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

[michael rubin <michaelrubinharmonica@xxxxxxxxx>]

I have brought many a student from rough timing to good timing with
Modern Reading Text in 4/4 by Louis Bellson and Gil Briennes and a
Matrix MR 600 Metronome.
Michael Rubin
Michaelrubinharmonica.com

On Thu, Jul 22, 2010 at 7:48 AM, Bob McGraw <harpbob@xxxxxxxxxxx> wrote:
> This is so true. I am new to reading and have the most trouble with counting
> and reading the rhythm of tunes. I went to one of Bonfiglio's seminars a few
> years ago;  he urged us to study the Bona Rhythm Etudes...
> I think it's time for me to do that :-)
> WVa Bob
>
> Sent from my iPhone
>
> On Jul 21, 2010, at 2:37 AM, Jérôme P. <peyrelevade@xxxxxxx> wrote:
>
>> 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..................
>>>
>>
>>
>>
>>
>
>