Re: [Harp-L] O, Come All Ye Faithful played in three positions on diatonic

Interesting to hear your very different take, Bill.

While I focused on delivering the unadorned melodic line as smoothly as possible, you've added a lot of panache to your rendition with chords and arpeggio rips.

While switching harps allows you to access the notes you need without bending - and therefore without the difficulties of trying to deliver the bends in tune - it also introduces its own difficulty: moving from one harp to another without breaking the flow of the melodic line due to the gap in sound while you move from one harp to the other.

When I listen to some of the Asian players who switch among tremolo or octave harps, they seem to have found a way to switch without drawing attention to the gap between the notes before and after the switch. In your rendition, I'm hearing a lot of short, staccato notes when you switch. This can be an artistic choice, but it can also be a difficulty to be overcome if the staccato works against the artistic delivery of the tune. Is that the case here? I leave it to you to decide whether or not it's working for you, and for listeners to make their own evaluations and comments.

As always, we have many different tools and choices at our disposal, and the opportunity to put them to the best uses we can.

From: william price <promultis33@xxxxxxxxx>
To: Ken H in Ohio <airmojoken@xxxxxxxxx>; Winslow Yerxa <winslowyerxa@xxxxxxxxx> 
Cc: Harp-L List <harp-l@xxxxxxxxxx> 
Sent: Saturday, November 22, 2014 7:57 PM
Subject: Re: [Harp-L] O,    Come All Ye Faithful played in three positions on diatonic

For anyone interested in taking another approach for solving the problem of notes not sounding completely in tune I have a suggestion, try using two diatonic harps tuned a full step apart. Here's a example: diationic-faithful

Bill Price

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