Re: [Harp-L] New Member Introduction

[Fran_3 <mailbox0600@xxxxxxxxx>]

Thanks John, for the gracious welcome and helpful advice.


________________________________
 From: chicago bluesman <chicagobluesman@xxxxxxxxxxx>
To: Robert Rowe <robertrowe2@xxxxxxx>; M. Box <mailbox0600@xxxxxxxxx> 
Cc: "harp-l@xxxxxxxxxx" <harp-l@xxxxxxxxxx> 
Sent: Tuesday, May 28, 2013 11:37 PM
Subject: RE: [Harp-L] New Member Introduction
 


 
Welcome to the group.

When I was first dealing with developing basic chops--which is where you are at--I fell under the sway of two blues recordings which featured lots of blues harp: Big Walter Horton with Cary Bell  and, also, Muddy Waters Live at Mr. Kelly's (Paul Oscher on harp).  I listened to those two recordings incessantly.  I figured out which key harps I needed for every song.  I wrote down the song keys and appropriate harps to be played in 2nd position on the album covers.  I attempted to play along with each song, mimicking licks, tone, fills and phrasing as best I could.  Hours and hours and hours I played along with each tune of both of these recordings.  Sure, I listened to other stuff, but I used those two recordings as my foundation.  In retrospect, I realize that I could've stumbled upon other recordings to use for inspiration, but I'm happy that I spent so much time with both of those recordings.  This was....the mid-to-late '70's.  Later, I
 heard Big Walter frequently and also heard Muddy in Chicago venues--making it more real for me.  To this day, I listen to each of these particular recordings with special reverence and I've come to know a lot more about the background and circumstances of each of these releases.  I think the work I put in to understand these two sets of tracks helped with tone development.

My advice: learn the blues language, immerse yourself in quality seminal recordings, eventually branch out and discover the wide range of influential artists, hear live harp when you can.  Especially, though, I would suggest that you choose a couple of recordings that feature harp which speak to you--go with something which has tunes at a medium tempo--and lock yourself in a room for a long time as you get inside the head of the harp player.

Enjoy!

John


> From: robertrowe2@xxxxxxx
> Subject: Re: [Harp-L] New Member Introduction
> Date: Tue, 28 May 2013 21:49:24 -0400
> To: mailbox0600@xxxxxxxxx
> CC: harp-l@xxxxxxxxxx
> 
> Welcome to the group!  I agree. You are not a player, but let not that discourage your abundant zeal and enthusiasm. I have been learning for 18 months now, and I am not a "player" either. Before I taught myself too stupid I took f2f lessons from one of the finest teachers in the world, The Iceman, Larry Eisenberg. You can play some notes with a fair degree of accuracy. But how do they sound?  Thin and reedy?  Robust and well rounded?  Do you know the difference?  Can you project your tone well?  I spent the first weeks of lessons on just the 4 blow, developing tone, volume and projection. Then came 4 draw, followed by some adjacent holes. In time I hit each hole dead on pucker style with my eyes closed. 
> 
> Then came bending on a single harp. You're mouth shape is different when bending the different holes on the same harp. Eventually I was able to bend 2-4 some. After lots of practice I started to get the first half step bends in tune according to the strobe. Deeper bends can still cause me fits. Enter the second key. None of the mouth shapes I learned to bend the A harp worked at all on the D harp. It's like learning a new instrument. Close, but no Peterson strobe cookie. Not only do you have to adjust from hole to hole, but also harp to harp. 
> 
> Cross harp?  Not without first mastering those deep bends I mentioned.  Otherwise it's straight harp, starting on the wrong hole, and omitting the difficult to get notes. Overdraw and overbend? We're both years away from worrying about such advanced techniques. If you can't wait to start popping in some accidentals, get a chrome. 
> 
> These core competences ddont come fast or cheap. I spend about 25% of my practice time giving them my. Full attention. 2 minutes at a traffic light or a TV commercial does not count. FOCUS. 
> 
> Tongue blocking is not an option. 
> 
> Kelly
> 
> > Hello Harp-L list members.
> > 
> > My introduction to you guys...
> > 
> > First, I don't consider myself a 'player' yet...
> > 
> > 
> > But, here is where I am with the harmonica...
> > 
> > - I play diatonic
> > - I play Lee Oskar harmonicas. Why? Not sure. Just got started with them and can't seem to break them.
> > - I can play single notes (but occasionally miss and hit a double)
> > - I can play each note top to bottom (hole 1 thru 10 blow and draw)
> > - I can pick out simple tunes
> > - I can bend notes
> > 
> > - I can play cross harp (2nd position) and create my own blues-like improvisation (but haven't stopped to learn others famous licks yet)
> > - I'm a pucker player right now - not sure tongue-blocking is worth the effort, except' maybe for braggin' rights :-)
> > - I haven't played with a band or with backing tracks (yet)
> > - I keep a C and an A harp in the car and may sneak 'em in the office on the weekends :-)
> > - I also keep a C and an A harp handy at the house - often by my easy chair or on the porch.
> > - I have a couple of other keys but don't play them to much while I'm learning.
> > 
> > - My next goal is to learn to over-blow so I can play the complete chromatic scale from top to bottom on the harmonica.
> > - Then I should be able to play any position and play any tune.
> > 
> > - I falso have to work on better accuracy on hitting single notes
> > - then I hope to learn play faster... (accuracy first for me... then, hopefully, fast will come)
> > 
> > I'll be posting a lot of questions so thanks in advance for any help, tips, and/or comments.
>