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

[Gary Lehmann <gnarlyheman@xxxxxxxxx>]

I like to retune G chromatics to a 12 hole instrument in C that starts on
G--combined with bebop, that makes blow G Bb C E and draw A B D F.
So the bottom note is G--really makes the draw chord sound more like a G7
when you start a phrase with that blow note.
I was calling it Bebop Meisterklasse but have started calling it Orchestra
Bebop since Seydel started making the Saxony with the same range.
Here's a video I made about the tuning, it's on a 260--
http://www.youtube.com/watch?v=rD9oiFBNCTs
Gary

On Thu, Mar 31, 2011 at 8:50 AM, Elizabeth Hess <TrackHarpL@xxxxxxxxxxxx>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.
>>
>
>