[Harp-L] Slim's Response on Time RE: Harp-L Digest, Vol 128, Issue 10



I don't know about rock solid but I agree with Slideman's comments,  a
metronome is hard to hide from. My timing  improved a lot using a metronome
for practice. 
Rex Platner

-----Original Message-----
From: harp-l-bounces@xxxxxxxxxx [mailto:harp-l-bounces@xxxxxxxxxx] On Behalf
Of harp-l-request@xxxxxxxxxx
Sent: Friday, April 04, 2014 3:35 PM
To: harp-l@xxxxxxxxxx
Subject: Harp-L Digest, Vol 128, Issue 10

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Today's Topics:

   1. swingin 16ths (Doug Schroer)
   2. Re: Problems with tongue articulation (Winslow Yerxa)
   3. ANY HARMONICA TEACHERS NEAR TOLEDO, OHIO? (The Iceman)
   4. ooops,	email correction for harmonica teacher wanted in
      Toledo (The Iceman)
   5. coast2coastmusic  (Tim Moyer)
   6. THSB (chris smith)
   7. solid time (Music Cal)
   8. Re: solid time (The Iceman)
   9. Re: solid time (Slim Heilpern)
  10. Re: solid time (Music Cal)
  11. Re: solid time (Slim Heilpern)


----------------------------------------------------------------------

Message: 1
Date: Fri, 4 Apr 2014 12:26:16 -0500
From: Doug Schroer <dougharps@xxxxxxxxx>
Subject: [Harp-L] swingin 16ths
To: Harp-l for posting <harp-l@xxxxxxxxxx>
Message-ID:
	<CAHD1uN97XvcH3XY=PC1H8FP8E9oMUJa0RkqDHDL-s=7W+jwt1A@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1

Jon, thank you for posting what I was thinking!

"ALL of this can be replaced by listening... no words, just listening to
someone playing in the style you want to emulate..."

I believe that theory can enhance and improve musical skills and open new
musical doors.  However, there are nuances that cannot be described and must
be heard and felt.

I strongly support developing "big ears" and I support the approach of
learning by emulation.  There is an organic, holistic characteristic in good
music that cannot be captured on paper with words or notation.

We can benefit from a written musical map, but the map is not the territory.

At times you need to put away the "map", listen, and play until you get it.


------------------------------

Message: 2
Date: Fri, 4 Apr 2014 11:15:24 -0700 (PDT)
From: Winslow Yerxa <winslowyerxa@xxxxxxxxx>
Subject: [Harp-L] Re: Problems with tongue articulation
To: "harp-l@xxxxxxxxxx" <harp-l@xxxxxxxxxx>
Message-ID:
	<1396635324.31767.YahooMailNeo@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1

Knowing that you've played another wind instrument may be helpful.

Wind direction, velocity, and pressure on other instruments can be very
specific.

When playing the harmonica, the default airflow should be as gentle as
possible, with no pressure and no specific direction of the air beyond
moving air in and out of your body through the oral cavity. (Bending pitches
is another matter, and you're already getting that as a side effect while
trying to do other things.)

Listen to the sound of your breathing. If you can hear it, you're impeding
the airflow. Breathing should be silent.

Try placing the palm of your hand 2cm in front of your open mouth and
breathing on it gently and silently. If you can breathe so softly that you
feel the warmth of your breath but not the wind, that's all you need to
activate a harmonica reed into sound.

