Re: [Harp-L] Chromatic: Advantages of each position

As I said previously, those scales play smoothly, with minimal breath changes:

A Bb C D Eb F - all draw notes on the Bb scale

Bb C D Eb F - all draw notes on the Eb scale.

In addition to smooth scales (and scale-based sheets of sound), you get smooth neighboring-note ornaments.

I don't have examples at hand here in my office cube, but I could scare up a few.

G minor is based on the Bb scale, and it shares the same smoothness. (Likewise C minor with the Eb scale, but I recall him doing much more with G minor, such as his live recording of Autumn Leaves with Joe Pass).


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 From: Robert Hale <robert@xxxxxxxxxxxxxx>
To: Winslow Yerxa <winslowyerxa@xxxxxxxxx> 
Cc: harp-l <harp-l@xxxxxxxxxx> 
Sent: Tuesday, March 13, 2012 5:19 PM
Subject: Re: [Harp-L] Chromatic: Advantages of each position


what would you guess are Toots' reasons for Eb and Bb? Are you able to suggest a title or two that demonstrates?

On Tue, Mar 13, 2012 at 5:13 PM, Winslow Yerxa <winslowyerxa@xxxxxxxxx> wrote:

I did one a long time ago.
>Lots of C, F, and G. Those were the top three.
>But I know from talking with him that he feels that Eb and Bb are the smoothest major keys because they have so few breath changes.

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