[Harp-L] RE: Harp-L Digest, Vol 89, Issue 38
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- Subject: [Harp-L] RE: Harp-L Digest, Vol 89, Issue 38
- From: "Stephen" <boogieblue@xxxxxxx>
- Date: Mon, 24 Jan 2011 17:36:30 -0800
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To Manfred, one learns on his other own, like playing along with records and
just messing around.
Then when you are ready ,then you sit in with the band. Nothing worst then
the guy that you yo guys can I sit in with you I can play . first thing
the band are the guys at rehearsal night after night pay the dues. That's
what we mean, when you are ready. Or go to a jam night that's why it's a jam
-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] On Behalf
Of harp-l-request@xxxxxxxxxx
Sent: Monday, January 24, 2011 2:48 PM
To: harp-l@xxxxxxxxxx
Subject: Harp-L Digest, Vol 89, Issue 38
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Today's Topics:
1. Little Walter Box Set up eBay (The Chess Years 1952-1963)
(Winslow Yerxa)
2. Re: Bluegrass (Winslow Yerxa)
3. Golden Melody (John Dekker)
4. Re: Bluegrass: thoughts and observations (Robert Loomis)
5. Re: Golden Melody (The Iceman)
6. Re: Floyd Collins (Rob Paparozzi)
7. RE: Harp-L Digest, Vol 89, Issue 35 (Hellerman, Steven)
8. Re: Floyd Collins (Winslow Yerxa)
9. Re: Bluegrass (David Payne)
10. Bluegrass: thoughts and observations (Tony Eyers)
----------------------------------------------------------------------
Message: 1
Date: Mon, 24 Jan 2011 07:54:25 -0800 (PST)
From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
Subject: [Harp-L] Little Walter Box Set up eBay (The Chess Years
1952-1963)
To: harp-l <harp-l@xxxxxxxxxx>
Message-ID: <870549.9397.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
I'm selling my 4-Cd 95-track Little Walter Box set on eBay. This is a 1992
Charly reissue that was banned in the US due to a licensing dispute with
MCA.
For many years it was the only comprehensive collection of Little Walter's
recordings.
it's at:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=130478063066#ht_2034wt_90
2
Winslow
Winslow Yerxa
Author, Harmonica For Dummies ISBN 978-0-470-33729-5
Harmonica instructor, The Jazzschool for Music Study and Performance
Resident expert, bluesharmonica.com
Columnist, harmonicasessions.com
------------------------------
Message: 2
Date: Mon, 24 Jan 2011 08:00:35 -0800 (PST)
From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
Subject: Re: [Harp-L] Bluegrass
To: harp-l@xxxxxxxxxx
Message-ID: <643770.86763.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
Celtic musicians can likewise look with a severe eye on beginners joining in
at
expert sessions.
Which is why slow sessions exist. People new to the music and/or new to
their
instrument can get together with others at the same level (and perhaps a
patient
accompanist) and learn the tunes at a manageable tempo. This gives them a
welcoming environment to develop the tune knowledge and chops to eventually
join
in at the expert sessions.
Winslow
Winslow Yerxa
Author, Harmonica For Dummies ISBN 978-0-470-33729-5
Harmonica instructor, The Jazzschool for Music Study and Performance
Resident expert, bluesharmonica.com
Columnist, harmonicasessions.com
________________________________
From: MANFRED WEWERS <mwewers@xxxxxxxxxx>
To: harp-l@xxxxxxxxxx
Sent: Sun, January 23, 2011 3:23:39 PM
Subject: [Harp-L] Bluegrass
I am a harmonica player and no genre of music is sacred. I'm not a pro, I
play
for fun. This bluegrass thing is beginning to sound "elitist" to me.
Because I
learn by sitting in, I'm not supposed to play because I don't know
everything.
If that attitude prevailed in all other genres, there would be a lot less
people
playing harp out there. Just my opinion.
Manfred Wewers from Toronto the Good.