 
Winslow Yerxa
President, SPAH, the Society for the Preservation and Advancement of the
Harmonica Producer, the Spring 2014 Harmonica Collective 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
Expert, bluesharmonica.com Instructor, Jazzschool for Music Study and
Performance


________________________________
 From: Eliza Doolittle <eliza.doolittle@xxxxxxxx>
To: "harp-l@xxxxxxxxxx" <harp-l@xxxxxxxxxx>
Cc: "michaelrubinharmonica@xxxxxxxxx" <michaelrubinharmonica@xxxxxxxxx>;
"icemanle@xxxxxxx" <icemanle@xxxxxxx>; "winslowyerxa@xxxxxxxxx"
<winslowyerxa@xxxxxxxxx>; "mlefree@xxxxxxxxxxxxxxxxxxxxx"
<mlefree@xxxxxxxxxxxxxxxxxxxxx>
Sent: Friday, April 4, 2014 8:00 AM
Subject: Re: Problems with tongue articulation
 


Thanks a lot for your advice on how to solve this problem. Of course, none
of your suggestions (yawning, U-blocking -which, incidentally, looks like
contortionism) is working so far, but I think it's a matter of practice, so
I hope I'll be able to play the hight notes before too long. A face-to-face
teacher, as the Iceman suggests, would be a great solution, but I don't
think there is a single harp teacher in my town.

If I may ask, Michelle (well, or any other person here who's also played a
brass instrument), as a tuba player, have you found any correspondence
between that instrument and harp regarding articulation? I mean, I've been
playing French horn for nine years, and I was wondering, for example,
whether the way in which I am used to play staccato might be detrimental to
the  way in which I must articulate notes in the harp (perhaps by stiffening
my cheeks too much, or something like that).

Eliza Doolittle

------------------------------

Message: 3
Date: Fri, 4 Apr 2014 14:45:20 -0400 (EDT)
From: The Iceman <icemanle@xxxxxxx>
Subject: [Harp-L] ANY HARMONICA TEACHERS NEAR TOLEDO, OHIO?
To: harp-l@xxxxxxxxxx
Message-ID: <8D11E4D2A488E71-1B94-27540@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"

Please contact Bob Cox




BSA02@xxxxxxx


------------------------------

Message: 4
Date: Fri, 4 Apr 2014 15:02:56 -0400 (EDT)
From: The Iceman <icemanle@xxxxxxx>
Subject: [Harp-L] ooops,	email correction for harmonica teacher
wanted
	in Toledo
To: harp-l@xxxxxxxxxx
Message-ID: <8D11E4FA00A042F-1B94-27729@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"

PSA02@xxxxxxx

------------------------------

Message: 5
Date: Fri, 4 Apr 2014 13:02:29 -0700 (PDT)
From: Tim Moyer <wmharps@xxxxxxxxxxxxxxxxxxxx>
Subject: [Harp-L] coast2coastmusic
To: Harp-L <harp-l@xxxxxxxxxx>
Message-ID:
	<1396641749.31957.YahooMailNeo@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1

I placed an online order with coast2coastmusic the other day about a week
ago and only later found out that the company had been sold. Now I'm trying
to find out how to track down the order. my account was drafted for the
proper amount  by buckeyemusic,  but repeated emails to various contact
adresses have gone unananswered. anyone know whats going on and how I can
figure out if this will eventually show up or if I've been hornswaggled?


-tim

------------------------------

Message: 6
Date: Fri, 4 Apr 2014 14:26:23 -0700 (PDT)
From: chris smith <harpshredder@xxxxxxxxx>
Subject: [Harp-L] THSB
To: "harp-l@xxxxxxxxxx" <harp-l@xxxxxxxxxx>
Message-ID:
	<1396646783.14920.YahooMailNeo@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1

Hey Orange County harpers,
                        THE HAMMER SMITH BAND will be performing @ Nadine's
Irish Mist this Sun April 6th from 4pm-8pm Sunset Bch. No cover . Chris
"Hammer" Smith harp, guitar, vocals ; Bill Sotelo bass, guitar , vocals;
Mike Lopez drums. I've toured most of the US with these guys and this
promises to be a ROCKIN' afternoon.
                   Thanks,
                                    Chris
 
Chris "Hammer" Smith
Hammer Smith Band
Official Myspace Page http://myspace.com/chrishammersmith
harpshredder@xxxxxxxxx

------------------------------

Message: 7
Date: Fri, 4 Apr 2014 14:31:06 -0700
From: Music Cal <macaroni9999@xxxxxxxxx>
Subject: [Harp-L] solid time
To: harp-L list <harp-l@xxxxxxxxxx>
Message-ID:
	<CAOn7XaOJ-DN1B9_1=fHkj2w5OyxwAFsygRORrO1deSK03q_sTA@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1

This is a question for the jazz players amongst us with rock solid timing.

