[Harp-L] Positions Modes and the Harp_L List.

[Robert Hale]

The irony of Perfect Pitch is that it is framed in a man-made definition.
Most commonly today at 440Hz. What is perfect about that? So even perfect
pitch is cultural. I admire those who can name a pitch in isolation. But
that is learned, too.

So let us not over-admire and reverence the skill. I have not worried about
perfect pitch because it seems to trouble some of my cohorts when the world
around them is not referenced to their piano at 440. Relative pitch is
certainly most practical. It keeps us all harmonizing well.

Robert Hale
Serious Honkage in Arizona
youtube.com/DUKEofWAIL
DUKEofWAIL.com

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On Sat, Oct 27, 2018 at 12:02 PM Michael Rubin <
michaelrubinharmonica at xxxxx> wrote:

> Yes, it is a transposition tool. Play G harmonic minor on a C harp, move
> your mouth the same way on a Bb harp and play F harmonic minor and both are
> second position.
>
> If you think you are playing in the Mixolydian mode simply because you are
> i. The key of G on a C harp, you are ljkely incorrect.
>
> On Sat, Oct 27, 2018 at 1:35 PM Laurent Vigouroux <
> laurent.vigouroux at xxxxx> wrote:
>
> > Hello Michael and all
> >
> > Looks like there is an ambiguity about the term of positions.
> > From your previous email, I've understood that by position you mean
> > playing in a certain key on a given harp (for example playing in A on a C
> > harp is fourth position).
> > If correct, this is more of a transposing scheme than anything, and is
> > totally relevant to me. This is what I was referring to when I wrote
> > "playing in C dorian on a Bb harp is equivalent to playing D dorian on a
> C
> > harp"
> > It is useful indeed if a player is not totally fluent on Eb dorian for
> > example.
> >
> > But I'm not sure this is the way positions are envisaged by most players.
> > They generally rely on this concept as a shortcut. "Tune in Am? I'll use
> > 4th position on a C harp", without understanding anything about aeolian,
> > harmonic minor or dorian.
> >
> > This is my point: positions start by being useful (especially for blues)
> > but in lots of cases they keep the player in an ignorance bubble. This is
> > the reason why harmonica players tend to be considered as "non-musicians"
> > by musicians who play other styles than classic blues.
> > I think David's image of a "lock on the way to play and envision the
> > instrument" is very interesting.
> >
> > Again, I totally respect people who use positions in blues and anyway
> > everybody can do what he wants.
> > But there is another way. An harmonica player can consider his instrument
> > as any other one and learn music theory and harmony, without relying on
> > positions.
> >
> > Happy harpin'
> >
> > Laurent
> >
> >
> > On 27/10/2018 19:05, "[NAME]" <[ADDRESS]> wrote:
> >
> >     David
> >     We have had this argument before. You think you do not use positions
> > but it
> >     is unavoidable unless playing music without a tonal center. You are
> > like a
> >     fish who says he doesn’t use water.
> >
> >     For brevity, I agree to disagree.
> >     Michael
> >
> >     On Sat, Oct 27, 2018 at 11:38 AM <dh at xxxxx> wrote:
> >
> >     > Sorry Michael I don’t use positions when I play and I'm glad I
> don't
> >     > They are a lock on the way to play and envision the instrument
> >     >
> >     > Aongus : Most of the great musicians everybody admire have relative
> > pitch
> >     > (a pretty good one I would say)
> >     > As soon as you start working on your ears whatever you do that make
> > you
> >     > improve is good. So I wouldn’t focus too much on relative or
> perfect
> > pitch
> >     > Just learn to identify what you hear (for instance a harmonica
> player
> >     > using positions 😃) and sing what you hear and play (start simple)
> >     >
> >     > David Herzhaft
> >     >
> >
> >
> >
> >
> >
>