Thank you SO much for your compliment it means a lot to me
to be completely honest I've NO CLUE...I'm trying several harmonicas, I mean several keys and I'm picking the one I'm the most comfortable with...this one is a sort of 2nd position thing, but in my opinion it doesn't mean anything after awhile, when you're a overbender you can put all that in theory like Michael Rubin, but for me the concept of position begin to be fuzzy when it comes to jazz or else...But that JUST ME
I've just began my journey in jazz music, I NEED this theory begin REALLy the intellectual work, without damaging the emotion...
Hey Cristal love your version! I love this song and especially edith piaf's version. I recorded a little more uptempo version of this song a bit ago. I played on a B-flat harmonica using 12th position mostly. The song was in G minor.
Originally it was published in E minor. Miles Davis played it in G minor (friendlier key on a Bb trumpet) and that may have influenced players since then to play it in G.
Hey Cristal because of this thread I have been getting back into learning this song so thanks! I found this backing track on youtube: http://www.youtube.com/watch?v=G1EtLzfdZZA&feature=related
Check it out. I am using a B-flat harp and since you are a oboe player I'm sure that'll be helpful cause you can read music! Merry Christmas ---------- Andrew Larson, R.N.
This is one of those tunes that moves between relative minor and major keys. Interesting you play it in two flats and use a C harmonica. In jams the older guys seem to want play it in two flats the younger guys one sharp. I think the Real Book has a whole generation playin' it in one sharp.
Very good your developing the feel fast. If you want to add more variety use more arpeggios played in eighth notes. With the ten hole harp there is always note sounds that are not consistent when bending, overblowing and overdrawing. It seems like Howard and Chris used vibrato on notes that were held. In Jazz and Blues this isn't such a big deal.
Nice keep it up your doing fine. ---------- Emile "Diggs" D'Amico a Legend In His Own Mind How you doin'
@ MichaelAndrewLo: Well being a former oboe player, doesn't really help here. My old videos shows how much I sucked at the after beat, and improvisation, this is the disease, the legacy that the classical music has given me...But in fact It's not even only the classical music alone, that is responsible of that, it's even more ancient with playing folk and irish song on the recorder since I was 3 years old....Playing on the 1st and 3rd beat of the measure all the time and NEVER improvising anything (this is where I think it's great that some young guys like Konstantin are getting use to this)....To fix it I had to enter into a "rehab" period with cutting short ALL forms of written music, and working A LOT with my ear only, trying as much as I can to ear the harmony underneath and trying to fit in...This is why I've NEVER read music or used written material...
BUT now, for playing the Jazz and since I'm NOT a genius at all, I've to go back to the reading thing, and most importantly to become more aware of the theory of the Jazz Music....On another thread I've said the importance of a keyboard, but I don't have one for the moment....I'm bloody scared of not being able to understand a damn thing about the Jazz theory, or worse, destroying the feeling and emotion that I'm trying to convert through the harmonica...My so called "style (if I've got any)
@DiggsBlues: WOW I just can't believe that you've written these compliments, coming from a chromatic player, and jazz musician is terrific, so thank you....But you know in that video, even if yesterday I was happy about it, this morning I feel that it's only the beginning there's many things that are questionable....Not my bending/overbending technique or tone or anything but THE IDEAS. You're right I should play the arpeggios that would be nice BUT I'VE NO IDEAS WHAT THEY'RE therefore I can't play them For the vibrato I've tried the "bending unbending" thing, it DOESN'T work for me AT ALL...I think the oboe vibrato I used to have is too much anchored in me, I NEED to feel the back of my mouth and controlling the vibrato from there....By the way it's weird that in the classical music I was using a vibrato, and now using the same technique it's called blues tremolo.....Funny
@ Stryker : Are you Jeff Stryker?
@ Winslow: can you tell me what you think of it? _________________________________________
Daughter of Hannibal Lecter, also known as "Christelle Berthon"
Last Edited by on Dec 24, 2011 12:47 PM
@ Tom : YES I know I was just checking, thank you for answering
Believe me or not the 2 words you put "very nice" means a world to me, so thank you...I can't believe that a you like this video...It gives me more energy and hope to continue in that direction
I'm sincerely touched Tom
PS: I'm a different person now than the one you met in 2009, really _________________________________________
Daughter of Hannibal Lecter, also known as "Christelle Berthon"
Last Edited by on Dec 24, 2011 12:19 PM
I am such a beginner, but simply an older guy checking in to the here and now. For me,
you convey a unique style in which emotion is paramount. The timing, the evolution of the place from which the music emanates, and the dynamics of the expression, is driven by the tension of the heart strings. And
Christelle, I am no wizard at jazz theory. I am studying it, but there is a lot to understand.
What I can suggest is to know 4 rudiments:
1.all 12 of your major scales. Not just to be able to play and recite them, but to know that A is the fifth note in the key of D. Every note has a number value.
2. Know the circle of fifths clockwise and counterclockwise.
3. Know the names of the notes on a keyboard. Be able to go directly to it without much thought.
4.Know the names of the notes on a C harp.
IMO, All theory stems from these four rudiments. every theory question can be viewed as one or more of these rudiments plus one new idea. If you know these rudiments you do not need to review them every time you are trying to understand a new idea, you can go straight to the new idea. If you need help with these things, my videos explain them. If you need someone to work with one on one (some people learn better that way), I do give skype lessons and we can work out a barter system where you customize harps in return for lessons.
"1.all 12 of your major scales. Not just to be able to play and recite them, but to know that A is the fifth note in the key of D. Every note has a number value.
2. Know the circle of fifths clockwise and counterclockwise.
3. Know the names of the notes on a keyboard. Be able to go directly to it without much thought.
4.Know the names of the notes on a C harp. "
DONE! I already know all that, thanks...Still it doesn't help for understanding AND DEVELOPING the arpeggios of 11th a 9th dim etc etc....
" I do give skype lessons and we can work out a barter system where you customize harps in return for lessons."
I'm not sure to understand you here???? I'm NOT a harmonica customiser AT ALL....I provide may be the worse harmonica work ever....But may be this message about your lesson was to advertise about them, which is fair
_________________________________________
Daughter of Hannibal Lecter, also known as "Christelle Berthon"
Christelle, I saw a video where one of your students opened up a customized harp, I thought it was from you.
It is great you know the four rudiments. It definitely will help understanding and developing the arpeggios. When you begin learning jazz theory, you will probably see how those four rudiments come into play again and again.
Like I said, I am not a jazz theory head. But it is clear to me I understand some things that would help you progress to the level you need to get to in order to become a jazz theory person and I feel I am able to present things in an easy to understand manner. If you ever want some lessons I am sure we can find some type of barter or partial scholarship.
Christelle, lovely as I've come to expect. Wonderful tone, expression and passion seem to be a bedrock for you, regardless of what you may lack for theory (I'll leave that to you and the experts).
YES that was me I' did set up his 3 harmonicas because he wanted to....But since then I don't feel that I would be a decent customiser, I don't know what I'm talking about since I struggle all the time to set up mine (which I've learned to live with, since the Manjis are easy to work with) _________________________________________
Daughter of Hannibal Lecter, also known as "Christelle Berthon"
