Re: [Harp-L] 4th tips

[Michael Rubin <michaelrubinharmonica@xxxxxxxxx>]

Larry is accurate about Winslow being correct about myself being right.
Michael Rubin
Michaelrubinharmonica.com


On Sun, Jun 2, 2013 at 7:00 AM, The Iceman <icemanle@xxxxxxx> wrote:

> Winslow is correct about Michael being right.
>
>
> Not only that, but the below definition is the most focused and concise
> explanation I've seen to date regarding this harmonica confusion.
>
>
>
> -----Original Message-----
> From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
> To: harp-l <harp-l@xxxxxxxxxx>
> Sent: Sun, Jun 2, 2013 1:29 am
> Subject: Re: [Harp-L] 4th tips
>
>
> Michael is right.
>
> Positions on the harmonica are about one thing and ONLY one thing:
>
> That one thing is the relationship between two keys:
>
> -- The key the harmonica is tuned to
>
> -- The key you're playing it in.
>
> Specific types of scales (major, minor, etc.) are not part of that
> definition.
> Key relationships are the only defining elements in harmonica positions.
>
> Now, it turns out that by default, fourth position on a major-tuned harp
> produces a natural minor scale. But that's not a defining feature of the
> position. You can create any scale that uses the twelve-tone scale by
> alternating the pitches of reeds through various bending techniques, or,
> on the
> chromatic harmonica, by using the slide.
>
> So in fourth position, you could play a major scale. Or a Mixolydian
> scale. Or
> whatever scale you like.
>
> Let me pose a question. If positions correspond with scales defined by the
> given
> notes on a harmonica, then what scale does 11th position (Bb on a C harp)
> correspond with? (You see why identifying a position with the given notes
> of the
> harp is problematic.)
>
> Winslow
>
> Winslow Yerxa
> Author, Harmonica For Dummies, ISBN 978-0-470-33729-5
>             Harmonica Basics For Dummies, ASIN B005KIYPFS
>             Blues Harmonica For Dummies, ISBN 978-1-1182-5269-7
> Resident Harmonica Expert, bluesharmonica.com
> Instructor, Jazzschool for Music Study and Performance
>
>
> ________________________________
>  From: Michael Rubin <michaelrubinharmonica@xxxxxxxxx>
> To: "Philharpn@xxxxxxx" <philharpn@xxxxxxx>
> Cc: Mick Zaklan <mzaklan@xxxxxxxxx>; harp-l <harp-l@xxxxxxxxxx>
> Sent: Saturday, June 1, 2013 12:23 PM
> Subject: Re: [Harp-L] 4th tips
>
>
> Phil,
> I again disagree.  You can play any position in any scale.
> Michael Rubin
> Michaelrubinharmonica.com
>
>
> On Fri, May 31, 2013 at 10:34 PM, <philharpn@xxxxxxx> wrote:
>
> > I looked over your two posts and probably agree with 105% of what you
> said.
> >
> >
> > What possibly makes it difficult to understand is that you're talking
> head
> > arrangements. And for some people, this is like doing long division in
> > their heads.
> >
> >
> > Basically, 4th position (A minor) is the relative minor of C. In other
> > words, the A minor scale uses the white piano keys of the key of C.
> Instead
> > of starting on the C note; start on the A note and play the white keys
> > until reaching the next A.
> >
> >
> > The key to understanding positions is the Circle of Fifths, which starts
> > clockwise from C (no sharps) and goes up a fifth to G (1 sharp) and then
> to
> > D ( 2 #s), then A (3#s) and E (4#s). Most people now agree with the
> Circle
> > of Fifths. So much for the naming convention.
> >
> >
> > What makes this Circle of Fifths theory/explanation problematic is the
> > fact that due to the limitations built into the Richter layout, some of
> the
> > keys in the Circle of Fifths are minor.
> >
> >
> > What might make 4th position easier to understand is to write on a melody
> > in standard music notation with harmonica under it like David
> > Barrett does on his web site and in his dozens of books published by Mel
> > Bay.
> >
> >
> > By having the tab/notation of a song, it's just a matter of playing it
> > back to understand how it sounds.
> >
> >
> > Like somebody once said at SPAH, music is like third grade math.
> >
> >
> > Phil
> >
> >
> >
> > -----Original Message-----
> > From: Mick Zaklan <mzaklan@xxxxxxxxx>
> > To: harp-l <harp-l@xxxxxxxxxx>
> > Sent: Fri, May 31, 2013 5:47 pm
> > Subject: [Harp-L] 4th tips
> >
> >
> >    Well Stephen, I almost hate to re-post this.  The first time around,
> one
> > of our list members was so confused by it that he emailed me offlist:
> >
> > "Waa....huh....eh....whasthat....umm???"
> >
> >    So I guess my convoluted methodology really confused him.  But it's
> how
> > I learned it, so here's my original posts. The first one was kind of an
> > intro to the subject:
> > http://harp-l.org/pipermail/harp-l/2010-May/msg00011.html.
> >
> > The second one was actually playing tips, and that's probably where the
> guy
> > came to the conclusion I was nuts:
> > http://harp-l.org/pipermail/harp-l/2010-May/msg00012.html.
> >
> > Maybe he was right.  And it's not a Jimmy Reed sound, though I think
> there
> > are some similarities between 1st and 4th.
> >
> > Mick Zaklan
> >
> >
> >
>
>
>