------------------------------
Message: 3
Date: Mon, 24 Jan 2011 08:35:36 -0800
From: "John Dekker" <jdekker@xxxxxxxxxxxxxxxxx>
Subject: [Harp-L] Golden Melody
To: <harp-l@xxxxxxxxxx>
Message-ID: <F1EED810BB6C44E1940989614F7267D3@GeriDekkerPC>
Content-Type: text/plain; charset="iso-8859-1"
Could one of you knowledgeable folks please tell this newbie what the
difference in tuning is between the Golden Melody and, say, the Special 20,
and what the difference may mean is actual playing? Although I am trying to
learn blues, I also like to play melodies of popular songs (using tabs).
Thank you.
John Dekker
------------------------------
Message: 4
Date: Mon, 24 Jan 2011 08:50:48 -0800
From: Robert Loomis <ukulelebob39@xxxxxxxxx>
Subject: [Harp-L] Re: Bluegrass: thoughts and observations
To: harp-l@xxxxxxxxxx
Message-ID:
<AANLkTikeTBbrFWNzp2O4Ovr3PJ5VbkV-ivZS1UrqDitY@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1
Fired me up on this one. How any harmonica player can say harmonica doesn't
"fit" in bluegrass is beyond me. That's the same thing some people say about
harp no matter what the genre, unless maybe blues. In fact, as several
others have pointed out, there have been harmonicas in bluegrass and one
with the master himself, Bill Monroe.
IIRC Jim and Jesse McReynolds had a harp player in at least one incarnation
of their bluegrass band instead of fiddle. I forget who it was but he was
fabulous.
Whether you like him or not, Mike Stevens is amazing and plays bluegrass.
Just because you think it doesn't sound as good as fiddle doesn't mean it
can't be done. Who makes up these rules anyway?
As soon as you start making these kind of rigid stipulations, music stops
growing and becomes a museum piece. That is interesting, too, but it doesn't
mean that's all that's allowed. There's a Newgrass branch of bluegrass, too.
David and Trip provide excellent proof that harp and bluegrass fit well
together. I gotta believe that any harper who says otherwise is just trying
to stir the pot. Or else inhaling it. ;^)
Cheers, Bob Loomis
Concord CA USA
------------------------------
Message: 5
Date: Mon, 24 Jan 2011 12:00:27 -0500 (EST)
From: The Iceman <icemanle@xxxxxxx>
Subject: Re: [Harp-L] Golden Melody
To: jdekker@xxxxxxxxxxxxxxxxx, harp-l@xxxxxxxxxx
Message-ID: <8CD89FF55AC168A-81C-21613@xxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"
Tuning on Golden Melody is equal temperament, which means the individual
notes are more in tune, but the chords sound a little ragged. Special 20 has
a different tuning in which the chords sound smoother but a few of the
individual notes are a bit on the flat side.
-----Original Message-----
From: John Dekker <jdekker@xxxxxxxxxxxxxxxxx>
To: harp-l <harp-l@xxxxxxxxxx>
Sent: Mon, Jan 24, 2011 6:36 am
Subject: [Harp-L] Golden Melody
Could one of you knowledgeable folks please tell this newbie what the
difference
in tuning is between the Golden Melody and, say, the Special 20, and what
the
difference may mean is actual playing? Although I am trying to learn blues,
I
also like to play melodies of popular songs (using tabs). Thank you.
John Dekker
------------------------------
Message: 6
Date: Mon, 24 Jan 2011 12:27:41 -0500
From: "Rob Paparozzi" <Chromboy@xxxxxxxxxxxxx>
Subject: Re: [Harp-L] Floyd Collins
To: "michael rubin" <michaelrubinharmonica@xxxxxxxxx>, "harp-l"
<harp-l@xxxxxxxxxx>
Message-ID: <7E4034992C49426FA6DA8320A339E903@Bedroompc>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
Hi Michael,
I did the original workshop recordings in NY yrs back, no OB's just
Chromatic & Diatonic..cool show!.
Corrin Huddleston did the run when it hit the Theatre in NY, Winslow has
played the show as well and I'm sure he'll help out...
