mr_so&so
641 posts
Feb 05, 2013
1:48 PM
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The topic came up in another thread, and I prepared a document some time ago that I have shared with only a few others. It starts from the very basics. Any errors or omissions are my fault entirely. I'll improve it if anyone has any constructive comments. I know my section on rhythm is particularly sketchy. Anyway, its on my box.com account.
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tookatooka
3200 posts
Feb 05, 2013
2:10 PM
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That's very kind and generous of you mr_so&so. Have saved it and will try and digest all you have written. Many thanks again.
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timeistight
1086 posts
Feb 05, 2013
2:15 PM
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Well done!
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Playing music... it's a privilege.
Kim Wilson
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MJ
564 posts
Feb 05, 2013
2:33 PM
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Thank you.
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AZBluesHarper
12 posts
Feb 05, 2013
2:36 PM
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Wow...thanks Mr. S! This is really nicely done!!!!!!
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clyde
300 posts
Feb 05, 2013
2:46 PM
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nice read mr so&so
one the second page the second paragraph reads..... g and f are a semitone apart... easy typo to make. keep up the good work...i look forward to more.
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BronzeWailer
877 posts
Feb 05, 2013
4:49 PM
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Thanks Mr So & So. I have gotten part way there by ear. I believe if I use "brain" I can go farther!
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My YouTube
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mr_so&so
642 posts
Feb 05, 2013
6:46 PM
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Thanks for the kind words. I know there are mistakes, typos, and likely bits that I've completely misunderstood. Hope y'all find it useful and/or can help me clarify what needs it.
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Shaganappi
6 posts
Feb 05, 2013
9:48 PM
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Thank you for sharing. I really liked the unique way you presented your three octave lines in your chart. But I was more interested in the way you notated your notes as I have been working on the nomenclature/notation problem particularly about rhythm for a number of years.
I have worked out a very precise yet relatively simple (IMO) tab notation with rhythm incorporated in it in order to basically replace the need for (dual) standard notation that you see in many instructional books like Barrett's & Yerxa's, etc. Because of QWERTY constraints and working with VBA programming, I have used a similar notation for the notes like 8'+ and 6*+ but I use 8+' and 6+* instead. Subtle difference I agree, but for reasons (in descending order) of:
1. To be more consistent with a much better (format-based therefore more compact) direction modifier,
2. Enabling VBA to do certain much easier programming manipulation on the note,
3. Keeping the blow modifier close to the hole number (like we speak & think, "8 blow bend),
4. Enabling the eye to (somewhat less of a reason) more easily see a space after the note,
I consider the direction modifier should be placed first and the pitch modifier second.
I totally agree with the use of the * for ob's, particularly when considering the other alternatives for what I used for my other chord modifiers, it is the most natural symbol to incorporate with my system. I gladly note that you have changed your mind from the use of the ob symbol that you used to embrace. I have always hated that cumbersome notation.
Good to see people using a method heading to more compact and simpler usage. As stated before, the use of dual direction modifiers (both + and - or up and down arrows or whatever) is very wasteful and annoying to remember which is which. As 80% of cross harp is draw, it leaves most notes without any need for any modifier at all.
Sorry for going a bit OT but reading between the lines in what I understand as to what Mr_so&so thinks per his previous posts, my comments are somewhat of interest, at least to him.
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The Iceman
728 posts
Feb 06, 2013
5:40 AM
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I always applaud those that bring theory enlightenment to the harmonica community.
Good job.
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The Iceman
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The Iceman
729 posts
Feb 06, 2013
5:41 AM
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edit test.......
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The Iceman
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Arnoud73
102 posts
Feb 06, 2013
6:48 AM
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Thanx alot !!!!!!!!!
greetz Arnoud
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Rick Davis
1284 posts
Feb 06, 2013
6:53 AM
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Thanks! bookmarked.
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-Rick Davis
The Blues Harp Amps Blog
The Mile High Blues Society
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isaacullah
2317 posts
Feb 06, 2013
8:22 AM
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@mr_so&so: That's a really great document you've prepared there! IMO, you are well on your way to something that is not only publishable, but which fills a gap in the realm of those instructional materials that have already been published. You write in a nice, approachable, and easy to understand style. I encourage you to flesh out this document a little bit more, and to see if a music instruction publisher would pick it up! If you do so, I'd humbly suggest that you, in particular, focus some more on pentatonic scales, and penatonic modes. IMO, these are some really basic, important, scales that get glossed over too frequently despite the fact that a) they are actually really easy to play on the harp, and b) MOST of the music folks want to play are based overwhelmingly on pentatonic scales (with a few added notes here and there). IMO, A solid base in pentatonic theory will make chord theory, diatonic theory, and chromatic theory much easier to understand for the beginner. This is all a bit of an aside, as what I really want to say is kudos on a great document, and thank you for making it available to us here on the forum!
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Frank
1979 posts
Feb 06, 2013
8:40 AM
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Thanks for the informative download - looking forward to reading at my leisure...I've been writing down a lot of my thoughts about the importance of setting the strongest foundation possible with music fundamentals in order to play the harp better. Writing stuff down for me makes it stick better. Once I edit all the random thoughts, I'm too going to post it for the players who may benefit from some of the suggestions.
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mr_so&so
644 posts
Feb 06, 2013
9:57 AM
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@Shaganappi I appreciate your comments, and I agree with them too. While I'm not as invested in using harp tab as I once was (now I rely much more on my ears), it is still useful for writing down riffs, etc. and I do like a tab that makes use of plain text. I hope you share your ideas about simple tabbing of rhythm and timing components. I got the idea of using the * for overbends from (former?) MBH member GermanHarpist. It's much simpler and more compact.
@Iceman Thanks for your endorsement. That means a lot to me.
@Isaac I totally agree the pentatonic scales are fundamental to versatile harp playing, i.e. beyond blues playing (but also for blues playing). I've been working a lot with them lately. If I do flesh the document out more, perhaps I will look at publishing it. I wrote it for a friend of mine, by cobbling together a bunch of short documents I've written for my own learning over the last few years, some of which I've shared here. I was certainly aiming to fill a gap that I think makes music theory too big of a challenge for a lot of people to want to take on, especially later in life.
@Frank I look forward to reading your ideas.
By the way, I notice that there are a lot of great players and good learners who do it all intuitively. I respect and admire that. It's just not the way I learn. I like to feel like I have my feet on a firm theoretical foundation, and that helps me learn better and faster.
As for playing, my aim is not to be thinking about theory at all then, just to be immersed in the present moment, like Walter Tore, or the late Chris Michalek, talk about. But when I practice, e.g. learning new songs, scales, and positions, I like to know I can use the theory to give me a leg up.
I'm glad people are finding this document useful. I was hesitant to share it, because I wondered if it would be of much interest. Again, any constructive criticism or suggestions are welcome.
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jodanchudan
756 posts
Feb 06, 2013
11:17 AM
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Thanks for this - a very helpful document.
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A440
59 posts
Feb 06, 2013
12:50 PM
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Well done! Thanks for sharing
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Rick Davis
1286 posts
Feb 06, 2013
3:46 PM
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mr so&so, I put a link to your article at The Blues Harp Amps Blog
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-Rick Davis
The Blues Harp Amps Blog
The Mile High Blues Society
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Rubes
656 posts
Feb 06, 2013
7:28 PM
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Belated thanx also mate!
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One of Rubes's bands, DadsinSpace-MySpace
Old Man Rubes at Reverbnation
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