Re: [Harp-L] Chromatic technique

joe leone <3n037@xxxxxxxxxxx> · Wed, 2 Feb 2011 01:38:40 -0500

So I did the exercise and it is relatively easy
you denote C B# C   F E# F.  But you could also substitute  B# C B#    
E# F E#. The only difference I could find was that the transition in  
YOUR series made the jump from C to F easier. At least for me. But  
that may be because I am more comfortable in draw keys. I found that  
I could play it at about the speed of the tune "We love to live in  
Amer-ee-ca" (which this reminded me OF). Maybe a couple more tries  
and I can speed it up. :)
What you're doing here is making use of the ENharmonics built into  
the solo tuning. Something I have preached for years. The slide is  
your friend. Use it. Always study a piece before playing it and  
decide what is the most beneficial approach for what you intend as an  
end result. Perhaps you want legato. But maybe you want staccato.  
Btw, I have no knowledge of augmented. THAT may hunt.
smo-joe

On Feb 2, 2011, at 12:57 AM, sheltraw@xxxxxxxxxxxx wrote:
Hi David
Multidimensional!! Careful. You could put an eye out with that.
Kid'n aside. I'm trying to get a sense of what is possible with  
respect

to this type of note transition on the chrom. Could I convince you, or

any other chrom player here, to try this phrase and tell me how  
well you

think you handled it at fast tempos? Here it is:
   -----3-----    -----3-----   repeat 5 times
  5Bo  4Di  5Bo  6Do  6Bi  6Do
The numbers indicate the hole, D = draw, B = blow, o = slide out and
i = slide in. The 3 above indicates that these are to played as 8th
note triplets. At what tempo does it start falling apart for you?
BTW the phrase may sound un-musical on a solo tuned chrom. I am not
playing a solo-tuned harp. Augmented tuning for me.
Cheers!
Daniel
Hi Daniel,
I was busy formulating a set of second-order partial differential

equations describing the multidimensional dynamics of a system of  
freely

vibrating harmonica reeds when this other question of yours arrived.

(Just kidding; even figuring out restaurant bills is too taxing  
for me.)

Afraid my advice is just practice, practice, practice.  The  
problem, of

course, is timing.  Transitioning from one note to the next might

involve a change of holes, a blow/draw change, and a slide-in/out

change.  All need to be precisely synchronized to produce a clean

sounding note change.
Unlike old-timey music and Irish music where folks often play in  
unison,

music such as bluegrass allow the soloist some freedom to  
embellish the

melody and do some improvising.  Really difficult melody lines  
might be

replaced by similar lines that are easier to play and as pleasing  
to the

ear.  One advantage of playing a C chromatic in all keys (as I do) is

that it is easier to avoid getting stuck playing the same riffs  
over and

over again.  A riff in one key might be extremely difficult, but  
easy in

another key.
Glad you and Tony enjoy my new bluegrass CD,
David Naiditch
www.davidnaiditch.com

On Tue, Feb 1, 2011 at 2:04 PM, sheltraw@xxxxxxxxxxxx wrote:
Hi Tony
David's the man. I have his new CD. Totally dig'n it!
Actually the question is not bluegrass-centric. I would like to here
from
anybody that can play this type of action rapidly and cleanly.
Cheers!
A previous post wrote
"I have been playing chromatic harmonica since April 2010. As I

continue

my

efforts to develop the speed and accuracy that I will need to  
play at

bluegrass jams I find that there is one particular type of action

that

seems to be a speed development bottleneck for me. "
David Naiditch is the man to help you with this. While you're at  
it,

check out his great new CD, "Bluegrass Harmonica, available at

http://www.cdbaby.com/cd/davidnaiditch
Tony Eyers
Australia
www.HarmonicaAcademy.com
...everyone plays