Have a great run if it works out!
all the best,
Rob Paparozzi
----- Original Message -----
From: "michael rubin" <michaelrubinharmonica@xxxxxxxxx>
To: "harp-l" <harp-l@xxxxxxxxxx>
Sent: Monday, January 24, 2011 10:11 AM
Subject: [Harp-L] Floyd Collins
> I've been invited to do Floyd Collins. The musical director says it
> requires bass harp and chromatic harp. I was under the impression it
> featured diatonic with overblows, which to the uneducated in our ways
> director must be chromatic, or how could they play those notes?
> Before I tell the director he is wrong, is there anyone who knows what
> is up? Winslow, do I remember you have done this before?
> Thanks,
> Michael Rubin
> Michaelrubinharmonica.com
>
------------------------------
Message: 7
Date: Mon, 24 Jan 2011 10:30:07 -0800
From: "Hellerman, Steven" <shellerman@xxxxxxxxxxxxxx>
Subject: [Harp-L] RE: Harp-L Digest, Vol 89, Issue 35
To: <harp-l@xxxxxxxxxx>
Message-ID:
<01015FD91DEF9547B915E66C722FF59207BF15A0@xxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="iso-8859-1"
My friend Cousin Al has been the King of Bluegrass Radio since the
early/mid-70's; first on KFAT radio in Gilroy, CA ("Garlic Capitol of the
World") and now for over twenty years on KPIG radio in Freedom, CA. Every
Sunday evening w/o fail on 107 oink 5.If you live in the Santa
Cruz/Monterey/Salinas area, you know what I mean. And everybody who records
and performs bluegrass nationally knows Cousin Al. And nobody knows
bluegrass music like Cousin Al, that's what they say.
I didn't play harp unitl about ten years ago, and it was a couple years
after that when I dropped by "the Sty" during his show. Hadn't seen Al for
many years; had my harps w/ me and played along to some of the songs he was
spinning (ok, they're on CD now, so DJ's don't actually "spin" anything
anymore). Finally I had to ask: "Hey Cousin Al, who is the best harmonica
player in bluegrass music?" With a sad and sympathetic look at me he said:
"Steve, there is no harmonica in bluegrass music."
And I realized that in all the years I'd listened to Cousin Al's show, I
couldn't recall ever hearing any harmonica. Oh, well.
SLH
JWilliam Thompson <landcommentary@xxxxxxxxx>
Subject: [Harp-L] Bluegrass
To: harp-l@xxxxxxxxxx
Message-ID:
<AANLkTi=s3es4v8nO2XGpEkMbD6+gR0a-M+R6VepXGuj5@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1
I play bluegrass harmonica at jams in my area and have been following
the recent bluegrass thread. I agree with almost everything that has
been said so far.
True, the harmonica has failed to make any significant inroads into
bluegrass. Why is that? Someone said that the harmonica can't play
bluegrass with the same expressiveness as the fiddle. While true, that
is not the main problem. The main problem is that only a tiny handful
of harmonica players have taken the trouble to figure out what makes
bluegrass music unique and to undertake the long learning curve of
playing fiddle tunes and other bluegrass music in first, second, or
third position as needed.
Bluegrass musicians often don't like harmonica players, as someone
pointed out. One reason for that is that over the years harmonica
players have wandered into bluegrass jams and tried to "wing it"
without bothering to learn the melodies of bluegrass songs and all the
other nuances of bluegrass. That is the total experience of harmonica
to most bluegrassers. Can you blame them for being aversive?
As to whether harmonica "sounds right" in a bluegrass context, I would
suggest that you listen to the Maine band Evergreen, in which
harmonica has been gracefully integrated into the mix. Bluegrass is a
tremendous opportunity for harmonica players who are willing to spend
the necessary time in the woodshed to learn this challenging art form.
Bill in DC
------------------------------
Message: 8
Date: Mon, 24 Jan 2011 14:41:46 -0800 (PST)
From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
Subject: Re: [Harp-L] Floyd Collins
To: harp-l <harp-l@xxxxxxxxxx>
Message-ID: <469589.23893.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
I've done Floyd Collins as well (with some helpful input from Rob :)).
You do need a bass harmonica for a few numbers.
One or two numbers are specified for chromatic, but can be played on
diatonic.
