow down
> until you really understand it and THEN move on to the next concept.
>
> Phone and webcam lessons available ;) but also, if you are having
> trouble understanding this email, respond to it really pinpointing
> the confusing section and I will try again.
> Michael Rubin
> Michaelrubinharmonica.com
>
>
>
> On 1/14/10, geoff atkins <geoffatkins@xxxxxxxxxxxxxx> wrote:
> > John gave me a really comprehensible and relevant answer,
> > especially compared to advice like (on how to find the key)
> > "use a pitch pipe".
> >
> > OK , really dumb question, please excuse my ignorance, but
> > is a "position" not a physical location, as in:
> > "position your lips to blow on hole 4"
> > but rather the sequence of blowing and drawing as one moves across the harp?
> >
> > Let's take at random say Gershwin's "Summer time".
> > In what position is it best played, on which harp?
> >
> > I'm not having trouble playing the harp, but getting into the theory,
> > -understanding what I do naturally- is complex.
> >
> >
> > Geoff Atkins
> >
> >
> >
> >
> >
> >
> > _______________________________________________
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> >
>
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