Re: [Harp-L] Working on groove

[Music Cal <macaroni9999@xxxxxxxxx>]

Thanks to those that have responded to my question. Please keep the
suggestions coming! Love it.

Jon Kip's and Iceman's suggestions are great ones and these are things that
I have worked on and continue to work on. BBQ Bob makes a great suggestion
as well concerning learning to play ahead of or behind the beat. This is a
topic that is often talked about when discussing groove and although I
probably do some of that I don't think that I have much conscious control
over it. So, how does one develop awareness and control of this anticipated
or belated rhythm?

Also, part of my question pertains to developing rhythmic control of the
harp (in my case the chrom). Much of my groove is solid and was established
as aguitar player. Often the technical difficulties of playing the harp get
muck up the execution of my groove despite my feeling for the groove being
good. So, how does one work the execution?

MusiCal


On Fri, Aug 30, 2013 at 12:42 PM, Richard Hunter
<turtlehill@xxxxxxxxxxxxx>wrote:

> Music Cal wrote:
> <Anybody got tips for really developing ones awareness and mastery of
> groove
> <during improvisation?
>
> Iceman and Jon Kip wrote good replies to this. I'll add this: a groove is
> the interplay between instruments and rhythms.  So "awareness of groove"
> means in large part "awareness of the rhythmic roles played by the
> instruments involved".
>
> In practical terms, it's a good idea to listen carefully to the rhythm
> section and pull out the rhythmic roles of the various instruments.  What
> is the bass playing--straight quarter notes, a heavily syncopated 16th note
> pattern, or what?  What's the drummer doing, especially with the kick and
> snare?  What's the rhythm guitarist or keyboardist doing--what beats are
> they hitting hard, which are they laying off?
>
> Listening to a groove in this way exposes where a harp part might fit in,
> and what rhythms will strengthen the groove as opposed to wrecking it.  It
> will also tell you a lot about the basic sounds of a rhythm section in
> various styles.  For example, in 1950s Chicago blues, the bass had very
> little sustain and a lot of thump; its role was much more rhythmic than
> harmonic. In more modern styles, the bass tends to be deeper and more
> sustained, so it contributes more to the harmonic structure.  Different
> sounds, different grooves, different ways for harp to contribute.
>
> Regards, Richard Hunter
>
>
>
>
> author, "Jazz Harp"
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>