The opening number for instance, specifies chromatic not for the sound of
the
chromatic, but because one or two notes lie easier on chromatic (it uses an
E
blues scale). I tried it on chromatic but in the end played diatonic and
used
either a Discrete Comb in second position or a valved diatonic in 5th
position
(it's been awhile).
Most of the show is perfectly playable with standard diatonic techniques -
i.e.,
a good command of bending and second position playing. At no time whatsoever
is
an overblow required by the demands of the score.
That said, the score is full of frequent changes in time signature and in
specified key of harmonica, again to keep it well within normal playing
techniques. After playing the show for awhile, I found I could play longer
stretches on just one harp without switching so much.
Winslow
Winslow Yerxa
Author, Harmonica For Dummies ISBN 978-0-470-33729-5
Harmonica instructor, The Jazzschool for Music Study and Performance
Resident expert, bluesharmonica.com
Columnist, harmonicasessions.com
________________________________
From: Rob Paparozzi <Chromboy@xxxxxxxxxxxxx>
To: michael rubin <michaelrubinharmonica@xxxxxxxxx>; harp-l
<harp-l@xxxxxxxxxx>
Sent: Mon, January 24, 2011 9:27:41 AM
Subject: Re: [Harp-L] Floyd Collins
Hi Michael,
I did the original workshop recordings in NY yrs back, no OB's just
Chromatic &
Diatonic..cool show!.
Corrin Huddleston did the run when it hit the Theatre in NY, Winslow has
played
the show as well and I'm sure he'll help out...
Have a great run if it works out!
all the best,
Rob Paparozzi
----- Original Message ----- From: "michael rubin"
<michaelrubinharmonica@xxxxxxxxx>
To: "harp-l" <harp-l@xxxxxxxxxx>
Sent: Monday, January 24, 2011 10:11 AM
Subject: [Harp-L] Floyd Collins
> I've been invited to do Floyd Collins. The musical director says it
> requires bass harp and chromatic harp. I was under the impression it
> featured diatonic with overblows, which to the uneducated in our ways
> director must be chromatic, or how could they play those notes?
> Before I tell the director he is wrong, is there anyone who knows what
> is up? Winslow, do I remember you have done this before?
> Thanks,
> Michael Rubin
> Michaelrubinharmonica.com
>
------------------------------
Message: 9
Date: Mon, 24 Jan 2011 14:51:51 -0800 (PST)
From: David Payne <dmatthew@xxxxxxxxxxxxxxxxxxxxxx>
Subject: Re: [Harp-L] Bluegrass
To: Harp L Harp L <harp-l@xxxxxxxxxx>
Message-ID: <839741.1304.qm@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=us-ascii
I am a fourth generation bluegrass player and I'm also from the south, where
people take bluegrass music very seriously. This notion that the body of
bluegrass musicians is primarily comprised of elitists who reject the
harmonica
out-of-hand is without merit and an urban legend of our own creation. I used
to
buy into that idea myself and backed it up with my own personal experiences,
until I sat down and looked at it realistically. I can think of very few
times I
even got a look or something and I've played with hundreds of bluegrass
musicians. There are jackasses in every genre of music. Yet, we magnify that
jackassery and use it to create an unrealistic view of an entire body of
musicians. Overall, they respect musicianship. It's as simple as that.
One observation I'll mention is that the people who are closed minded about
harmonicas and dismiss it without hearing you are generally not very good
and
other bluegrass musicians might not like them either. Those people are in
every
crowd, I don't care what you're playing.
I remember one time I went down to Bill Duncan's house. Bill played with my
grandpa back in the 1950s and was one of Bill Monroe's Bluegrass Boys later
on.
I brought my harmonicas and mandolin. I played the mandolin for a while, I
was a
little scared to pull out the harmonicas, until he said "why don't you let
me
play that mandolin and you blow on the harps for a while." That's when I
started
to think this idea of bluegrassers hating harmonicas was unfounded. Now I
believe, it's something mostly of our own own manufacturing, based on the
expressions of a minority of jackasses, whom we've let speak for the whole.
Bluegrass musicians are surprisingly TOLERANT OF BAD AND MEDIOCRE HARMONICA
PLAYING. They will get all excited about harmonica, even if it's not very
good.
