RE: [Harp-L] How we learn Blues Harp

[Jérôme P. <peyrelevade@xxxxxxx>]

Well, in fact I totally agree with you on the rhythm aspect of reading.
To me, rhythm is the most important and challenging point in music, and
reading can be of great help. Even in Blues. For example, I've worked some
Jimi Hendrix licks months ago. He used time exactly like a Jazzman (a lot of
syncopated notes combinations). Ear is so important to get the swing, which
is usually not present in a formal notation. But reading can make it much
easier to get all the exact different aspects of note place and duration.
For such a player, and many others of course, it becomes crucial, as these
tiny details make the whole difference!

Jerome
www.youtube.com/JersiMuse


-----Message d'origine-----
De : Vern [mailto:jevern@xxxxxxx] 
Envoyé : mardi 20 juillet 2010 19:32
À : Jérôme P.
Cc : 'John F. Potts'; bob@xxxxxxxxxxxxx; harp-l@xxxxxxxxxx
Objet : Re: [Harp-L] How we learn Blues Harp

This thread seems to assume that the only function of standard notation is
to record pitches.  I posit that about 60% of the value of standard notation
is to display timing.   The timing information is the same for all
instruments including all keys of diatonic or chromatic harmonicas.  For me,
reading timing is more difficult than reading pitches.   Most systems of
tablature are deficient in conveying timing.   Tab also lacks the helpful
analogy that high on the staff indicates high pitch.   
 
Timing is particularly important where several people are playing together.
I have observed that people who do not read tend to not hold long notes for
their full time value and start the next phrase too soon. The phrases "don't
know the score" and "not reading from the same page" come to mind. 

Except for a very few fortunate enough to have perfect pitch, readers of
vocal music do not have a fixed key reference.  They learn to find "do" on
the staff and then see intervals between notes.  They learn and practice
this ability by singing the "do re mi ............"  note names in a
technique called relative solfeggio.  It occurs to me that since the
intervals are the same on diatonics of any key, this approach would work for
diatonic players.

It may be that the timing of blues forms are so simple and easily memorized
so that reading isn't a requirement.    Get into CW or other genres and it
becomes much more important. That said, how would you record on paper the
timing of tricky blues riffs so that they could be played by musicians at a
different place and time?

Vern 

On Jul 20, 2010, at 1:07 AM, Jérôme P. wrote:

> I do agree, one of the main reasons of not reading music is probably that
> most of harp players change instrument often, which makes reading a
> complicated task, if not impossible.
> Comparing this difficulty with the fact that most of harp players play
Blues
> or "Blues derivated music", where music sheet is not so important, it
> renders reading a useless task..................
>