What have you done to develop your timing?

(Hi Jon)


------------------------------

Message: 8
Date: Fri, 4 Apr 2014 17:36:29 -0400 (EDT)
From: The Iceman <icemanle@xxxxxxx>
Subject: Re: [Harp-L] solid time
To: macaroni9999@xxxxxxxxx, harp-l@xxxxxxxxxx
Message-ID: <8D11E6512FE68DB-1B94-286F0@xxxxxxxxxxxxxxxxxxxxxxxxxxxx>
Content-Type: text/plain; charset="us-ascii"

practice practice practice



-----Original Message-----
From: Music Cal <macaroni9999@xxxxxxxxx>
To: harp-L list <harp-l@xxxxxxxxxx>
Sent: Fri, Apr 4, 2014 5:31 pm
Subject: [Harp-L] solid time


This is a question for the jazz players amongst us with rock solid timing.

What have you done to develop your timing?

(Hi Jon)

 


------------------------------

Message: 9
Date: Fri, 4 Apr 2014 15:06:44 -0700
From: Slim Heilpern <slim@xxxxxxxxxx>
Subject: Re: [Harp-L] solid time
To: Music Cal <macaroni9999@xxxxxxxxx>
Cc: harp-L list <harp-l@xxxxxxxxxx>
Message-ID: <5CD1BC7C-1F11-4BF0-81C7-CD9111D51C78@xxxxxxxxxx>
Content-Type: text/plain; charset=iso-8859-1

Not sure I fit your "rock solid" classification, but I think my timing's
reasonably good.

It's important to not sound like a machine in most styles of music, and
especially so in jazz, so "rock solid" is a questionable term here. But to
play well, you need to know exactly where the beat is so you can phrase
around it appropriately and at the same time not sound like you're dragging,
rushing, or manic. IOW, you should be capable of sounding like a machine,
but not actually do that.

To improve my timing (i.e. knowing exactly where the beat is) I work with a
metronome -- not to be confused with playing _like_ a metronome. If it
sounds to you like the metronome is speeding up or slowing down, it's a
strong clue that it's you who are slowing down or speeding up and you need
to fix that. The more discouraging it is to play with a metronome, the more
you need to do it. Do it until it's easy.

Hope this helps...

- Slim.

www.SlideManSlim.com



On Apr 4, 2014, at 2:31 PM, Music Cal wrote:

> This is a question for the jazz players amongst us with rock solid timing.
> 
> What have you done to develop your timing?
> 
> (Hi Jon)




------------------------------

Message: 10
Date: Fri, 4 Apr 2014 15:45:49 -0700
From: Music Cal <macaroni9999@xxxxxxxxx>
Subject: Re: [Harp-L] solid time
To: Slim Heilpern <slim@xxxxxxxxxx>
Cc: harp-L list <harp-l@xxxxxxxxxx>
Message-ID:
	<CAOn7XaN7pKx8E_inkm3ZW58YrV6pRxwQ8HPA8VdZY4PEszhQ_w@xxxxxxxxxxxxxx>
Content-Type: text/plain; charset=ISO-8859-1

"The more discouraging it is to play with a metronome, the more you need to
do it. Do it until it's easy."


That sounds like some solid advice!

But ... I have heard others discourage playing with a metronome and instead
encourage playing with repetitive drum tracks. Since I have neglected doing
either then either would probably be of value. Hmm ... I will have to see if
I can find a bunch of drum tracks in different tempos and types of rhythms.
(Probably someone will tell me that the Iphone has an app for that. But I am
resisting getting a smart phone.)