I've seen that happen probably 20 times for every time I've seen even a
anti-harmonica look. Harmonica players are generally given a great deal of
leeway and understanding that those playing other instruments don't enjoy. A
great number of novice players have a huge issue when they play bluegrass
and
rarely called on it (chord rhythm is always the first thing I teach my
students) and noodle around when they should be playing a simple rhythm. I
think
the bluegrass musicians are so understanding about it because they don't
know
the harmonica is capable of a chord rhythm. If a guitar player noodled
around
like that, he'd get the same looks, but probably a talking to as well. If
you do
find yourself among the minority of haters, you'll shut them down once you
demonstrate an ability to play rhythm.
These chords below will get you through chording 95 percent of bluegrass
songs.
On songs with other chords, you can switch between two diatonics, to get the
extra chord needed.
I chord - 234 draw
I7 chord 2345 draw
IV chord any three blow notes.
V chord - double stop tongue block octave 1 and 4 draw (it works better than
the
456 draw Vm chord)
VI chord (relative minor) 1 and 2 blow.
Or you can just add a chord harmonica to you arsenal of axes. I used to play
rhythm on diatonics. Anymore, I use the 48 chord, then switch to diatonics
or
sometimes a chromatic for lead, then go back to the 48. Bluegrassers love
the 48
chord! I mean love it. When I play with guys I haven't played with before,
they
are always amazed that it even exists. I keep it in a modified mandolin
case. It
goes the same way every time, I say "Check out my mandolin" they open the
case,
then there's shock while they figure out what it is, then they are impressed
by
what it does.
Here's a little something I did with Steve Williams, Roy Clark Jr. and
George
Hauser, on the 48 chord. If I were using diatonics I would be playing the
same
thing pretty much. It was Roy's turn to shine, my job was to lay down the
beat.
If you know what your job is at any given moment and do it, you will go far
in
the bluegrass community and the same goes for any genre.
http://www.youtube.com/watch?v=vYMNr0DLX9c
Also, if anybody is interested, I did make four bluegrass 48 chord lessons
and
put them on Youtube a few weeks ago. Here's the first one:
http://www.youtube.com/watch?v=AxQ4ag8wFgo
There's a lot of potential for the 48 chord in bluegrass.
David
------------------------------
Message: 10
Date: Tue, 25 Jan 2011 10:14:17 -0800
From: Tony Eyers <tony@xxxxxxxxxxxxx>
Subject: [Harp-L] Bluegrass: thoughts and observations
To: harp-l@xxxxxxxxxx
Message-ID: <4D3F12F9.3090005@xxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
I play a lot of bluegrass, so I'll weigh in. Like all genres, bluegrass
has a hierarchy, people playing brilliantly, others getting by, others
starting out. The difference with bluegrass is that all the players
stand around and pick (play) in informal group settings, partly due to
the portability of acoustic instruments. So, an inexperienced harmonica
player can walk up to a session of seasoned bluegrass pros, pull out an
instrument and start up.
And wreck it.
A bit like walking on to a stage unannounced, and joining in with a top
class blues band. Bluegrass is a demanding genre. The good players have
worked very hard to become good. Harmonica players can be included, the
instrument does fit well, both for fiddle tunes and the singing. If you
play well, then you will be welcomed by the good players.
How do you get there? Easy. And hard. Go to a bluegrass festival or two.
Listen to the good players, but resist the temptation to join in. Then
seek out the beginners. There are plenty, getting together their
versions of "Old Joe Clark" and "Red Wing". Learn a few of the tunes
(Steve Kaufmans 4 hour bluegrass workout from Homespun Tapes is a great
source). I have an online course which outlines techniques for 1st
position bluegrass tune playing. It's a long journey to become good,
bluegrass is like anything else. However, bluegrass festivals are an
excellent chance to find your peers, much more so than blues jams.
There are some great bluegrass harmonica players about, some on the
list. Cara Cooke, Trip Henderson, David Naidich (chromatic, with a great
new CD out). Check them out. Get to a festival. It might just be your thing.
Tony Eyers
Australia
www.HarmonicaAcademy.com
...everyone plays
End of Harp-L Digest, Vol 89, Issue 38
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