[Harp-L] Re: Was: diatonic positions

[Cara Cooke <cyberharp@xxxxxxxxx>]

Actually, "Flintstones" was the first phrase, the next was "Meet the
Flintstones" a half step up, etc.  It went by pretty quickly.

Cara

On Mon, Apr 2, 2012 at 1:28 PM, Gary Lehmann <gnarlyheman@xxxxxxxxx> wrote:

> How long was the phrase?
> Was it "Flintstones, meet the Flintstones, meet the Flintstones, meet
> the  etc?
> Or perhaps, "Flintstones, meet the Flintstones, they're the Flintstones,
> meet the  etc?
> Surely not a full A section of 8 bars?
> Under no circumstances the entire form?
> I used to play with a fiddler, we would take Red Haired Boy into all 12
> keys to kill time--it worked.
>
> On Mon, Apr 2, 2012 at 9:50 AM, Cara Cooke <cyberharp@xxxxxxxxx> wrote:
>>
>> By the way, one of the most spectacular and memorable fiddle moments in
>> Mark O'Conner's performances when he was younger was a showpiece moment in
>> "Orange Blossom Special" (a tune, itself, specifically devised decades
>> ago to showcase the fiddle).  Somewhere in the blue train vamp, before he
>> moved on to the really fast melodic portion, he played the theme from "The
>> Flintstones" with each phrase ascending one half step from the last until
>> he was back where he started.  He did it with the panache to carry it off
>> and make it musical.  Even in a repeated performance, when you knew it was
>> coming, the end result always got a smile from the audience.  It was sort
>> of a "PDQ Bach" moment for bluegrass.
>>
>> Cara
>>
>>
>> On Mon, Apr 2, 2012 at 10:27 AM, Buck Worley <boogalloo@xxxxxxx> wrote:
>>
>> >
>> > What about sub-modes ie dorian vs sub-dorian ie doria on diatonic vs
>> > dorian on chromo and on and on
>> > What I think is the bottom line is TASTE. Good taste vs bad taste. If a
>> > person wants to demonstrate that something can be done does not mean it
>> > will come off with tastefulness. Oh yes, the fact that one can go
>> through
>> > the math and be technically correct does NOT mean that what comes out
>> the
>> > other end will sound good on a harmonica. If playing in all 12 keys on
>> one
>> > harmonica is considered a tasteful thing then I am going to gag myself
>> with
>> > a spoon. This is Micheal R just showing off his respected wealth of
>> music
>> > theory applied to an instrument that is very limited in the real world.
>> Pie
>> > in the sky junk that just does not work on harmonica with good taste.
>> The
>> > video definitely demonstrates this.
>> > Buck Worley
>> >
>> > > To: ndavid.coulson@xxxxxxxxx; harp-l@xxxxxxxxxx
>> > > Subject: Re: [Harp-L] positions you can use on diatonic
>> > > From: icemanle@xxxxxxx
>> > > Date: Sat, 31 Mar 2012 22:53:18 -0400
>> > > CC:
>> >  >
>> > > sounds like you are getting it, at least from my understanding of the
>> > definitions used by Michael.
>> > >
>> > >
>> > > Position playing on harmonica (1st, 2nd, 3rd, etc) can be related to
>> the
>> > modes or not, depending on your skill in creating notes through bending
>> > techniques. If I play 3rd position on a "C" harmonica, I am playing in
>> the
>> > key of "D". Now, if I just play in the mid range of the diatonic w/out
>> > using any bending techniques, it can be described as the dorian mode in
>> the
>> > key of "D". If I substitute 5 hole inhale with 5 hole overblow, now I am
>> > playing a mixolydian mode in "D". If I add a 7 hole overdraw, it becomes
>> > ionian mode in the key of "D".
>> > >
>> > >
>> > > All of these can be considered 3rd position playing, although most may
>> > consider 3rd position playing on diatonic to be that minor sounding
>> dorian
>> > mode. So, if your skills are good, you can fool the average harmonica
>> > player to a point where it might be difficult for them to figure out
>> where
>> > you are on the harmonica or they assume you are using a non-richter
>> tuned
>> > one. (I pulled this type of playing on Phil Wiggins at Augusta Heritage
>> > during an evening jam. He grabbed the harmonica out of my hand to see
>> if it
>> > was altered as he couldn't figure out how I did what I did).
>> > >
>> > >
>> > > This is a bit of an advanced approach using advanced techniques, so
>> here
>> > is where position and modes overlap, in a sense.
>> > >
>> > >
>> > >
>> > > -----Original Message-----
>> > > From: ndavid.coulson <ndavid.coulson@xxxxxxxxx>
>> > > To: harp-l <harp-l@xxxxxxxxxx>
>> > > Cc: michael rubin <michaelrubinharmonica@xxxxxxxxx>; The Iceman <
>> > icemanle@xxxxxxx>
>> > > Sent: Sat, Mar 31, 2012 10:13 am
>> > > Subject: Re: [Harp-L] positions you can use on diatonic
>> > >
>> > >
>> > > I'm trying to understand this myself. Is there a difference between
>> > "playing in positions", where, for example, on a C harp you play the
>> notes
>> > of the C scale but starting with the root note of G (Mixolydian mode of
>> C),
>> > and playing in the KEY of G on a C harp? Maybe Michael is describing the
>> > former and Larry is describing the latter. In other words, when playing
>> > positionally aren't you primarily using and emphasizing all the notes of
>> > the 1st position (major) scale regardless of what position you're
>> playing
>> > in, which is what creates distinctive sound of the mode? Whereas when
>> you
>> > play in a key, you're adding the sharps and flats that enable you to
>> play a
>> > major (or minor) scale in that particular key, regardless of the key of
>> the
>> > harp you're playing. Please tell me if this is wrong. I'm not sure if my
>> > grasp of music theory is correct!
>> > >
>> > >
>> > >
>> > >
>> > > David
>> > >
>> > >
>> > >
>> > > On Mar 30, 2012, at 3:56 PM, harp-l-request@xxxxxxxxxx wrote:
>> > >
>> > >
>> > > Larry,
>> > > This time I disagree with you.  Is the band playing in a key, at least
>> > > for a portion of the song?  Are you using a richter diatonic harp?
>> > > Then you are playing in a position.  Position are numbered by the
>> > > relationship of the key the band is playing in to the name of the harp
>> > > as measured by the amount of times moved clockwise in the circle of
>> > > fifths.  No amount of saying "I've moved a little past positions" can
>> > > change that you play in positions . . .
>> > >
>> > >
>> > > Michael Rubin
>> > > Michaelrubinharmonica.com
>> > > http://youtu.be/aCbDxn5a3xI
>> > >
>> > >
>> > > On Fri, Mar 30, 2012 at 9:19 AM, The Iceman <icemanle@xxxxxxx> wrote:
>> > >
>> > > Pretty much depends on the individual.
>> > >
>> > >
>> > >
>> > >
>> > > I can, but find certain positions to be not too useful for most
>> > scenarios.
>> > >
>> > >
>> > >
>> > >
>> > > In a way, I've moved a little past "position" and just go for the
>> notes
>> > that I need wherever they may live.
>> > >
>> > >
>> > >
>> > >
>> > >
>> > >
>> > >
>> > >
>> > >
>> >
>> >
>>
>
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