Re: [Harp-L] Neil Ashby's music?
JMHO ....but I would just " move on " in our often educational conversation on Harp-L
I think most of us ( that are familiar with diatonic harp ) recognize useful information.
Those newbies will be trying many different approaches and like " snow thrown at a fence "
Some of it will stick and they will find their own way.
Opinions are like Door Knobs.....everyone has at least one.
> On Nov 3, 2014, at 11:46 AM, Doug Schroer <dougharps@xxxxxxxxx> wrote:
> Neil Ashby has posted on Harp-L before, and at times he raised the ire of a
> number of list members by the manner in which he presented his
> information. The last time I recall when there were people upset was tied
> to his apparent disdain of blues music and use of dialect.
> He has since acknowledged that he prefers other more melodic tunes for his
> He recently made a controversial claim about a new technique for teaching
> overbending that he says he has copyrighted, and his narrative "voice"
> again seems similar to that of a professor addressing freshmen. That may
> just be his style of writing. If the way he describes it works for some,
> that is great!
> Though I now use some overbends in my playing, I still recall the struggle
> in learning to get even the easier "missing notes." I know it could be
> done, as I had heard examples. I read material online from Tinus at 10
> hole, and read many suggestions posted by a variety of teachers. I watched
> video of Howard Levy. Later, I had good help getting started provided by
> Michael Peloquin. Then at SPAH 2008 I finally got a recognizable overblow
> in a group run by Chris Michalek. I was amazed by Jason Ricci and teens
> including LD Miller overblowing incredible lines at hyperspeed. Later I
> listened to Adam Gussow, Alex Paclin, and Todd Parrott. I continue to
> strive to improve my technique and my harp adjustment skills in order to
> use this technique in making the music I enjoy.
> Recently there was a long discussion on MBH about the merits of tilting the
> harp against the lower lip, using so called "lip blocking." If someone had
> copyrighted that, what would the Ashby method be?
> To me the method offered by Neil Ashby does not seem significantly
> distinguishable from techniques offered by others, except for the words
> Neil chose to describe it. But that is for legal minds to dispute.
> All the other instructors and players made example of their use of
> technique accessible to the students. All the others had their music
> available so that a student or interested party could hear music being made
> by the one offering to share their knowledge. They established their
> credibility by playing. You can discuss the mathematics of theory without
> giving examples of playing (though hearing theory in use might help). You
> can share theory knowledge productively without superb technique in
> playing. But when you claim to teach technique, stand and deliver. I
> can't tell if Mr. Ashby has a winning hand or will lay down a 4 flush,
> until I hear his music.
> I recently asked for examples of Neil Ashby playing music using overbends.
> So far, I have not seen a reply.
> Previously, I asked for examples of Neil Ashby playing his harmonica music
> without consideration of overbends. No examples have been provided.
> Every tree is known by its fruits.
> Neil Ashby, if you are going to assume the role of teacher of technique
> with the many players frequenting harmonica lists and forums, many of whom
> are very experienced, PLEASE PLAY SOME MUSIC FOR US!
> Doug S.
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