MindTheGap
216 posts
Feb 04, 2014
2:22 PM
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I've been trying to work how to transverse the whole instrument, and listening to how others do it in their playing. It would be great to be able to move from one place to another without just a big leap into the void. Here is my little offering in the form of a Cadenza (i.e. free rhythm) based on roughly on David Barett's 'usable blues scale'. Heavily borrowing from what I've heard others do.
Any tips on how you learned to transverse, how you use it, who's good to listen to would be welcome.
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laurent2015
580 posts
Feb 04, 2014
5:47 PM
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Hell! It's expected to be brilliant after this sample.
Is it a A harp? If yes, end the phrase with 2 draw bend and 1 draw, as a kind of resolving; then maybe you can start again with another transverse.
Don't know anything of that technique, but found it nice here!
Last Edited by laurent2015 on Feb 04, 2014 5:50 PM
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Taza
10 posts
Feb 05, 2014
12:23 AM
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This is great! Is the "usable blues scale" from David Barrett's site lessons or one of his books?
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MindTheGap
219 posts
Feb 05, 2014
1:14 AM
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It might be in one of his books, but there is a PDF on the archive of the 'Harmonica Sessions' site 'Will the Real Blues Scale Step Forward'...
http://archive.harmonicasessions.com/jun03/featured/realblues.pdf
Thank you for the kind words. What I'm after is some tips/examples on how to use scale runs to move about confidently and rhythmically during songs. E.g. moving from the playing around the 2-draw up to around the 6+, if that makes sense?
The cadenza isn't a rhythmic thing, but it is fun...edit: yes an A harp, my one and only crossover. Proof positive that the bends and at least one OB work OOTB! I've not had the covers off.
Last Edited by MindTheGap on Feb 05, 2014 2:24 AM
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The Iceman
1442 posts
Feb 05, 2014
4:38 AM
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Charlie Musselwhite moves through the whole range of the harp quite often and does so in many positions.
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The Iceman
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Greg Heumann
2583 posts
Feb 05, 2014
7:25 AM
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I think what you did works great. FYI - the word you want is "traverse", not "transverse".
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Tuckster
1389 posts
Feb 05, 2014
7:45 AM
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Very nice! Try to play a lick on the low end and then play it on the high end. Some licks won't be playable on the high end. Here's one to get you started:
2 3 4 5 5+ 4 Play that and then try to play it on the high end starting on 6+
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CWinter
94 posts
Feb 05, 2014
8:27 AM
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I agree with Iceman. 100%.
These days, I'm working on "The Blues Overtook Me" by Charlie Musselwhite. If you haven't checked that out yet, I highly recommend it. Many of your questions and concerns about traversing the harp will be answered if you study Charlie's playing style.
I'm sure there are others like him, but Charlie seems to mine so much great stuff out of all parts of the harp.
Sometimes separately and sometimes all in one quick run, he's all over those 10 holes.
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Kingley
3443 posts
Feb 05, 2014
9:28 AM
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Charlie Musselwhite does some of the most beautiful runs on the harp I have ever heard.
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MindTheGap
221 posts
Feb 05, 2014
9:39 AM
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Ah yes, traverse not transverse. That's engines.
Thanks for the responses, Charlie Musselwhite it is then, and that's no chore. Just now listening to The Blues Overtook Me, I hear what you mean. There's a great fluid run in there - then playing at the top, then straight to the bottom.
I guess there is playing in different places, then there is getting from A to B - in steps or leaps. Maybe it's arpeggio as well as scale practice.
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STME58
639 posts
Feb 05, 2014
2:04 PM
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I thought that clip was played transverse, ie. sideways, like Rick Estrin and others do for show from time to time. (also known as no hands harmonica)
Seriously, great topic. It is very easy to get stuck on the low end of the harp. I have noticed that if I am improvising without accompaniment, I tend to inadvertently modulate to the key the harp is in when I go up to the higher register in second position. It is something I am trying to analyze and understand.
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JInx
729 posts
Feb 05, 2014
2:06 PM
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nice !
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