Re: [Harp-L] RE: Problem when playing harps not in C

[Jordan <bigmouthhorns@xxxxxxxxx>]

Speaking of playing various key diatonics, what harps do folks generally play in terms of standard keys vs the lower octave models?  For instance, I feel like my standard D harp is a world of difference in breath approach compared to the Bb or even my C harp.  I can't imagine what it feels like to play an F harp, a minor third higher.

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
> 
>