[Harp-L] Re: Theory, or are there pro harp players who etc.



Interesting discussion, here's my take, seen from the practical viewpoint of someone who's often had to perform unfamiliar material on stage or in the studio without the benefit of being able to learn it beforehand and without the ability to read music on more than a very rudimentary level:

When playing along with a tune I don't know (something which I've spent a great part of my life having to do) I always try to clock the chord progression first and then proceed from there by trying to relate the vocal (or instrumental) melody to the chord sequence. Once you've grasped the changes and the modal character of the piece (eg major, mixolydian, dorian, aeolian, blues scale, major or minor pentatonic and so forth), you can relate the one to the other and figure out which interval sequences or note patterns (riffs, licks) will harmonize with the accompanying chords and (more important) which ones won't. This means you can avoid dropping clangers and can play to anticipate chord changes, which will display intent and make listeners think you know what's going on. Of course it also means that a basic (and I do mean basic) grasp of theory is without question essential.

I'm not a jazz musician and know little of altered chords & scales, substitutions and the like. As a simple self-taught muso who also plays some guitar, I know the arpeggios of the regular I - VI chords plus diminished and have the notes mapped on the harp, mainly in 2nd position, but I can make it work in 1st - 5th or even 12th if that fits the song better. This is a rough map which I use as guide to play stuff that will slot into the melodic pattern, which however is already dictated by the music. This has little to do with conscious thought (at least when performing) and much more to do with being able to recognize and respond to perceived harmonic relationships in real time. If you're listening, the music will tell you what to play. It's like conversation, if you need to think about it too much while doing it, you'll come out sounding stilted and forced rather than natural, comfortable, relaxed and communicative. I had to learn this the hard way which means standing on stage in front of an audience with the options "fly, or crash & burn". I've done both on many occasions, but no risk = no fun.

Steve Baker
www.stevebaker.de
www.bluesculture.com







This archive was generated by a fusion of Pipermail 0.09 (Mailman edition) and MHonArc 2.6.8.