Re: [Harp-L] My explanation of 5th and 12th position for Steve Hellerman addendum

[Joe Leone <3n037@xxxxxxxxxxx>]

I think someone should do a study as to determine if this is more prevalent with diatonic players who then take up chromatic, OR chromatic players, who then take up diatonic. As a member of the second group, I never had this situation. When playing chromatic, I picture the G as a blow note that is written on the second line of a treble staff. And when I play diatonic, I don't even think about it. When playing chromo, I tend to visualize where I am, but with diatonic, I seem to just 'wing it'. And winging it may not be all that good an idea? lolol

smo-joe

  

On Mar 31, 2011, at 11:50 AM, Elizabeth Hess wrote:

> It's because when I play cross harp on a diatonic, I almost always play G (on a C harp) as a DRAW note, whereas on my C chrom, G is available only as a BLOW note.  It isn't difficult, but it took me a while to make my "G habit" more flexible.  That ole muscle memory can be a blessing and a curse.
> 
> Elizabeth
> 
> 
> 
> On Mar 31, 2011, at 9:50 AM, Gary Lehmann wrote:
> 
>> From: Gary Lehmann <gnarlyheman@xxxxxxxxx>
>> Date: March 31, 2011 9:54:18 AM EDT
>> To: Jim Rumbaugh <jrumbaug@xxxxxxxxxxxxxxxxx>
>> Cc: harp-l@xxxxxxxxxx, "Hellerman, Steven" <shellerman@xxxxxxxxxxxxxx>
>> Subject: Re: [Harp-L] My explanation of 5th and 12th position for Steve Hellerman addendum
>> 
>> 
>> <snip>
>> I am always surprised when blues diatonic players express difficulty in
>> coming to terms with G on chrom, when cross harp is so thoroughly ingrained
>> in their conciousness.
>