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

["rob paparozzi" <chromboy@xxxxxxxxxxxxx>]

I've enjoyed reading the answers about theory and harp playing by pros and non pros....

Since I'm on my Smartphone I'll keep it short...I started out as most harp players do, playing Blues by ear....many brick walls were hit.

But you DO develop great ears that way, teaching yourself from playin along with Records etc

Once I decided to play ALL styles of music including Jazz, Learning the THEORY combined with my already VERY developed EARS, put me in a very valuable position.

I became a Harmonicist, no longer a harp player. I then could travel the world and play with any musicians I wanted as we all now spoke the international language of MUSIC.

Knowledge of theory can save you volumes of valuable time on stage, while practicing or in the studio where time is money.

Just my take on it...some excellent posts gang! BUT always have fun with your Music!!!!

All the best,
Rob Paparozzi
Sent from my Verizon crackberry phone!

-----Original Message-----
From: Steve Baker <steve@xxxxxxxxxxxxx>
Sender: harp-l-bounces@xxxxxxxxxx
Date: Sat, 21 May 2011 02:27:24 
To: Harp-L<harp-l@xxxxxxxxxx>
Subject: [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