Re: [Harp-L] Re:Questions for Chromatic Players



i was thinking about jazz really and the Parker maxim, play blues and rhythm changes in all keys. I think I'd like to get to the point where I can play other things in all keys too, things with changes over tricky intervals like All the Things You Are, or the bridge of Have You Met Miss Jones or Cherokee for example, just because it's a great technical exercise. Anyway, sooner of later a singer's going to call out Have You Met Miss Jones or whatever in a girl's key and it'll ber nice to be prepared.

I spent about six months playing the aebersold dominant 7th workout in all keys on a diatonic more or less every day - usually a Bb and still do that now and again. I've also worked out a melody which I play on the track that goes round the cycle with 2 bars for each 7th chord. I'm a bit less ambitious on diatonic now, mainly because I started playing chromatic and fell in love with it and also because the more I understood jazz as a player, the more it became about the music, rather than the instrument.

Diatonic's become more about blues for me again, although I really like the way that because of the work I've done it means that i have more options. So for example, I can play a harp that will give me access to 3 full octaves if I'm playing in a key like Bb or C for example and the instrument isn't dictating to me how that will sound. i can also use an F or low F or Eb harp because I want the sound they give me, rather because that's the only option I have available. It's also nice to be able to pull a nice ballad with complex harmony out of the bag at a blues gig sometimes.

Bill


----- Original Message ----- From: "Jérôme P." <peyrelevade@xxxxxxx>
To: <mundharp@xxxxxxx>; <harp-l@xxxxxxxxxx>
Sent: Sunday, January 17, 2010 2:19 PM
Subject: RE: [Harp-L] Re:Questions for Chromatic Players



I agree with you John, it all depends on what you want to play and where you
want to go.
If you want to play Blues exactly like SBWII for example, you don't need any
of these tools.
If you want to include more modern licks, let's say with a G alt resolving
on a C7, even on standard 12 bar blues, you much more need that kind of
practice to make it sound correctly.
If you want to play some kind of Fusion music, where there are usually a lot
of tone changes in the same tune, whatever it is, you don't have the choice:
you have to practice scales.
Etc.
In a certain way, it less depends on the music you want to play than on the
way you want to play this music.


Jerome
www.youtube.com/JersiMuse


-----Message d'origine-----
De : harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] De la part
de mundharp@xxxxxxx
Envoyé : dimanche 17 janvier 2010 13:31
À : harp-l@xxxxxxxxxx
Objet : Re: [Harp-L] Re:Questions for Chromatic Players




In a message dated 17/01/2010 19:17:52 Malay Peninsula Standard Time,
bill.eborn@xxxxxxxxxxxxxx writes:

<<Would anyone else agree that whilst playing different key chromatics has
it's place, it's important to be able to play evenly in all 12 keys.>>



Quite honestly, I don't think it matters.


YES IT IS a worthwhile skill, but it is a skill you need only if you need
it!

Depends on what you want to do with your music. It's also a great skill to
play in each and every key on a diatonic... Like Howard Levy and Iron Man
Mike  Curtis. They play most everything on  one diatonic. Mostly a  "c".

But If you simply want to play blues in 2nd position on your short harp...
Why bother?

In an ideal world, all chromatic harmonica players should be able to play
EVERYTHING in every key, on their "C" chromatic. I ADVISE ALL CHROM PLAYERS
TO LEARN THIS SKILL. It will improve their playing!


But to my mind the secret of great music is the music. It really doesn't
matter how you get there.
"There are many roads to Jerusalem"

I cheat! I simply obtain the best tool for the job I am trying to do...

Best wishes,

John "Whiteboy" Walden
Cebu City
Philippines
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