@ Littoral "Do you catch fish? Or do you have fancy gear and talk about catching fish? I kayak and catch a lot of fish, big fish. It's one of a few things I really do. Others are teaching, parenting and harp - things I love because they cannot be mastered. They all require listening, very careful and intentional listening. Really listening is difficult and as committed as I am to listening I screw it up a lot -so I wear a string on my finger that means STFU. I see it and it helps a lot, in fishing teaching parenting and harp."
Nice analogy..like it:-) Couldn't agree more about listening, sometimes people listen in a focussed & attentive manner...Mostly though sounds just fall on folks ears...a percentage of them might even make it "in". Listening is a skill most people actually have to work at. ---------- www.myspace.com/markburness
My interpretation of Franks comment, "It is about WORKING the blues scale..." , is:
It's like that old adage it's not the tool, it's what you do "with" the tool. It's one thing to play the blues scale, but it's impressive how 2 people can play the same scale and it sounds soooo different
John try this, think of a time you were walkin behind a group of ladies and you couldn’t get your gaze off of one or 2 of them because they were WORKIN it…
The others were merely playin it so didn’t do much for ya. You can’t help but stare at the one who was WORKIN it – she knew what she was doin with what she got to work with!!!!
Breaking down a solo of a player you admire is extremely helpful too…William Clarke comes to mind when I think of How to WORK the blues scale.
His “Serious Intentions” CD is one of the best out there to hear the meaning of working within the blues scales to create intricate, creative, and often difficult phrases and masterful solo’s.
As you know, it is easier said then done to do be able to “work a scale” with enough ingredients (tone, texture, attack, phrasing, timing etc.) to make it sound really good and convincing.
Hope that helps you…
Last Edited by on Jun 24, 2012 10:34 AM
That is actually a good point about "Working" the scale. Goes back to what was said earlier about, playing the scale is one thing. Making music playing the scale is quite another.
Of course I am making a presumption here that playing the scale is actually simply sticking to the notes within that scale not just playing scale runs up and down :) :)
You know, you can get through that tune fine just using the B blues scale (although it's nice to add a C# on the A major chord and a Bb as passing note).
If any tune that calls for working a small amount of material hard, this is it.
Yeah, you can find a blues scale that will work, but the point is THE blues scale for the key of A doesn't provide the necessary notes. If you are using a D harp, playing the B blues scale would put you in 4th position, and I think there' easier ways to get the necessary notes for this tune.
So, while WORKING the blues scale is a valid concept, sometimes other/different notes are needed besides the notes that are provided by the blues scale for the key you are in.
i agree that this tune calls for working a small number of notes hard, but those notes are not the notes provided in the regular A blues scale.
Last Edited by on Jun 24, 2012 1:05 PM
John, sure – the hard part as you well know is working within the song and scale/s > while always being aware of utilizing good tone, texture, attack, phrasing, timing, proper breathing, intonation etc.)
I am an advocate to learn theory…though there is a difference in someone being a “theory player” and someone who can truly execute a scale and “work it” to receive the benefits of it sounding really good. Who I like to call an “application player”…basically someone who can use his head knowledge in a practical and meaningful way.
I have read and it is hard to deny…It is not the amount of theory a player needs to know, but how to actually use the theory he does know “whether a little or a lot” appropriately.
And remember, playing "simply" or "simple" can prove to be much more difficult to figure out and ultimately master, because your forced to WORK that much harder to convince the listener that you mean business.
Last Edited by on Jun 24, 2012 12:23 PM
"It's a matter of what notes work to play the particular tune--whether you figure them out by ear or by knowledge of theory."
Ahhhhh, but your leaving out a very important part of that sentence John. It should read.
"It's a matter of what notes work to play the particular tune--whether you figure them out by ear or by knowledge of theory." And having the practical ability to apply them while always being aware of utilizing good tone, texture, attack, phrasing, timing, proper breathing, intonation etc.
Knowing the notes is great - proper application of them is is the icing on the cake!
Last Edited by on Jun 24, 2012 12:47 PM
i think i'm still going to call you hvyj. can't wrap my head around john.
you are my absolute favorite MBH person to disagree with. i really enjoy our disagreements because i can just tell that you never take it personally. i can also tell that you know i don't take it personally either.
have a good day. mark ---------- MP affordable reed replacement and repairs.
"making the world a better place, one harmonica at a time"
@MP: I don't recall what it is we've disagreed about. But substantive dialogue is how we learn from one another.
Of course that assumes a certain level of open mindedness. Apparently, certain people around here consider expression of views that differ from their own preconceptions to be A) threatening and B) an indication that the person expressing the divergent view must be incompetent.
On the other hand, there may be a certain serenity that goes along with such simplemindedness--you know, the certainty that comes from not having to bother with thinking and all that.
Last Edited by on Jun 24, 2012 4:37 PM
@Jinx: I wasn't inclined to post recordings before, and I'm not now. But here's one in 5th position you can check out on line if you are actually all that interested:
http://www.vytas.devicegroup.com/audio.php
You have to hit the drop down down menu and go to 2010 Vytas and his Eclectic Outfit Manhattans 0709 and click on the second track, "Maybe Reggae."
A friend of mine recorded this performance of one of his original tunes called "Maybe Reggae" when i sat in with one of his bands. It is in G natural minor so i played an Eb harp in 5th position. I'd never played the tune before, so at a couple of points i hit some double stops that were ill-advised and didn't fit the chords particularly well. Also, I think it's fair to say the recording is not an accurate recreation of the live tone.
This is an off the top of the head performance of a tune I'd never heard before and it's not a blues.
Apparently the speakers on my computer are not good enough to allow me to pick out the harmonica. I didn't realize you were into any music besides blues.
