Andrew
1416 posts
Aug 11, 2011
4:34 AM
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Yeah, the change in harp mystified me.
I'd have assumed he was playing an E harp, but if you say it was an A, I won't disagree. On the other hand, why put up with the problems of the rapid alternation between 6 draw and 7 blow?
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Andrew.
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Those who are tardy do not get fruit cup.
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joeleebush
310 posts
Aug 11, 2011
5:17 AM
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Myverylongusername said:
"I enjoyed listening to the Wolf, but yes he was using vibrato by the bucketload. So now I'm wondering what the difference is?"
The difference is that the wolf was DEAD ON PITCH with that 2 draw of his, which is pleasing to the ear.
That other guy's stuff was not.
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Democracy==> 2 wolves and a sheep voting on what is for dinner.
Liberty==> A well armed sheep contesting the outcome of that vote.
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Honkin On Bobo
715 posts
Aug 11, 2011
9:15 AM
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All Along The Watchtower.
God, I love that song.
Regarding Goncalves vibrato, I found it highly annoying.
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The Iceman
61 posts
Aug 11, 2011
9:26 AM
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Vibrato was part of the trumpet sound, beginning with Louis Armstrong and his contemporaries and was considered the norm right up through the late 40's.
Miles Davis was the first major figure to approach the trumpet without vibrato. His childhood trumpet teacher taught him "Don't add any shakes (vibrato) to the note. You will get old and shaky soon enough." What Miles did was focus on the pure note and develop depth into each one - long sustained tones. It is interesting to read Paul Tingen's right on evaluation of this with the concept that Miles was a blues player first and foremost, understanding how to suck the marrow out of a note - just like the real deep blues guys. He brought this sensibility to the trumpet, revealing so much depth and color to each note he played. Also, his quest to constantly look for what he could leave out resulted in playing the best note at the best time.
I teach all my students to understand LONG TONES for each note created on the harmonica - to get inside each note and see the full range of color and emotion available. Jerry Portnoy has also stressed this aspect in his teaching aids. After a full appreciation of this aspect, I will introduce vibrato as a seasoning to be used lightly.
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The Iceman
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hvyj
1657 posts
Aug 11, 2011
10:01 AM
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Re Gonclaves' version of "All Along the Watchtower": He is playing it on an A harp in fifth position which puts him in C# natural minor. That is the key in which Hendrix recorded this tune. The original by Dylan is recorded in A natural minor. I think the harp change is to an E harp in fourth position which also would keep him in C# natural minor.
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dougharps
92 posts
Aug 14, 2011
1:14 PM
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The Wolf cut had lots of vibrato, and it was used well, by a great performer.
A very good post to add to this thread.
I liked what Wolf did, making me reflect on my opinions about vibrato.
I guess it comes down how the vibrato is used, in what song, in what context, and does it work in that song for me and my taste. Individual tastes vary widely, and are subject to change.
Sometimes I have heard vibrato used by players in ways that for me detract from my enjoyment of the song, hurting an otherwise good performance...
But it isn't as simple as too much or too little, or the specific amount of vibrato.
No formula for the "right" use of vibrato.
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Doug S.
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groyster1
1280 posts
Aug 14, 2011
2:31 PM
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@dougharps
I agree that adams example of howlin` wolfs vibrato was a great idea-I never ever get tired of hearing this great bluesmans recordings... he was the best
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