Re: [Harp-L] Breaking In / Adjusting to a new harp
- To: Richard Sleigh <rrsleigh@xxxxxxxxx>
- Subject: Re: [Harp-L] Breaking In / Adjusting to a new harp
- From: Joseph Leone <3n037@xxxxxxxxxxx>
- Date: Sun, 21 Sep 2014 10:04:41 -0400
- Cc: Harp L Harp L <harp-l@xxxxxxxxxx>
- Dkim-signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=comcast.net; s=q20140121; t=1411308341; bh=Plu9sYhZfAv4lAwoZqRFDOLGKI8dKmQTHpBE9pLmLqg=; h=Received:Received:Subject:Mime-Version:Content-Type:From:Date: Message-Id:To; b=p4oQon6/lZPsBkxaGCQ33Dx1BzyB8iZvIMeWoW68TBOfvUQiUMpA0rdsVAXyq45uV YZSoUTYcHiD7gJePZ8wzR83DvWoDs6PIWk8hoH8RJlfwVodci1POl+ZXB33Zryp8+R l/ojBolsERrRfwF2g11XoHf3CFjEUUodtHDnso4WRn5yE8uMvV++5z3yrFbQmunuic CAQt1RmUb6sGCFIt1hm4AMuXMX2y4qzhZWScSxeHdUUPpXlxp+zbLSn6XZi/TOPq/R 3UIGg76c9z38B4b0aw3d3LGFp2CZ2ejXAbaOD7FWxof+GRG3GJMKRQcO5nHRxGd630 jmpZKS/ntPYPQ==
- In-reply-to: <CAG26krc=3JrEUz2JFepMbHHLGcP70MXaQUsLCbnyb=aRbJeaYw@mail.gmail.com>
- References: <CAG26krc=3JrEUz2JFepMbHHLGcP70MXaQUsLCbnyb=aRbJeaYw@mail.gmail.com>
I have always used the phrase: 'Actually, the harp is breaking YOU in'.......BEAUtiful post btw.
On Sep 21, 2014, at 9:27 AM, Richard Sleigh wrote:
> The way I experience new harmonicas is a combination of discovering what
> this new harp can do. tweaking it, and then getting used to the feel of the
> new harp.
> Every harp is different and has some sort of "personality". I think what
> happens is that I know what I want to play, and end up making all sorts of
> tiny adjustments in how I play to get the sound and response out of a harp.
> These adjustments in my playing happen subconsciously. I'm just focusing on
> the sound I want, and my body does God knows what to move toward getting
> that sound out of the harp.
> It's like walking - I am making all sorts of really complicated adjustments
> that I am not aware of cause I am focused on where I am going.
> I think a lot of what we call "breaking in a harp" is really this
> subconscious adjustments to the unique combination of reed responses in the
> new harp. Your mind / body go into some kind of discovery mode for the harp
> and come up with all sorts of subtle adjustments "push a little harder on
> draw 3 as it goes from whole step bend to step and half just to get it
> past that minor sticking point" , play draw 4 a bit lighter to even out
> volume", - this sort of thing, happening at warp speed for thousands of
> variables per second.
> It would be exhausting to try to write down everything that the brain is
> processing in even a couple of seconds of playing a harp.
> But that is my guess about what is actually happening as a big part of the
> "breaking in" process - the brain training itself to get used to the
> pattern of reed response in a new harp. Once it gets the formula for this
> new harp dialed in, the harp seems to be playing better.
> Of course, if you tweak your own harps, there is that level of "breaking
> in" as well - adjusting a harp evens out the response and removes a lot of
> the stress on your brain / body to compensate for the uneven response.
> I believe that we tend to play all the reeds in a harp at the general level
> that gets the most stubborn reeds to respond. That is why people tend to
> play hard. It takes real finesse to play most of a harp softly and then hit
> the one or two stubborn reeds just hard enough to make them sound like the
> other reeds.
> It is easier to just hit them all hard...
> If you can do basic reed adjustment, then the process of breaking in a harp
> includes physically adjusting the reeds and testing till you get the reeds
> to respond in a more balanced and consistent way. Then you give your
> subconscious mind a lot less to deal with as it comes up with its way to
> work with this particular combination of reeds....
> So you are "breaking in" your own mind as well as the harp...
> Richard Sleigh
This archive was generated by a fusion of
Pipermail 0.09 (Mailman edition) and