On Fri, Apr 4, 2014 at 3:06 PM, Slim Heilpern <slim@xxxxxxxxxx> wrote:

> Not sure I fit your "rock solid" classification, but I think my 
> timing's reasonably good.
>
> It's important to not sound like a machine in most styles of music, 
> and especially so in jazz, so "rock solid" is a questionable term 
> here. But to play well, you need to know exactly where the beat is so 
> you can phrase around it appropriately and at the same time not sound 
> like you're dragging, rushing, or manic. IOW, you should be capable of 
> sounding like a machine, but not actually do that.
>
> To improve my timing (i.e. knowing exactly where the beat is) I work 
> with a metronome -- not to be confused with playing _like_ a 
> metronome. If it sounds to you like the metronome is speeding up or 
> slowing down, it's a strong clue that it's you who are slowing down or 
> speeding up and you need to fix that. The more discouraging it is to 
> play with a metronome, the more you need to do it. Do it until it's easy.
>
> Hope this helps...
>
> - Slim.
>
> www.SlideManSlim.com
>
>
>
> On Apr 4, 2014, at 2:31 PM, Music Cal wrote:
>
> > This is a question for the jazz players amongst us with rock solid
> timing.
> >
> > What have you done to develop your timing?
> >
> > (Hi Jon)
>
>


------------------------------

Message: 11
Date: Fri, 4 Apr 2014 16:08:38 -0700
From: Slim Heilpern <slim@xxxxxxxxxx>
Subject: Re: [Harp-L] solid time
To: Music Cal <macaroni9999@xxxxxxxxx>
Cc: harp-L list <harp-l@xxxxxxxxxx>
Message-ID: <35B561AB-91E9-4B37-9005-8855216D8980@xxxxxxxxxx>
Content-Type: text/plain;	charset=iso-8859-1

Nothing wrong with playing with drum tracks, but I suggested a metronome
because it's harder (big spaces between the beats without a hi-hat or cymbal
marking 8th notes or whatever) and that (in my view) is better training,
makes your brain do the subdivisions. By comparison, playing with drum
tracks is easy, and I would say less beneficial.

- Slim.

On Apr 4, 2014, at 3:45 PM, Music Cal wrote:

> "The more discouraging it is to play with a metronome, the more you need
to do it. Do it until it's easy." 
> 
> 
> That sounds like some solid advice! 
> 
> But ... I have heard others discourage playing with a metronome and 
> instead encourage playing with repetitive drum tracks. Since I have 
> neglected doing either then either would probably be of value. Hmm ... 
> I will have to see if I can find a bunch of drum tracks in different 
> tempos and types of rhythms. (Probably someone will tell me that the 
> Iphone has an app for that. But I am resisting getting a smart phone.)
> 
> 
> 
> On Fri, Apr 4, 2014 at 3:06 PM, Slim Heilpern <slim@xxxxxxxxxx> wrote:
> Not sure I fit your "rock solid" classification, but I think my timing's
reasonably good.
> 
> It's important to not sound like a machine in most styles of music, and
especially so in jazz, so "rock solid" is a questionable term here. But to
play well, you need to know exactly where the beat is so you can phrase
around it appropriately and at the same time not sound like you're dragging,
rushing, or manic. IOW, you should be capable of sounding like a machine,
but not actually do that.
> 
> To improve my timing (i.e. knowing exactly where the beat is) I work with
a metronome -- not to be confused with playing _like_ a metronome. If it
sounds to you like the metronome is speeding up or slowing down, it's a
strong clue that it's you who are slowing down or speeding up and you need
to fix that. The more discouraging it is to play with a metronome, the more
you need to do it. Do it until it's easy.
> 
> Hope this helps...
> 
> - Slim.
> 
> www.SlideManSlim.com
> 
> 
> 
> On Apr 4, 2014, at 2:31 PM, Music Cal wrote:
> 
> > This is a question for the jazz players amongst us with rock solid
timing.
> >
> > What have you done to develop your timing?
> >
> > (Hi Jon)
> 
> 



End of Harp-L Digest, Vol 128, Issue 10
***************************************




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