Re: [Harp-L] : CX 12 Tenor Chromatic Black For Sale

[Jordan <bigmouthhorns@xxxxxxxxx>]

Hey Gang,

I have a  CX 12 Tenor black for sale.  I bought it from George Miklas, blew into it once or twice and dug back into the diatonics.  So, it's been in the case since.

If you're interested please contact me at: bigmouthhorns@xxxxxxxxx

Thanks,

Jordan

Jordan Feldman
One Source Assoc.
443-721-0788
JFeldman@xxxxxxxxx


Sent from my iPad

> On May 11, 2014, at 3:37 PM, Robert Coble <robertpcoble@xxxxxxxxxxx> wrote:
> 
> Eliza,
> 
> Given that you are using diatonic harps, Phil and I gave you a way to approach playing 
> them, presuming that you want to switch harps whenever a key change is required. Dale 
> gave an alternative approach (using a single chromatic harmonica), presuming that you 
> want to change keys but do not want to switch harps. 
> 
> Another alternative is to learn to bend and overbend (think Howard Levy and a host of 
> other very talented players on Harp-L who can play in several different keys on a 
> given diatonic harp). IMHO, this last alternative is not for those who are unwilling 
> to invest considerable time and effort toward developing the required expertise. 
> (Anecdotal evidence is that it took Howard about 10 years to develop the fluidity and 
> skill he is capable of demonstrating. Because of his pioneering efforts, his outstanding 
> musicianship, and his willingness to share how he was able to accomplish this, others 
> have been able to acquire skills in less time. However, it is still considered an 
> advanced skill (both in setting up a diatonic harp to more easily allow overbending 
> and in the description of the technique itself). For the cognoscenti, I ain't knocking
> the technique; I just don't think it is worth MY time (at age 66) to learn it. 
> 
> Phil suggested thinking as if every song is in a specific key (C). Learn the relative 
> hole patterns for a song, and then play that sequence of patterns on a different key 
> harp when a key change is required. 
> 
> I suggested approaching the knowledge of which hole and which breath direction is 
> associated with a particular scale degree in conjunction with paying lots of attention 
> to the intervallic relationships. It is fairly easy to map the 20 natural notes to the 
> scale degrees of the underlying diatonic scale. (In my case, it is even easier because 
> of the Spiral (Zirkular or Circular) Tuning: there are no missing notes in the range 
> of notes available.) I know the relationships between all of the notes on the harp.
> 
> One of the simplest exercises that I used to gain this facility is to play the tonic
> note (scale degree 1), alternated with every other scale degree, in both ascending 
> and descending sequences. As I played, I mentally made a note of each interval 
> relationship. 1-to-1, 1-to-2, 1-to-3, 1-to-4, 1-to-5, 1-to-6, 1-to-7, and 1-to-8, 
> followed by reversing the sequence back down to the tonic. Then I added the next octave
> to the exercise, going two octaves up, followed by two octaves down, again repeating
> the scale degrees. I then started playing every other note (thirds), again mentally
> noting the scale degrees while simultaneously identifying the underlying chord and
> the quality of that chord. I (major) = scale degrees 1-3-5; ii (minor) = 2-4-6; etc.
> Combined with the music theory knowledge that the I, IV, and V chords are very 
> important for major key songs and the vi, ii and iii chords are very important for
> minor key songs gives additional information on where to expect the song's melody and
> chord progression to go. Surprisingly, it doesn't take very long to firmly fix the 
> relationships in mind as "muscle memory."
> 
> I'll note in passing that the Nashville Numbering System is based on numerical values 
> for chords. It seems to work very nicely for studio musicians who have to get up to
> speed very quickly for a session, but who don't have necessarily have access to the 
> sheet music.
> 
> In any event, perhaps this gives you some additional things to try.
> 
> Good luck!
> Crazy Bob
> 
>